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Storytelling as Performance: The Ugly Indian and Blank Noise 2
https://cis-india.org/digital-natives/making-change/storytelling-performance-2
<b>This post compares the method of storytelling with performances. To illustrate this, we explore the narratives of the Blank Noise project and The Ugly Indian, two civic groups from Bangalore making interventions in the public space. Part 2 looks at the role of actors and the stage in performances to explore the role of agency and the public space in storytelling. </b>
<p align="justify">This is part 2 of our analysis of <a href="http://blog.blanknoise.org/">Blank Noise</a> and <a href="http://www.theuglyindian.com/">The Ugly Indian</a>, two civic groups thriving in Bangalore by making a strategic use of storytelling to intervene in the public space. In the <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance">previous post</a>, we explored the mediums and narratives used by these organizations to craft an identity for themselves. This one will look at the impact of this identity on the agency and actions of their volunteers. We will also draw some final conclusions relating the analysis back to the Making Change project.</p>
<p align="justify"><strong>How to navigate this post:</strong></p>
<p align="justify"><strong> </strong></p>
<table class="plain">
<thead>
<tr>
<th>Section</th>
<th>Performance<br /></th>
<th>Storytelling<br /></th>
</tr>
</thead>
<tbody>
<tr>
<td><a href="https://cis-india.org/digital-natives/making-change/storytelling-performance#pre-production">Pre-production</a></td>
<td>Preparing all elements involved in a performance including locations, props, costumes, special effects and visual effects.<br /></td>
<td>Preparing all elements needed to convey the message of the story including: spoken word, text, images, audio, video or other artifacts.<br /></td>
</tr>
<tr>
<td><a href="https://cis-india.org/digital-natives/making-change/storytelling-performance#screenplay">Screenplay</a></td>
<td>A written work narrating the movements, actions, expressions and dialogues of the characters. <br /></td>
<td>Building a narrative in storytelling<br /></td>
</tr>
<tr>
<td><a href="#cast">Actors</a><br /></td>
<td>Actors performing characters in a production.<br /></td>
<td>The relationship between storytelling actors and agency<br /></td>
</tr>
<tr>
<td><a href="#stage">Stage</a><br /></td>
<td>Designated space for the performance of productions<br /></td>
<td>The public space as the stage for storytelling<br /></td>
</tr>
<tr>
<td><a href="#action">Action!</a><br /></td>
<td>Cue signifying the start of a performance<br /></td>
<td>When storytelling leads to action<br /></td>
</tr>
</tbody>
</table>
<p><strong> <a name="cast"></a> </strong></p>
<p align="center" class="callout" dir="ltr"><strong><strong>3.actor</strong><br /></strong>ˈaktə/<br />1. a person portraying a character in [a dramatic or comic] production<br />2. a participant in an action or process</p>
<p><strong> </strong></p>
<p align="justify">The cast of a production learns the script from beginning to end; rehearses the lines and internalizes the characters they have been chosen to represent. In the same way actors sustain the narrative of the production while they are on stage, we too act upon the identities we have chosen for ourselves in our day to day (Giddens, 1991). Oggs & Capps call this:<strong> constructing agentive identities:</strong> <em>“participants assume agentive stances towards present identities, circumstances and futures” (1996; Hull, 2006). Embracing a set of traits and integrating them to the ‘story of the self’ </em>(Gauntlett, 2002; Giddens 1991). This suggests there is a direct relationship between self-identity and agency, that will influence how we conduct ourselves in the public space.</p>
<p align="justify">As seen in the <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance#screenplay">last section</a>, The Ugly Indian’s self-ascribed identity frames their speech and action:</p>
<div align="center">
<pre><strong><a href="http://theuglyindian.com/about_us.html">The Ugly Indian
</a></strong>
We are a group of Ugly Indians who feel strongly about the state of visible filth in our cities.
Our<strong> philosophy </strong>can be described simply as: <strong>Kaam chalu mooh bandh. Stop Talking, Start Doing.
</strong>We believe in direct action, with a common-sense problem-solving approach.
We do not finger-point or blame the system. We aim to make a change from within -
one that sustains because everyone wants it and is comfortable with it.</pre>
</div>
<p align="justify">This means the online identity of the organization (on <a href="https://www.facebook.com/theugl.yindian?fref=ts">Facebook</a>, <a href="https://www.youtube.com/channel/UCGBoRyfR4t4zyCZYWdPjzAw">Youtube</a>, <a href="https://twitter.com/theuglyindian">Twitter</a> and their <a href="http://www.theuglyindian.com/">website</a>) must be consistent with the offline actions of volunteers in clean drives and TUI inspired activities.</p>
<p align="justify"><strong> </strong></p>
<table class="plain">
<thead>
<tr>
<th><strong>Indira Nagar Rising</strong></th>
<th><strong>Koramangala Rising</strong></th>
</tr>
</thead>
<tbody>
<tr>
<td>
<p align="center"><a href="https://www.facebook.com/photo.php?fbid=629410000451592&set=pb.123459791046618.-2207520000.1393395243.&type=3&theater"><img src="https://cis-india.org/home-images/CleanDrive2.jpg/image_preview" title="Clean Drive 1" height="252" width="400" alt="null" class="image-inline image-inline" /></a></p>
</td>
<td>
<div align="center"><a href="https://www.facebook.com/photo.php?fbid=649485601777365&set=pb.123459791046618.-2207520000.1393394885.&type=3&src=https%3A%2F%2Ffbcdn-sphotos-d-a.akamaihd.net%2Fhphotos-ak-prn1%2Ft31%2F1960858_649485601777365_1050385055_o.jpg&smallsrc=https%3A%2F%2Ffbcdn-sphotos-d-a.akamaihd.net%2Fhphotos-ak-prn2%2Ft1%2F1796618_649485601777365_1050385055_n.jpg&size=1496%2C1088"><img src="https://cis-india.org/home-images/CleandriveTUI.jpg/image_preview" title="Clean Drive 2" height="238" width="462" alt="Clean Drive 2" class="image-inline image-inline" /></a></div>
</td>
</tr>
</tbody>
</table>
<p><strong> </strong></p>
<p align="center"><strong>TUI Clean Drives </strong>(Click to enlarge<strong>)</strong> <br />Photos courtesy of The Ugly Indian Facebook Album.<br /><a href="https://www.facebook.com/theugl.yindian/photos_stream">Visit the rest of the album here.</a></p>
<div id="docs-internal-guid--5cd61e2-6cd7-d431-93a1-f09c2f3c06f6" style="text-align: justify;" class="pullquote" dir="ltr">"[Join us] if you think like us, and want to achieve something meaningful in your immediate surroundings."<br />
<div align="right">The Ugly Indian</div>
</div>
<p align="justify">Given the anonymity of the voices behind the narrative, the ideas and attitudes endorsed by TUI organizers can only remain at the discursive level, and it is TUI volunteers who collectively translate the set of beliefs into action. In other words, volunteers are the agentive extension of the movement, as they use their agency to execute the plan of action designed by the anonymous TUI organizers. The narrative in this case becomes somewhat of a ‘creed’ for responsible civic action, and while most volunteers choose to “stick to the script”, they are not really given the opportunity to explore their own narrative within.</p>
<p align="justify">In the case of Blank Noise, if we take another look at its mandate, it is collaborative by definition.</p>
<div align="center">
<pre><strong>Blank Noise</strong>
Blank Noise is a public and participatory arts collective that seeks to
explore the range of street interactions and recognize 'eve teasing' as
street sexual harassment/ violence.</pre>
</div>
<p align="justify">The processes to translate the Action Hero identity into action are far more open-ended than in the case of TUI. There is further room for volunteers to interpret what being an Action Hero means to them (as an identity), how they will respond to it (as agents), and how do they fit in the larger context of the Action Hero narrative (in the collective). The role of volunteers is to participate in the construction of a new narrative for the public space, defined by how women feel, what they think and do when they navigate it. It is not conclusive, and each intervention is an invitation for further dialogue.</p>
<div align="left">
<div>
<div align="justify" class="pullquote">"Adding agency to the equation gives the actor a purpose and new -revised- conception of the self and aligns its behavior with who he wants to be. "<a name="fr1" href="#fn1">[2]</a></div>
<div align="center">
<p align="justify">Blank Noise volunteers take ownership of who they want to be in the public space. Through their testimonials and actions, they do not only draft an identity for themselves, but they create one -or many- for the streets, for women, for men, for sexy, for safety. Stretching out our 'performance' analogy even further, their type of action is what we would deem improvisational theatre: the improvisation and intuition of BN volunteers takes over the dialogue, action and characters, as these are<em> “created collaboratively by the players as [the play] unfolds in present time”</em><a name="fr1" href="#fn1">[1]</a></p>
</div>
</div>
</div>
<p><a name="stage"></a></p>
<p align="center" class="callout" dir="ltr"><strong>4. stage</strong><br />steɪdʒ/<br />a raised floor or platform, typically in a theatre, on which actors, entertainers, or speakers perform.</p>
<p style="text-align: justify;" dir="ltr">Finally, the stage. This is the space where actors display these learned identities in front of (or with) members of the audience. While stories are not necessarily presented on a conventional ‘raised floor or platform’, stories are meant to permeate "the stage" of the 'public space'. In spite of what Sartaj Anand told us in his <a href="https://cis-india.org/digital-natives/making-change/storytelling-sartaj-anand">interview</a>:<em> “stories as increasingly personal and local”,</em> in order for them to trigger imagination and public discussion they must also be public and visible. Hannah Arendt posits in<em> Essays for Understanding</em>, that the task of storytelling is to extend the meaning of the actions, symbols and allegories into the public, making them visible to broader audiences and initiating a process of critical thinking among them (Jackson, 2002; Oni, 2012; Arendt, 1994). Hence, the role of storytelling in the public space has two functions:</p>
<p align="justify">a) <strong>Visibility</strong>:</p>
<p align="justify">Enhanced visibility is an extremely powerful asset. Narratives produced by activist-oriented storytellers do not only reflect greater autonomy of production, but also enjoy a wider rate of consumption<a name="fr1" href="#fn1">[3]</a> (Vivienne, 2011). From a tech-optimist perspective, multimedia representations of these stories further this visibility, making it also accessible to broader online audiences.</p>
<p align="justify">The Ugly Indian in particular thrives on visibility, due to its beautification mission. Its highly visible presence online is used to ratify the work they are doing to erradicate "visible" filth:</p>
<blockquote>
<p align="left">"X was a big fan of the <a href="http://en.wikipedia.org/wiki/Broken_windows_theory">Broken Windows Theory</a> – which suggested that<span class="visualHighlight"> if a street looked ugly or neglected, it attracted more anti-social behaviour, while a well-maintained and beautiful street discouraged vandalism and often earned respect from passers-by.</span> [...] Could the ugly Indian’s civic behaviour be a function of the environment and the signals it gives him? If so, could changing the environment change behaviour?" <a href="http://theuglyindian.com/books/chapter-7-nudge/">Chapter 7 - Nudge</a></p>
</blockquote>
<p align="justify"><br /> In the case of Blank Noise, they use online visibility to re-introduce the testimonials collected through their interventions and installations, back into the public space.</p>
<div align="center">
<table class="plain">
<tbody>
<tr>
<td>
<p align="justify"><img src="https://cis-india.org/home-images/Reportingtoremember.png/image_preview" title="Reporting to remember" height="253" width="179" alt="Reporting to remember" class="image-inline image-inline" /></p>
</td>
<td>
<div><a href="http://blog.blanknoise.org/2009/02/reporting-to-remember_10.html">Reporting to Remember</a> (2009)<br /><br />Triggered by the Mangalore pub attack, the report wants to compile a list of incidents involving attacks on/threats to women under the pretext of culture, tradition and religion.<br /><br /></div>
<ol>
<li><strong>By who: </strong></li></ol>
<ul>
<li>Political parties</li>
<li>Religious groups</li>
<li>Individuals</li></ul>
<br />2. <strong>Nature of attack:</strong>
<ul>
<li> who they attacked</li>
<li>why they attacked</li>
<li>You can also send articles/links explaining that.</li></ul>
<br />3<strong>. When</strong>: Date<br /><br />4. <strong>Location:</strong> Region.</td>
</tr>
<tr>
<td><img src="https://cis-india.org/home-images/MakeaSign.jpeg/image_preview" title="Make a Sign" height="158" width="176" alt="Make a Sign" class="image-inline image-inline" /></td>
<td><a href="http://blog.blanknoise.org/2009/04/make-sign.html">Make a Sign</a> (2009)<br />Volunteers were welcome to say anything they wanted.<br /><br />What Blank Noise wants to say:<br />We are talking of safer cities not feared cities<br />We are talking of independent women, not paranoid women.<br />We are talking about collective responsibility- don't tell me to be even more 'cautious'.<br />We are talking about eve teasing as street sexual harassment and street sexual violence.<br />We are talking about autonomous women, not just mothers daughters and sisters amidst fathers brothers and sons.</td>
</tr>
<tr>
<td><img src="https://cis-india.org/home-images/Vocabulary.jpg/image_preview" title="Vocabulary" height="183" width="176" alt="Vocabulary" class="image-inline image-inline" /></td>
<td><a href="http://blog.blanknoise.org/2007/08/tales-of-love-and-lust-coming-soon.html#links">Tales of Love and Lust</a><br /><br />The vocabulary project, stems from a need to build a dictionary of 'eve teasing', Blank Noise asked participants to email in to comments and remarks they had heard addressed to them on the street. BN compiled them into an 'eve teasing' vocabulary. <br /><br />The vocabulary was represented in the form of charts, school-style, simple lettering and graphics, in an attempt to desexualise and remove obscene reference from the terms that are used leerily at us on the streets.</td>
</tr>
</tbody>
</table>
<p align="justify">Find the full list of interventions, campaigns and tactics <a href="http://blog.blanknoise.org/2007/09/interventions-and-techniques.html">here</a>.</p>
</div>
<p align="justify">b)<strong> Political:</strong></p>
<div align="justify" class="pullquote"><em>"</em>[Politics is] the space of appearance that comes into being whenever men are together in the manner of speech and action, predating and preceding all formal constitutions of the public realm”<em> <br /></em>
<div align="right">Hannah Arendt (1989) <a name="fr1" href="#fn1">[4]</a></div>
</div>
<p align="justify">This visibility also re-conceptualizes how we do politics by creating <strong>political spaces.</strong><a name="fr1" href="#fn1"> </a>Setting up a ground for public discussion creates the opportunity to flesh out our ability to be political (Rawls 1971 in Sen, 2005). Hence, producing and consuming a story with, for and by the public, should constitute a political experience in itself -especially in the context of civic interventions as is the case of both our productions.</p>
<p align="justify">However, this does not seem to be the case for TUI. The identity of The Ugly Indian focuses on action; on collecting manpower to fill voids left by the state in waste management. In the words of Nishant Shah, they are aligning their work with needs and systems that have <em>already i</em>dentified by the state, as opposed to devising new modes of engagement or participation. Having said that, staying away from politics is an intentional mandate, and their focus today is removing all obstacles that stand between the middle class and their action in the public space; even if that includes extricating the group from its political nature. For now, spreading ‘action’ and its ‘visibility’ in the network is a priority. The bigger their beautification spectacle grows, the better.</p>
<p align="justify">Blank Noise has a different view of how to engage the middle class <a name="fr1" href="#fn1">[5]</a>. The group has identified the need to talk about ‘sexual harassment’ in public; a conversation that has not been addressed and is continually dismissed by the state. This void is hence being filled with stories and articulations of the communities involved <a name="fr1" href="#fn1">[6],</a>as a mean of resisting the stronger dominating narrative of silence around the issue. As opposed to TUI, the priority of Blank Noise is to reassert our ability to perform our role as active, visible and political agents in the public space; initiating a larger process of social critique in their network <a name="fr1" href="#fn1">[7]<br /></a></p>
<div align="center"><img src="https://cis-india.org/home-images/WWA.png/image_preview" alt="Never asked" class="image-inline image-inline" title="Never asked" /></div>
<p align="justify"><a name="fr1" href="#fn1"><br /></a></p>
<p align="justify">(We interviewed Jasmeen Patheja earlier in the project and discussed Blank Noise's political nature. Read the article <a href="https://cis-india.org/digital-natives/making-change/blank-noise-citizenship">here)</a></p>
<p><a name="action"></a></p>
<p align="center" class="callout" dir="ltr"><strong>5. action!</strong> <strong>(and conclusions)</strong><br />ˈakʃ(ə)n/<br />something done so as to accomplish a purpose.</p>
<p align="justify">As per definition, action must be purpose-driven, and throughout the last two posts, we have unpacked how this sense of purpose can be built using storytelling. We explored this looking at its <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance#pre-production">methods</a>, <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance#screenplay">narrative identities</a>, <a href="#cast">actors</a> and <a href="#stage">spaces of action</a>.</p>
<p align="justify">In the case of both organizations, storytelling was imbued in their organizational identity, the interaction with their volunteers and; the way in which they disseminate information. Expanding on what we said in the <a href="https://cis-india.org/digital-natives/making-change/storytelling-sartaj-anand">first installment</a> on storytelling: its interactive nature makes it a tool for empowerment. The identities created by both organizations resonated so much with their audiences, that volunteers adapted their own identities and actions in the public space to align with them and participate in their initiatives.<br /><br />The post also brought attention to the challenges of <strong>locating the ‘political’</strong> within the spectacle. Storytelling as a mode of engagement is effective: it captures people’s attention and participation. However, it becomes problematic when the story becomes a creed adopted without question, as is the case of The Ugly Indian. The lack of opportunities to craft new arguments in public discussion leads to an equally passive participation to the one the group intended to eradicate. Citizens get involved without making critical connections with the material realities they are working to reverse. The citizen is trapped in the performance of citizen awakening and they are ceasing to articulate new ideas. In the case of Blank Noise, the political precedes the spectacle, but at the end of the day, it still relies on a visible and manageable network to disseminate its narrative and attract new story-lines and actors into the discourse.</p>
<p align="justify">On the issue of <strong>visibility: </strong>at the outset of the project we asked the question: what is it about the spectacle that makes it so enticing, and what can we borrow from it to strengthen political participation? <a name="fr1" href="#fn1">[8]</a>. This post visited the three elements that, according to Shah, makes an event visible: legibility, intelligibility and accessibility<a name="fr1" href="#fn1">[9]</a>; and started to answer some of these questions.</p>
<table class="plain">
<thead>
<tr>
<th>Performance<br /></th>
<th>Storytelling<br /></th>
<th>Visibility<br /></th>
</tr>
</thead>
<tbody>
<tr>
<td>Pre-production</td>
<td><span id="docs-internal-guid--5cd61e2-6f01-084a-6acd-e45ad9690117">The mediums chosen to tell the story (images, video, text, digital technologies) are used to give clarity to the message.</span></td>
<td>Legible</td>
</tr>
<tr>
<td>Screenplay</td>
<td><span id="docs-internal-guid--5cd61e2-6f01-45c7-d17e-68f73fb0a0ab">Creating (or borrowing narratives) from history and fiction makes stories easy to relate to, better understood and hence, better received by the audience</span></td>
<td>Intelligible</td>
</tr>
<tr>
<td>Actors</td>
<td><span id="docs-internal-guid--5cd61e2-6f01-8071-9fc1-37cb1d164a41">Acting out these identities shows the message was understood and internalized by the audience.</span></td>
<td>Intelligible</td>
</tr>
<tr>
<td>Pre-production</td>
<td><span id="docs-internal-guid--5cd61e2-6f01-9f82-8650-21c6165ebb25">Digital technologies are effective at disseminating the story and making it more accessible in the public online space.</span></td>
<td>Accessible</td>
</tr>
<tr>
<td>Stage</td>
<td><span id="docs-internal-guid--5cd61e2-6f01-b9d1-5c01-33ddfbe1a533">Telling the story in the public (online and offline) space makes participation and interaction more likely. </span></td>
<td>Accessible</td>
</tr>
</tbody>
</table>
<p align="justify">Finally, the main<strong> role of technology</strong> in storytelling is to provide and enhance visibility for stories (from all three fronts). As much as the thought piece criticizes the spectacle hype and suggests we move beyond it, this research is finding it useful to look further into: why visibility is desirable for advocacy and how it can bring new and different stakeholders into the process. At least, it seems to be working for The Ugly Indian and Blank Noise. Their outreach is for the most part<em> online</em> and digital media continues to be their best friend to scale up their visibility, showcase their actions and/or installations and sustain their narratives. <br /><br />I will not make a conclusive statement on whether we should use storytelling for social change or not. However, understanding the power of stories and learning how to craft consistent narrative structures is -as Ameen Haque, founder of <a href="http://www.thestorywallahs.com/">The Storywallahs</a> told me- as fundamental for storytelling, as it is for activism: At the end of the day, <em>"movements need supporters. Supporters need leaders; and leaders need to be good storytellers".</em></p>
<h2><strong>Footnotes:</strong></h2>
<p style="text-align: justify;">[<a name="fn1" href="#fr1">1</a>] Based on the Wikipedia Definition of Improvisational Theatre. "Improvisational Theatre, often called improv or impro, is a form of theater where most or all of what is performed is created at the moment it is performed. In its purest form, the dialogue, the action, the story and the characters are created collaboratively by the players as the improvisation unfolds in present time, without use of an already prepared, written script." <a href="http://bit.ly/1hnByRp">http://bit.ly/1hnByRp</a></p>
<p style="text-align: justify;" dir="ltr"><a href="http://bit.ly/1hnByRp">[</a><a name="fn1" href="#fr1">2]</a> <span id="docs-internal-guid--5cd61e2-6ceb-8281-8acd-a886b0543322">(Oggs & Capps, 1996; Miller, 1995; Hull, 2006).</span><br /><br />[<a name="fn1" href="#fr1">3</a>] Refer to Sonja Vivienne's ethnography: Trans Digital Storytelling: Everyday Activism, Mutable Identity and the Problem of Visibility. She puts forward the experience of activists from the LGBT community who used storytelling to reassert, negotiate and in cases, expose their identities. <br /><br /><a href="http://bit.ly/1hnByRp"> [</a><a name="fn1" href="#fr1">4</a>] Find resources to read more on Hannah Arendt's work on narrative and action here: <a href="http://stanford.io/1ge7JkX">http://stanford.io/1ge7JkX</a></p>
<p style="text-align: justify;" dir="ltr"><a href="http://bit.ly/1hnByRp">[</a><a href="http://stanford.io/1ge7JkX">5</a>] While the project does seek to collect voices across traditions, cultures, religions, etc; its reliance on digital technologies to crowdsource stories keeps the practice somewhat gentrified and homogenous. Lack of diversity in public discussion is a huge constraint for democracy, but from our conversations with Jasmeen, we understand this is a challenge to be tackled at a later stage of the project</p>
<p style="text-align: justify;" dir="ltr">[<a name="fn1" href="#fr1">6</a>] Refer to Nishant Shah's <a href="https://cis-india.org/digital-natives/blog/hivos-knowledge-programme-june-14-2013-nishant-shah-whose-change-is-it-anyway">Whose Change is it Anyway?</a>. (Page 29): "only certain kinds of discourses are made possible through technology-mediated citizen action. This discourse is often alienated from specific histories, particular contexts, and the affective articulations of the communities involved. It leads to a gentrification of contemporary politics that discounts anything that does not fit into the quantified and enumerated rubric of citizen action in network societies."</p>
<p>[<a name="fn1" href="#fr1">7</a>] <span id="docs-internal-guid--5cd61e2-6d08-6429-ef94-e5fb081d50c7">Paulo Freire, the Brazilian educator and philosopher, was a strong proponent of using dialectics to question social structures around class, and stories come across as a way to link issues around power back to our personal experiences Refer to: Shor and Freire, 1987 and Williams, 2003.</span></p>
<p style="text-align: justify;" dir="ltr"><br />[<a name="fn1" href="#fr1">8</a>] Some of the questions we have been exploring in Methods for Social Change: <a href="http://bit.ly/OCKrgy">http://bit.ly/OCKrgy</a></p>
<p style="text-align: justify;" dir="ltr">[<a name="fn1" href="#fr1">9</a>] Refer to Nishant Shah's <a href="https://cis-india.org/digital-natives/blog/hivos-knowledge-programme-june-14-2013-nishant-shah-whose-change-is-it-anyway">Whose Change is it Anyway?</a>. (</p>
<h2><strong>Sources:</strong></h2>
<p style="text-align: justify;" dir="ltr">Arendt, Hannah (1994) Essays in Understanding Edited with an Introduction by Jerome Kohn. The literary Trust of Hannah Arendt Bluecher.</p>
<p align="left">Holland, Lachicotte, Skinner & Cain, (1998). Identity and agency in cultural worlds. Cambridge, MA: Harvard University Press.</p>
<p align="left">Hull, Glynda A., and M. Katz. (2006) "Crafting an agentive self: Case studies of digital storytelling." Research in the Teaching of English 41, no. 1: 43.</p>
<p style="text-align: justify;" dir="ltr">Jackson, Michael. (2002) The politics of storytelling: Violence, transgression, and intersubjectivity. Vol. 3. Museum Tusculanum Press,</p>
<p style="text-align: justify;" dir="ltr">Oni, Peter (2012). "The Cognitive Power of Storytelling: Re-reading Hannah Arendt in a Postmodernist/Africanist Context."</p>
<div id="gs_cit2" class="gs_citr">Sen, Amartya. <em>The argumentative Indian: Writings on Indian history, culture and identity</em>. Macmillan, 2005.<br /><br />Shah, Nishant “Whose Change is it Anyways? <em>Hivos Knowledge Program. </em>April 30, 2013.</div>
<p><br />Shor, I. and Freire, P. (1987) A pedagogy for liberation:dialogues on transforming education. Bergin & Garvey, New York.</p>
<p style="text-align: justify;" dir="ltr">Williams, Lewis, Ronald Labonte, and Mike O’Brien. "Empowering social action through narratives of identity and culture." Health Promotion International 18, no. 1 (2003): 33-40.</p>
<p style="text-align: justify;" dir="ltr">Vivienne, Sonja (2011). "Trans Digital Storytelling: Everyday Activism, Mutable Identity and the Problem of Visibility” Gay & Lesbian Issues & Psychology Review 7, no. 1.</p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/storytelling-performance-2'>https://cis-india.org/digital-natives/making-change/storytelling-performance-2</a>
</p>
No publisherdenisseMaking ChangeResearchBlank Noise ProjectNet CulturesResearchers at Work2015-10-24T14:30:15ZBlog EntryStorytelling as Performance: The Ugly Indian and Blank Noise 1
https://cis-india.org/digital-natives/making-change/storytelling-performance
<b>This post compares the production behind a performance with the process of storytelling. To illustrate this analogy, we explore the stories of the Blank Noise project and The Ugly Indian- two civic groups from Bangalore making interventions in the public space. This post looks at the stages of pre-production and the screenplay to explore methods and narratives in storytelling. </b>
<pre><strong>spectacle</strong><span class="lr_dct_ph">
ˈspɛktək(ə)l/</span>
a visually striking performance<strong>
performance
</strong>pəˈfɔːm(ə)ns/
an event in which a performer or group of performers behave in a particular way for another group of people: the audience. Sometimes the dividing line between performer and the audience may become blurred, as in the example of "participatory theatre" where audience members get involved in the
production.</pre>
<p align="justify">One of the mandates of <a href="https://cis-india.org/digital-natives/blog/hivos-knowledge-programme-june-14-2013-nishant-shah-whose-change-is-it-anyway">this project</a> is to locate discrepancies between "spectacles"<a name="fr1" href="#fn1">[1]</a> and realities of change to identify less visible examples of citizen action. However, an alternative route is to identify the characteristics of the spectacle, and learn how they can be used to make activism more visible: that is, more legible, intelligible and accessible. In this context, storytelling comes across as a method that can provide the same experience and benefits of a performance. This potential manifests itself in two ways:</p>
<p align="justify">a) First, in its<strong> infrastructure. </strong>We find that the structure holding stories together plays an important role in their ability to deliver a clear message. By unpacking the process of staging a performance -from what happens in the dressing rooms to what happens on stage- we will identify the building blocks of performances and by default, those comprised in effective storytelling.</p>
<p align="justify"> b) Second manifestation occurs<strong> in the audience.</strong> The dynamic of performances resembles how we behave every day in our "socially and constructed worlds". We are constantly telling stories about ourselves and this 'sense of being' is what determines our actions and behavior (Holland et al, 1998). Furthermore, as social beings, we also build identities as a community and engage in "collective moments of self-enactment" (Urciuoli, 1995).</p>
<p align="justify">Linking this back to our project, understanding the performative potential of storytelling; its infrastructure and how it can touch on issues of identity, agency and collective action, is relevant to tackle challenges in activism and civic engagement -where the collective is very much linked to the political. To illustrate the relationship between storytelling and performance, I will use the example of two civic groups thriving in Bangalore: Blank Noise
(founded by Jasmeen Patheja, who we interviewed back in January) and The
Ugly Indian; and I will ask you to think about them as theatrical productions:</p>
<p align="justify" class="discreet">(The following images are 'Broadway posters' adapted to the identity of these groups. They were created merely for the purpose of this post and do not reflect the views of these organizations).</p>
<p align="center"><img src="https://cis-india.org/home-images/BatmanTheUglyIndian2.jpg/image_preview" alt="The Ugly Indian" class="image-inline image-inline" title="The Ugly Indian" /></p>
<p align="center"><strong>The Ugly Indian</strong><br />stop talking. start doing.</p>
<p align="center"><img src="https://cis-india.org/home-images/ChicagoBlankNoise2.jpg/image_preview" title="Blank Noise" height="224" width="299" alt="Blank Noise" class="image-inline image-inline" /></p>
<p align="center"><strong>Blank Noise</strong><br />set new rules for street behavior</p>
<p align="justify">These groups were formed (in 2003 and 2010 respectively) to re-conceptualize how we understand our presence in the public space; <a href="http://blog.blanknoise.org/">Blank Noise</a> focusing on sexual harassment and women safety and <a href="http://www.theuglyindian.com/">The Ugly Indian</a> on waste management and civic interventions. On this post, we will look at their campaigns and identify features of the spectacle/performance in the storytelling methods they are using to communicate their mandates and interact with their volunteers. So, without further ado, let's explore this glossary of tweaked theatrical terminology:</p>
<p align="justify"><strong>How to navigate this post:</strong></p>
<p align="justify"><strong>
</strong></p>
<table class="plain">
<thead>
<tr>
<th>Section</th>
<th>Performance<br /></th>
<th>Storytelling<br /></th>
</tr>
</thead>
<tbody>
<tr>
<td><a href="#pre-production">Pre-production</a></td>
<td>Preparing all elements involved in a performance including locations, props, costumes, special effects and visual effects.<br /></td>
<td>Preparing all elements needed to convey the message of the story including: spoken word, text, images, audio, video or other artifacts.<br /></td>
</tr>
<tr>
<td><a href="#screenplay">Screenplay</a></td>
<td>A written work narrating the movements, actions, expressions and dialogues of the characters. <br /></td>
<td>Building a narrative in storytelling<br /></td>
</tr>
<tr>
<td><a href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2#cast">Actors</a><br /></td>
<td>Actors performing characters in a production.<br /></td>
<td>The relationship between storytelling actors and agency<br /></td>
</tr>
<tr>
<td><a href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2#stage">Stage</a><br /></td>
<td>Designated space for the performance of productions<br /></td>
<td>The public space as the stage for storytelling<br /></td>
</tr>
<tr>
<td><a href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2#action">Action!</a><br /></td>
<td>Cue signifying the start of a performance<br /></td>
<td>When storytelling leads to action<br /></td>
</tr>
</tbody>
</table>
<p><a name="pre-production"></a></p>
<p align="center" class="callout"><strong>1. pre-production</strong><br />ˈpri-prəˈdʌkʃ(ə)n/<br />the action of making or manufacturing from components or raw materials prior to the initial performance.</p>
<p align="justify">
The stage of <a href="http://en.wikipedia.org/wiki/Pre-production">pre-production</a> is when all the locations, props, cast members, costumes, special effects and visual effects are identified. It works in tandem with <a href="#screenplay">the screenplay</a> to ensure the maximum consistence, coherence and clarity in the story. In the same way, planning storytelling also implies selecting the right elements and materials to hold the story together. Initially, only traditional mediums were available, such as spoken word, text and images; but storytellers today (the directors orchestrating these productions) are experiencing an urgency to re-invent and adapt the language of their stories to make it accessible in the network<a name="fr1" href="#fn1">[3]</a> (Hull and Katz, 2006; Urciuoli, 1995) and the practice has evolved into <a href="http://en.wikipedia.org/wiki/Transmedia_storytelling">'trans-media'</a> or <a href="http://en.wikipedia.org/wiki/Digital_storytelling">digital storytelling</a>. Formats like audio-bytes, videos, sms, mobile apps are also part of its semiotic makeup and these mediums are mixed and matched to enhance the visibility of the message. As Scott McCloud suggests in ‘Understanding Comics: The Invisible Art’: “we need to invent new ways [and] develop new techniques of showing the same old thing” (1994) to make sure people still listen to what we have to say.</p>
<p>
Both Blank Noise and The Ugly Indian have led highly visual campaigns in the online space, as they combine blogging with videos, audios, images and active community managers that interact with their volunteers. A few examples of the mediums they are using to capture the public's attention:</p>
<p><strong>Video: </strong>Blank Noise did this art intervention, using real rape and sexual harassment reports from 2003 to challenge what we consider 'normal' and 'news'-worthy when it comes to sexual harassment and domestic violence:</p>
<iframe src="//www.youtube.com/embed/dE6pyVfcwys" frameborder="0" height="315" width="420"></iframe>
<p> </p>
<p><strong>Artifacts</strong>: <a href="http://bit.ly/1mnEhMJ">‘I never ask for it’</a> campaign: Blank Noise asked women to send garments they wore when they experienced ‘eve-teasing’ to challenge the notion “that women ask to be sexually violated”</p>
<p align="center"><img src="https://cis-india.org/home-images/Ineveraskedforit.jpg/image_preview" alt="I never asked for it 1" class="image-inline image-inline" title="I never asked for it 1" /><img src="https://cis-india.org/home-images/Ineveraskedforit2.jpg/image_preview" alt="I never asked for it 2" class="image-inline image-inline" title="I never asked for it 2" /></p>
<p align="center">I never ask for it. <a href="http://bit.ly/1mnEhMJ">http://bit.ly/1mnEhMJ</a></p>
<p><strong>Audio:</strong> Blank Noise documents and disseminates stories of sexual harassment as told by their Action Heroes' This is: <a href="http://bit.ly/1fK5qUw">Kitab Mahal's story.</a></p>
<p align="justify">The message transmitted by the garments, the video and the audio are based on cultural and social constructions of what ‘sexual harassment’ means. Removing one of the garments from the installation, for instance, removes it from its resistance identity and hence, it can only exist in the narrative context Blank Noise is constructing alongside its volunteers.</p>
<p align="justify">On the other hand, The Ugly Indian's mandate is to change people's "rooted cultural behaviour and attitudes [...] to solve India's civic problems"; starting with the visible filth on the streets. It does not pursue systemic change, but seeks impact at the behavioral level. One of the methods it uses to achieve this, is the dissemination of images and videos showcasing their work. Their publications minimize the use of text in order to drive attention to aesthetics:</p>
<table class="plain">
<tbody>
<tr>
<td>
<p align="center"><img src="https://cis-india.org/home-images/Beforeafter.jpg/image_preview" alt="" class="image-inline image-inline" title="TUI Before After" /></p>
</td>
<td><br /><br /><br /><img src="https://cis-india.org/home-images/TUIBeforeAfter2.jpg/image_preview" alt="TUI Before After 2" class="image-inline" title="TUI Before After 2" /><br /></td>
</tr>
</tbody>
</table>
<p align="left">They recently complemented their graphic stories, by starting <a href="http://theuglyindian.com/books/chapter-1/">a blog</a> that documents "the philosophy and the process" that drives The Ugly Indian. This excerpt from Chapter 3 explains their visual strategy and why they have chosen before-after pictures to communicate their work:</p>
<blockquote>
“The citizens of the online world are brutal – they only care for instant gratification and real results. So are citizens in the real world. They too only care for results. [...] V & X know that and have focused all their energies on delivering this dramatic result, this single Before-After image, that is proof of dramatic change. And it has worked – in terms of creating initial positive impact (both on the ground and online). Whether it will survive and change community behavior is another story. But this initial impact is crucial, as we will discover later, in generating respect from the community and the authorities.”<br /></blockquote>
<div class="pullquote"><br />“When pictures carry the weight of clarity in a scene, they free words
to express a wider area. And when words lock in the meaning of a
sequence, pictures can really take off” Scott McCloud on comics</div>
<p align="justify"> </p>
<p align="justify">This is how pre-production is important for storytelling. Planning, designing and choosing the right elements, and how they interact with one another, will determine the level of legibility and meaning we give to the story (McCloud, 1994). Each medium: video, audio, text, music, etc.- becomes “a new literate space” or “symbolic tool” storytellers have on hand to portray narratives about the self, family community and society (Hull, 2006), and the introduction of digital technologies into storytelling space, coupled with the current hype around the method, signals we are moving towards a more strategic use of technology to produce and share knowledge more effectively. In this way, the choice of mediums and technologies will reflect a "conscious construction of identity" and "performances of the self" (Vivienne, 2011); a theme we will explore further in the 'screenplay' section.</p>
<p align="justify"><span id="docs-internal-guid-4138f50b-6259-ec34-716e-d1298c8e0176"></span><span id="docs-internal-guid-4138f50b-6259-ec34-716e-d1298c8e0176"></span></p>
<h3><br /></h3>
<a name="screenplay"></a>
<p align="center" class="callout"><strong>2. screenplay</strong><br />ˈskriːnpleɪ/<br />The script including descriptions of scenes and some camera/set directions.</p>
<p align="justify">The process of writing a <a href="http://en.wikipedia.org/wiki/Screenplay">screenplay</a> is a careful exercise of creation and articulation. The dialogues, expressions and actions of the characters are narrated and located in a specific context that will determine how the events of the play unfold. The ability to build a coherent narrative structure is, in itself, a powerful tool of self-expression that enables the storyteller to a) construct an identity for the story and b) expose it to the public. Let's take a closer look at each stage:</p>
<p align="justify">a)<strong> Self-expression</strong> is directly related to the amount of freedom we experience in our ecosystem. Barriers to expression can come through our political regime or in the form of social norms and taboos, as is the case of conservative pockets in India. In either context, storytelling comes across an alternative outlet to describe ambiguous, unapologetic and personal truths (Vivienne, 2011). It enables less visible voices to claim a space and construct their own narrative within. Blank Noise has been very active on this front, as it creates opportunities for its volunteers, participants (dubbed Action Heroes), and otherwise silent voices to articulate their emotional and physical experiences in the public space. One of the ways they did it was by publishing a step by step guide to unapologetic walking, and then requesting people to participate:</p>
<div align="center"><img src="https://cis-india.org/home-images/stepbystepguidetounapologeticwalkingposter.jpg/image_preview" alt="Step by step" class="image-inline image-inline" title="Step by step" /></div>
<div align="center">step by step guide to unapologetic walking: <a href="http://bit.ly/1bz3MZZ">http://bit.ly/1bz3MZZ</a><br /><em><br /></em></div>
<em>
</em>
<blockquote><em>
</em>
<p align="center"><em><span class="Apple-style-span"><span class="Apple-style-span">" Our street actions over the last few years have been based on emphasizing small simple scenarios- which can be challenging even though they appear 'normal' and everyday. For instance- should it be hard to just 'stand'
on the street as an 'idle' woman?</span></span><span class="Apple-style-span"><span class="Apple-style-span"> Would you 'dare' try it?</span></span>"</em></p>
</blockquote>
<p style="text-align: justify;" dir="ltr"><br />The
idea behind this intervention is to re-conceptualize how women navigate
the public space, drawing inspiration, ideas and encouragement from the “personal truths” and stories shared by women who are doing
it. This grants them greater autonomy at representing themselves through
their online and offline presence and the narrative is continuously re-shaped through new submissions and testimonials. </p>
<p style="text-align: justify;" dir="ltr">b) <strong>Self-representation</strong>
is how you create yourself: who you want to be and how you want others
to see you. Miller’s work on identity and storytelling explores the role
of storytelling in socialization and self-construction: <em>“stories change depending on who is listening”</em>
(1993) as we construct ourselves with and for other people. In the same way a character in the script cannot come to life without an audience, the identities we create for ourselves need a public that recognizes who we are and our role in the world. Anthony Giddens' work on identity also draws a relationship
between our identity and its narrative:<em> “self-identity
is not a set of traits but a person’s reflexive understanding of their
own biography (...) and the capacity to keep a coherent narrative going:
integrating events in the external world and sorting them into the
story of the self”</em>
(Gauntlett, 2002; Giddens 1991).</p>
<p style="text-align: justify;" dir="ltr">The Ugly Indian took a solid stance against middle class apathy and idleness in its narrative, and with this premise, it built an identity for the organization that represents the opposite: a selfless, active, responsible middle class citizen. These are some examples:</p>
<table class="plain">
<tbody>
<tr>
<td align="center"><strong>Anonymous identity
</strong></td>
<td align="center"><strong>Middle class citizen<br /></strong></td>
<td align="center"><strong>How they are different to the common middle class citizen<br /></strong></td>
</tr>
<tr>
<td>“They call themselves <span class="visualHighlight">The Ugly Indians and operate anonymously</span> [...]. If you
aren’t aware of The Ugly Indian (TUI), that’s understandable – <span class="visualHighlight">they work
hard to stay anonymous and underground, and want only their work to
speak for itself.”</span> (Chapter 1)</td>
<td>“<span class="visualHighlight">The
more the urban middle-class see ‘people like them’ </span>mucking about in
garbage, the more they will face up to the issue and start thinking
about it [...] This leap from ‘it’s someone else’s job’ to <span class="visualHighlight">‘it’s my duty
to fix this’</span> is what can transform our cities – <span class="visualHighlight">this leap has to be
made in the mind!” </span>(Chapter 6)</td>
<td>“There is a specific purpose to making Amir (the garbage truck driver)
talk. X and V are looking for cues on what really troubles him, what
improvement in his daily working life he will really appreciate. <span class="visualHighlight">Too
often, well-meaning urban middle-class do-gooders think they know what
the working class needs </span>(gloves, better equipment and so on) and <span class="visualHighlight">they
get it so wrong.</span> <span class="visualHighlight">Listening without being judgmental is an art, and X and
V are good at that.</span> (Chapter 8)</td>
</tr>
</tbody>
</table>
You can read more about TUI’s story <a>here</a>.
<p> </p>
<div class="pullquote">
<div align="left">
“Human lives become more readable and intelligible when they are applied to narrative modes borrowed from history and fiction; and in function of stories people tell about themselves.”</div>
<div align="right">Ricoeur, 1991</div>
</div>
<p align="justify">The set of traits chosen by The Ugly Indian is important. Their initiative is intentionally gentrified as they <em>want </em>it to resonate specifically with the middle class (as they are "people like them"). But at the same time, they integrate a reflexive understanding of their role as citizens by mentioning the need for a personal awakening ("this leap has to be made in the mind!") and further interaction with stakeholders outside of their network ("making the truck driver talk"), that will enable the common middle class citizen transition into the level of 'street and citizenship authority' TUI is at. On top of this, their clean drives back up this discourse, and while their identity remains incognito, the work is widely shared on social media every week -drawing a coherent narrative between their speech and their actions.</p>
<p> c) <strong>Interaction with audience: </strong>Finally, once the storyteller has created a coherent identity, its sense of purpose must also be evident for the audience. The possibilities for this are endless, but I would like to draw attention to the super-hero narrative chosen by both Blank Noise and The Ugly Indian. Both groups are seeking an internal awakening in their volunteers by juxtaposing their experiences with what a 'hero' would do in the same situation.</p>
<p style="text-align: justify;" dir="ltr"><strong>Bangalore Hero video on The Ugly Indian:<br /></strong></p>
<strong>
</strong>
<iframe src="//www.youtube.com/embed/627R6TEuol4" frameborder="0" align="middle" height="315" width="420"></iframe>
<p> </p>
<em><span id="docs-internal-guid-1a1a53ce-5e81-f89d-6c02-60fd710855eb">“Our
message to all Bangalore citizens is simple. Go out and be a hero on
your own street.<br />Take charge of it. Don’t be helpless. You have the
power. You just need to go and us</span>e it”</em>
<p> <strong><br />Blank Noise's Action Hero game:</strong></p>
<div align="center">
<div align="left">
<pre>The <span class="il">Action</span> <span class="il">Hero</span> <span class="il">Game</span> is built on a series of personal challenges in the city.
The <span class="il">game</span> is <strong>simple.</strong> Your <span class="il">game</span> partner and opponent is <strong>you.</strong>
There is no one method or quick solution to be an <span class="il">Action</span> <span class="il">Hero</span>.
Each potential Action Hero goes to a new area in his / her city. On arriving there potential Action Heroes receive 'challenges' via phone messages
Action Heroes across locations receive a set of 6 tasks over 4 hours via sms
If you don't wish to do a task (eg task 1a) text us and we will send you another task (eg task 1B)
Are you an<strong> <span class="il">Action</span> <span class="il">Hero</span>? </strong>
Find out! Play this <span class="il">game</span>!<strong>
</strong></pre>
</div>
<p align="center">
<img src="https://cis-india.org/home-images/ActionHero1.jpg/image_preview" alt="Action Hero" class="image-inline image-inline" title="Action Hero" /></p>
<p align="center"> <strong>Blank Noise Action Hero</strong> <br /><a href="http://bit.ly/1fld8cV">http://bit.ly/1fld8cV</a></p>
<div align="center">
<blockquote>
<p><em><span id="docs-internal-guid-1a1a53ce-5e84-d66f-0b84-28e1731e7d64">“Share your <strong>Action Hero </strong>experience: </span>An
Action Hero sets new rules for behaviour. She could experience fear and
threat, but devises ways to confront it. Being fearless is a process.
Every person is a unique Action Hero.Tell us how you said NO to sexual
violence. [...] This blog set out to record testimonials of when and how
you became an Action Hero; documents and shares the memory of when you
surprised yourself, did the unexpected. [...] You are an Action Hero not
by the magnitude of
what you did but how it made you feel. You are an Action Hero by the way
you define your own Action Heroism. We don't have a reference for you.]</em></p>
</blockquote>
</div>
<p align="justify"><br />They both advance ideals of courage, fearlessness and responsibility in the
public space through their campaigns. These are not only desirable
traits by any citizen -let alone marginalized or silenced voices in the
case of Blank Noise- but the strategy also speaks to a language of hope and
empowerment we can relate to at a human level. It sheds light on our fears, our limits and the extent to
which we are willing to use our power to act.<a name="fr1" href="#fn1">[3]</a><strong> </strong>Mediating this message with digital technologies also creates the illusion of an omniscient narrator who is drawing the volunteers' path to heroism and guiding their journey through it. As Ricoeur puts it:<em> "there is no self-understanding that is not mediated by signs, symbols and texts; and self-understanding will coincide with the interpretation given to these mediating terms"</em><span id="docs-internal-guid-4138f50b-6301-8f0c-4456-7cc57c648db2"></span> (1995) It is ultimately the interpretation the volunteers give to this ideal, and the magnitude to which they identify with it, what will determine their eagerness to emulate it and translate it into action. As said in the last post, one of the faculties of good storytelling is turning the experience being told, into the experience of those who are listening (Benjamin, 1955).</p>
<p align="justify">Before moving on to how 'action' unfolds in the performance, it is worth reflecting on the role of narratives, identities and mediation in collective action. Why do we need the hero narrative to mobilize agents? Why is heroic citizenship the gold standard and why does it work as a method for engagement? The topic is unfortunately out of the scope of this post, but the next one will attempt to address how identities as these ones can mediate our agency and action in the public space. <br /><br />******</p>
<p align="justify">Access Part 2 <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2">here</a> to look at the role of actors and the stage in performances to explore the role of agency and the public space in storytelling. We will also draw some final conclusions relating this back to the Making Change project.</p>
<em></em>
<p style="text-align: justify;" dir="ltr"><strong>Footnotes:
</strong></p>
<p style="text-align: justify;">[<a name="fn1" href="#fr1">1</a>] Refer to Nishant Shah's <a href="https://cis-india.org/digital-natives/blog/hivos-knowledge-programme-june-14-2013-nishant-shah-whose-change-is-it-anyway">Whose Change is it Anyway?</a>. He argues that global audiences engage with local causes that embody "spectacles of the rise of the citizen". This is problematic as the more significant -less visible/undocumented- acts remain unnoticed, while they may be central to understand what it means to make change in a networked and information society. He posits we need to move beyond this 'spectacle imperative',recognize the context of these revolutions and re-evaluate how we conceptualize 'action'.</p>
<p style="text-align: justify;">[<a name="fn1" href="#fr1">2</a>] Novelty: Quick exercise: run a quick google search of the
words: <a href="https://www.google.co.in/search?client=ubuntu&channel=fs&q=STORYTELLING+%2B+SOCIAL+CHANGE&ie=utf-8&oe=utf-8&gfe_rd=ctrl&ei=rQQLU7SaOciL8Qee44CACQ&gws_rd=cr">‘storytelling + social change’</a>.
You will find stories by influential magazines and publications, including Forbes, the Huffington Post and Open Democracy, all from 2013-2014. ‘Storytelling’ seems to be
the newly (re)discovered tactic to advance business and social impact
objectives, noticed by activists and corporates alike.</p>
<p style="text-align: justify;">[<a name="fn1" href="#fr1">3</a>] For more on our power as agents and the role of narrative and identity, refer to Paul Ricoeur's work on the selves and agents (Oneself as another) and narratives (Time and Narrative). "As the most faithful articulations of human time, narratives present the moments when agents, who are aware of their power to act, actually do so, and patients, those who are subject to being affected by actions, actually are affected." Resources here: <a href="http://stanford.io/1c0pUwQ">http://stanford.io/1c0pUwQ</a></p>
<br />
<p style="text-align: justify;" dir="ltr"><strong>Sources:</strong></p>
<p align="left">Benjamin, Walter. (1977): "The storyteller."89.</p>
<p align="left">Gauntlett, David (2002), Media, Gender and Identity: An Introduction, Routledge, London and New York.</p>
<p align="left">Giddens, Anthony. "Modernity and self-identity: self and identity in the late modern age." Cambridge: Polity (1991).</p>
<p align="left">Holland,
Lachicotte, Skinner & Cain, (1998). Identity and agency in cultural
worlds. Cambridge, MA: Harvard University Press.</p>
<p align="left">Hull, Glynda A., and M. Katz. (2006) "Crafting an agentive self: Case studies of digital storytelling." Research in the Teaching of English 41, no. 1: 43.</p>
<p align="left" style="text-align: justify;" dir="ltr">McCloud, Scott. (1993)."Understanding comics: The invisible art." Northampton, Mass</p>
<p align="left">Miller,
P. (1994). Narrative practices: Their role in socialization and
self-construction. In Neisser & Fivush (eds.), The remembering self:
Construction and agency in self narrative (pp. 158-179). Cambridge:
Cambridge University Press.</p>
<p align="left">Miller,
P. & Goodnow, J. J. (1995). Cultural practices: Toward an
integration of culture and development. New Directions for Child
Development, No. 67 (pp. 5-16). San Francisco, CA: Jossey-Bass
Publishers.</p>
<p align="left">Ochs, E., & Capps, L. (1996). Narrating the self. Annual Review of Anthropology, 25, 19-43.</p>
<p align="left">Ricoeur, Paul (1991). "Narrative identity." Philosophy today 35, no. 1 : 73-81.</p>
<div align="left" id="gs_cit2" class="gs_citr">Ricoeur, Paul. <em>(1995) Oneself as another</em>. University of Chicago Press,</div>
<p align="left"><br />Urciuoli,
B. (1995). The indexical structure of visibility. In B. Farnell (ed.),
Human action signs in cultural context: The visible and the invisible in
movement and dance (pp. 189-215). Metuchen, NJ & London: The
Scarecrow Press, Inc.</p>
<p align="left">Vivienne, Sonja (2011). "Trans Digital Storytelling: Everyday Activism, Mutable Identity and the Problem of Visibility” Gay & Lesbian Issues & Psychology Review 7, no. 1.</p>
</div>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/storytelling-performance'>https://cis-india.org/digital-natives/making-change/storytelling-performance</a>
</p>
No publisherdenisseDigital ActivismMaking ChangeResearchBlank Noise ProjectNet CulturesResearchers at Work2015-10-24T14:31:11ZBlog EntryStorytelling and Technology - Sartaj Anand
https://cis-india.org/digital-natives/making-change/storytelling-sartaj-anand
<b>This post outlines the general characteristics of storytelling. The second section is an interview with Sartaj Anand, the founder of EgoMonk and BIllion Strong, who talks about storytelling as a strategy to build trust at the intersections of business and technology. This is the first of a series of installments exploring the potential of storytelling for social change.</b>
<pre><strong>CHANGE-MAKER:</strong> Sartaj Anand<strong>
ORGANIZATION: </strong>EgoMonk & Billion Strong<strong>
STRATEGY OF CHANGE: </strong>Leverage technology by focusing on the relationship between people and technology, and build trust by localizing and personalizing communication
<strong>
METHOD OF CHANGE:</strong> Storytelling<strong>
</strong></pre>
<h3 align="right"><em>“We all have something to say. Question is: will anyone listen?”</em></h3>
<div align="right">Understanding Comics<br />Scott McCloud, 1994</div>
<p align="justify"> </p>
<p align="justify">Today, everybody seems to be talking about ‘storytelling’. From activists to corporates; they are all jumping on this nostalgic bandwagon and embracing once again an enthralling habit of yesteryear: the ability to tell good stories. The practice has taken an identity of its own. It's distancing itself from its roots in oral tradition, and morphing into a state-of-the-art communication strategy. This is no selfless trend, though. Behind the hype, lies their thirst for (your) attention, and the belief that they do not only have a story to tell, but that it is a story that matters. In the context of “making change” particularly, when political and social crises emerge, the public space is flooded by a series of narratives and discourses as told by different actors. This explosion of stories culminates in an overload of information that could end up saturating its intended audience. This is not only undesirable, but dangerous when underneath the noise lies a message important for human dignity and survival. So, what is it about a story that will make it worthy of your attention? And how can this seemingly simple, yet complex tactic culminate in further engagement?</p>
<p align="justify">To explain storytelling as a method to create change, I will focus on how this practice can be utilized to enhance visibility and effectiveness of advocacy practices, as outlined in the <a href="https://cis-india.org/digital-natives/making-change/methods-to-conceive-condense-social-change">research overview</a>. I will start by unpacking ‘storytelling’: focusing on its purpose and functions. I will also look at the the relationship between the storyteller and the audience, and also at how storytelling redefines ‘the public space’. Although I will be putting my best effort to explain the workings behind his method, I will rely on the storytellers themselves to learn about the power of well-crafted and well-delivered stories to make change. This opportunity’s change-actors: Sartaj Anand, The Ugly Indian, Blank Noise, come from different fields and will show very different perspectives of how the narratives of change utilized in their stories, re-articulates how users/citizens/customers interact and experience content.</p>
<h2><strong>Telling Stories</strong></h2>
<p>So, what is storytelling? And what makes it so different from other forms of narration? I consulted the work of German philosophers Walter Benjamin and Hannah Arendt to unpack the nature of this practice and its ability to transmit knowledge.</p>
<div align="justify" class="pullquote">“the storyteller takes what he tells from the
experience and <span class="st">he in turn makes it the experience of those who are listening</span>” <em><br /></em>
<div align="right">W. Benjamin, 1977</div>
</div>
<p align="justify">In Benjamin’s essay “The Storyteller” (1955) he laments the demise of storytelling: “<em>less and less frequently do we encounter people with the ability to tell a tale properly [as if] the ability to exchange experiences [had been taken away from us]”.</em> Having its origins in oral tradition, storytelling for the most part consists of taking experiences worth sharing and disseminating them in the community with a specific, and according to Benjamin, a useful purpose in mind. It could be a moral, a maxim or a practical advice (1977), but at the end of the day, the audience takes away a new piece of information it did not have at the beginning of the story. This lesson may be related to the past of the storyteller or one of his characters, but its value lies in how it can now be extrapolated to the audience’s future. </p>
<p align="center"><img src="https://cis-india.org/home-images/Benjamin1.jpg/image_preview" title="Benjamin 1" height="246" width="419" alt="Benjamin 1" class="image-inline image-inline" /></p>
<p align="center" class="discreet">Ann Rippin's rendition to The Storyteller by Walter Benjamin. Visit her wordpress <a href="http://annjrippin.wordpress.com/thirteen-notebooks-for-walter-benjamin/">here</a>.</p>
<p align="justify">Hannah Arendt, German-American philosopher from the early 20th century also had a lot to say about storytelling and ‘narratives’. She understood it as a framework, backed up by a strong tradition of its own, and a structure that embodies how our mind works: <em>“the mind doesn’t simply re-create sequences of events as they occur, but it creates new sequences and integrates events into appropriate existing sequences; the mind is constantly forming narratives” </em>(Kieslich, 2013.). This understanding of the practice goes beyond Benjamin’s proposition that we become part of the narration as it occurs. Arendt posits that our mind is already manufactured to construct sequences and connections in the same way in which we build stories -as opposed to the way we structure our essays, novels or tweets- before we tell them. Being such an embedded cognitive process, it feels familiar, comfortable and natural, which derives into a “critical appreciation” for the events of the story, and leads you to make deeper connections on how they relate to your life (Oni, 2012).</p>
<p> (Read more on Arendt and storytelling here: <a href="http://www.hannaharendtcenter.org/?p=5229">The Story of Reconciliation – Hannah Arendt Center)</a></p>
<p align="justify">However, both Benjamin and Arendt’s analysis is still very focused on the oral vs. prose question. Entering the 21st century we face the question of the role of digital technology and our highly visual culture in facilitating, amplifying or limiting the process of storytelling. On this point, I jumped to the end of the 20th century and looked at one of the many forms of storytelling: the comic. Scott McCloud’s “Understanding the Comic” (1994) takes you through the whole process of creating a coherent interplay of words and pictures that “convey information” and/or produce an “aesthetic response in the viewer”. Why are aesthetics important? , Because, according to McCloud, the inclusion of art is both the rejection and affirmation of our human condition. On one hand, art (or how we respond to it) is a rejection to our basic instincts, allowing us to express needs beyond survival and reproduction. On the other hand, it is a vehicle through which we assert our identities as individuals and pursue a “higher purpose and truth” (1994). Digital storytelling is imbued with visual stimuli: pictures, videos, graphics, that enhance the sensory experience, and as we explored in the Information Design posts (Find Part 1:<a href="https://cis-india.org/digital-natives/making-change/tactical-technology-information-is-power">Information Activism</a>, and Part 2: <a href="https://cis-india.org/digital-natives/making-change/tactical-technology-design-activism-1">Information Design</a>) create new (and deeper) channels to approach and understand the message delivered by these stories.</p>
<table class="plain" align="center">
<thead align="center"></thead>
<tbody align="center">
<tr>
<td align="center"><img src="https://cis-india.org/home-images/UnderstandingomicsMcCloud.jpeg/image_preview" style="float: left;" title="SMC" height="341" width="228" alt="SMC" class="image-inline image-inline" /></td>
<td>
<p align="center"><img src="https://cis-india.org/home-images/FotoFlexer_Photo.jpg/image_preview" style="float: right;" title="SMC 2" height="346" width="400" alt="SMC 2" class="image-inline image-inline" /></p>
</td>
<td>
<p align="center"><img src="https://cis-india.org/home-images/Comic3.jpg/image_preview" alt="SMC 3" class="image-inline image-inline" title="SMC 3" /></p>
</td>
</tr>
</tbody>
</table>
<p align="right" class="discreet">Excerpts of Understanding Comics by Scott McCloud</p>
From these three perspectives we understand the following about storytelling. It is:
<blockquote>
<ul><li>A practice rooted in the tradition of sharing experiences</li></ul>
<ul><li>Participatory and interactive: the experience of the storyteller becomes the experience of the audience.</li></ul>
<ul><li>The purpose of storytelling is to pass on a message, moral guidance or practical advice to the audience, through its content.</li></ul>
<ul><li>The form or structure of narratives is determined by sequences of facts and events, which is the same way we build stories in our minds.</li></ul>
<ul><li>The experiential and familiar nature of storytelling makes it easier to engage with and relate to. </li></ul>
<ul><li>The inclusion of images, art and media produces an aesthetic response in the viewer, providing the audience an opportunity for self-expression and freedom.</li></ul>
</blockquote>
<p align="justify">Translating these characteristics to the theme of the Methods for Social Change project (how to build a sense of citizenship and civicness through technology-mediated practices. More <a href="https://cis-india.org/digital-natives/making-change/methods-to-conceive-condense-social-changehere">here</a>): storytelling (re)emerges as a promising vehicle for political change, especially when in par with the “technological possibilities” of our times (Benjamin, 1977). If we choose to entertain this thought, we find how its roots in community traditions make stories an excellent meeting point to form solidarity networks and stronger offline communities to sustain activism. The logical and sequential format of stories are interesting mediums, not only to transmit new ideas on citizenship and engagement; but make them relevant and appealing. Finally, 'the moral of the stories' are seeds for introspection and reflection, that may shape how we understand our role in society as a whole. At the end of the day though, it is storytellers who will lead this journey and meeting them is the first step to gauge how the theory of storytelling unfolds in the practice.</p>
<p align="justify">In the next section, we will meet some of the actors utilizing this method in different fields - and there are plenty of storytellers out there, gifted in skill and
practice conveying an array of messages to an equally diverse public- but before moving on I will close with an excerpt from Lisa Disch’s essay that brings all these points together:</p>
<blockquote>
<h3 align="center">“[Storytelling] is more adequate than arguments to depict ambiguities of a multidimensional social reality” <br /></h3>
</blockquote>
<p><br />In other words, it is a practice that strips narratives from all ornaments, displaying the complexities of humanity in its most intuitive and experiential form.</p>
<h2 align="JUSTIFY"><strong>(Story)Tellers</strong></h2>
<h3 align="right"><em>Great storytellers: creators who devote their resources in controlling</em></h3>
<h3 align="right"><em> this medium to convey their messages effectively”</em></h3>
<p align="right">Understanding Comics<br />Scott McCloud (1993)</p>
<p align="justify"><img src="https://cis-india.org/home-images/Sartaj.jpg/image_preview" style="float: right;" title="Sartaj" height="185" width="255" alt="Sartaj" class="image-inline image-inline" /></p>
<p align="justify">Our first storyteller is Sartaj Anand; an India-based entrepreneur, founder of the innovation and strategy consulting firm: EgoMonk and active member of TED, Ashoka, Sandbox, Kairos Society and the Pearson Foundation networks (More about his work in his <a href="http://www.plussocialgood.org/Profile/19625">Social Good profile</a>). His self-described “unreasonable dream” is to impact one billion people with his work and create “life-changing experiences”. He strives to do this by a) leveraging the relationship between people and technology and b) through his recently launched non-profit Billion Strong. Also, as opposed to other change-makers we’ve interviewed in the project, he comes from an engineering and business background; bringing a for-profit perspective into our melange of multi-stakeholder approaches to change.</p>
<p align="justify">The following interview touches on digital storytelling as one of the ways Anand is using to leverage technology. His vision highlights how you cannot disconnect people from the processes you are utilizing to impact their lives. Incorporating a more humane focus in the way we use technology, and in how we construct stories, is according to his experience, the best way to have practices resonate to and be appropriate for the public.</p>
<p align="right" class="discreet">Sartaj Anand,</p>
<p align="right" class="discreet">Founder of EgoMonk and Billion Strong<strong><br /></strong></p>
<p align="left" class="callout"><strong>Tell us about your background and the intersections of your work with technology.</strong></p>
<p align="justify">I started with an engineering background and my thesis was on language processing; figuring out how people talk and how that needs construction data. Fundamentally at some point, I figured out that technology is not the problem, people are; so that’s how I moved into my current focus in business: which is innovation strategic consulting. I frequently rely on technology to enable or actualize change but I don’t necessarily create it. The challenge is how we leverage the technology we have [...] and that’s where I can add the most value.</p>
<p align="left" class="callout"><strong>How do you leverage technology in the context of making change then?</strong></p>
<p align="justify">I leverage technology in terms of using it but focusing on the ‘people’ side of it”: the relationship between people and technology. That’s the main intersection point. [...] This is what I mean when I talk about technology, innovation, social structures and change.</p>
<p align="center"><iframe src="http://www.slideshare.net/slideshow/embed_code/26146622" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" align="middle" height="356" width="427"> </iframe></p>
<div align="center"> <strong> <a title="Ideas for Change" href="https://www.slideshare.net/sartajanand/ideas-for-change" target="_blank">Ideas for Change</a> </strong> from <strong><a href="http://www.slideshare.net/sartajanand" target="_blank">Sartaj Anand<br /></a></strong>
<div align="left"> </div>
</div>
<p align="justify">Economically, business models have to replicate and service society. If businesses serve their people, they capture maximum value and gain efficiency over ten, twenty years (and this is appealing to all the capitalists in industrial businesses). However, towards the course of these years a lot of things can change and you progressively become more and more outdated. When you have this premonition, that's the point when you need to step in and cannibalize your own business model.</p>
<p>
For example, for seven years, music labels sold cds only. Then Apple came in with iPods and digital music downloads. After milking this for 10 years, what it should have done is fortify it and start streaming music to capture maximum value, like Spotify did. [...] This is a model EgoMonk works with and we try to communicate these things to our clients. They have the power to execute it, but they have to internally feel confident with all their stakeholders, whether it is for-profits with their board; or non-profits with donors and program partners. This is a choice we need to commit to. A lot of the problem in the change process (technology enabled or otherwise) is trust building. At the end of the day you are working with people, and this is a challenge.</p>
<p class="callout"><strong>In order to build this trust you must be aiming for a deeper and personal communication with your clients. How are you including this in your business model?</strong></p>
<p align="justify">We focus a lot on communication and that’s something we rely on increasingly; and I found it has to have a Why-What-How model -borrowing from <a href="https://www.youtube.com/watch?v=l5Tw0PGcyN0">Simon Sinek's gold circles</a>. In that order.</p>
<div align="center"><iframe src="http://www.slideshare.net/slideshow/embed_code/20996308" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" height="356" width="427"> </iframe></div>
<div align="center"> <strong> <a title="Storytelling 101" href="https://www.slideshare.net/sartajanand/storytelling-101-20996308" target="_blank">Storytelling 101</a> </strong> from <strong><a href="http://www.slideshare.net/sartajanand" target="_blank">Sartaj Anand</a></strong></div>
<p> </p>
<p>People don’t buy the 'what' of it, without the 'why' you do it. For example, Apple is great because it works to improve your life, to inspire you, amuse you: make your life better. What they do comes second: Apple is an electronics company, an application company. Last is the how: It makes the iPhone. We apply a similar model and this is something I apply in my storytelling also. I’m a believer that every story has to have an end or a moral: something that is more hopeful and optimistic. Rely on that but decide that also, I’m not the only one around: stories are increasingly personal and local.</p>
<p class="callout">
<strong>Given the personal and experiential nature of storytelling, I assume it is a challenge to mainstream it in your services. Tell us more about the practices you are using to implement it and how they break from more traditional communication practices in the past.</strong></p>
<h3>EgoMonk<br /></h3>
<p>EgoMonk is an Innovation and Strategic Management Consultancy (More about EgoMonk <a href="http://egomonk.com/">here</a>). Particularly this means that:</p>
<p align="justify">a) We start with the hypothesis that<strong> we don't know everything</strong>. With that in mind, we borrow amazing frameworks from amazing institutions. For example, <a href="http://holacracy.org/how-it-works">Holacracy</a>;
(a “purposeful organization” technology that changes how the
organization is structured, how decisions are made and how power is
distributed); '<a href="http://www.forbes.com/sites/stevedenning/2013/02/04/playing-to-win-how-strategy-really-works/">How will you win</a>'
philosophy from traditional large companies,, where they equate every
decision to a couple of questions like what's your winning aspiration?,
where will you plan?, how will you win?, what capability
systems/processes need to exist to make this a sustainable practice that
outlives you? This approach gets us halfway there, [especially] working
with people who haven't had access to this before.</p>
<div align="center">
<div align="center"><img src="https://cis-india.org/home-images/EGomonk3.jpg/image_preview" title="egomonk 3" height="246" width="419" alt="egomonk 3" class="image-inline image-inline" /></div>
</div>
<p align="center" class="discreet"> <a href="https://cis-india.org/digital-natives/making-change/egomonk.com">EgoMonk</a>'s services</p>
<p align="justify">b) <strong>We localize it.</strong> We work with high impact entrepreneurs and turn their life goals into a four week plan. We frame it: What happens if after four weeks, you die. If these are four weeks you have to live: what really matters to you? What do you want to accomplish professionally and personally? Once you go through that exercise we say: What can continue sustainable during your life? What can you take away? We focus on timing and what you have to do. Once you put that concept of mortality into every day's existence, you start behaving differently.</p>
<p align="justify">c) We work with <strong>gamification</strong>. For example, we worked in a factory and completely changed the incentivization for their workers into something that is more fun. The challenge was: how do you improve the process of well-being in an industrial environment. How do we make working enjoyable for them? This model consists of short-term rewards: if you work really hard over this much time, you get 10 points and this gets you a (reward) with your family. This has never happened before.</p>
<h3><strong>Billion Strong</strong></h3>
<p>
Billion Strong is a platform. We want to impact a billion people and mobilize a billion dollars every year. The concept behind it is that the future is completely decoupled from our reality. It is highly utopian and right now we are not there and my hypothesis is that we'll never get there because our perspectives and assumptions keep evolving. This non-profit aims to accelerate the future in our lifetime so we can at least enjoy some of its benefits. It focuses on six things: culture, mobility, technology, art, nutrition and divinity. Each of these will be used as levers to impact a billion people.
In the case of Billion Strong, user adoption is the most frequent challenge you face in the non-profit space. I will explain this using our first two projects:</p>
<p align="justify"><strong>a) Project 1 - Divinity:</strong><br />We want to take religion, God and spirituality as a lever to impact people. A manifestation of this is the release of an open source tool kit to convert religious institutions into co-working spaces.</p>
<blockquote style="float: left;">
<p align="center"><strong>Centers of religion are:</strong></p>
<ul>
<li>Everywhere and permanent</li>
<li>Well known by the community</li>
<li>Community centers</li>
<li>Safe</li>
<li>Non-profit and non-taxable</li>
<li>Underutilized 99% of the time</li>
<li>Disconnected from youth</li></ul>
</blockquote>
<p align="justify"> Centers of religion have always been centers of education and community oriented, but within the last generation they've become prayer halls, and I think this is the wrong way of using this infrastructure. There are a couple of narratives being negotiated here (See box to the left).</p>
<p align="justify">In this case [the open source tool-kit] has a framework, and it is dynamic to the point where your choices in real time will influence the policies of this place and their physical manifestation. So you ask questions in a flow chart: Do you want men and women to work together or not?; Do you have the ability to buy new furniture or you want to use the existing furniture?; when you ask these questions you navigate a flow chart, depending on your choices. They will lead to a different output and when they see that, it is immediately empowering. This is storytelling, and this what will help us navigate the adoption issues. It's essentially us saying you own it; you know exactly what is good for your own community. In terms of the narrative, each copy will be different and adapted to its language. It has to be made for this community and everything has to be localized for that story you are telling. The religious and cultural narrative needs to be blended into it.</p>
<p align="justify"><strong><br /></strong></p>
<p align="justify"><strong><br /></strong></p>
<p align="justify"><strong>b) Project 2 - Nutrition:<br /></strong>Meat consumption is a huge challenge and highly unsustainable. We will use kick-start mechanics in a mobile app to trigger and enable change in food habits. We are obviously very digitally inclined right now. It's easy to capitalize on that, but instead of giving them money, we will ask them to skip a meal, go vegetarian for today or for the week and we are going to support that.</p>
<p align="justify">Adoption is a huge challenge, so we'll ask them: Where do you stay? They'll say: Amsterdam [for example], and it will provide them with a template. If you are vegetarian for today, for the week, or the month, this is your meal plan and all you need. Users will find meals close to them and won't have to worry about it anymore. And we will map their impact in real time through info-graphics and data visualization. They will be constructing and visualizing their own story in real time and we’ll present it through different narratives.</p>
<p align="justify" class="callout">
<strong>We are also looking at multi-stakeholderism in this project. Both EgoMonk and Billion Strong seem to be a combination of business, technology and communication strategies. Why multi-stakeholderism? </strong></p>
<p align="justify">Three reasons:</p>
<p align="justify">a) The future is<strong> multi-domain. </strong>You will never understand the whole picture if you say: I’m only going to solve water, but what about the pipes, the roads, the environment, infrastructure, cultural issue. One domain is no longer good enough. You will never be a complete expert of the complete ecosystem.</p>
<p align="justify">b) <strong>Adoption models</strong> will always be a challenge and right now it’s a compromised formula. Now it's a zero-sum game. We literally need to escape that and make it future-oriented; make it 1+1 through partnerships.</p>
<p align="justify">c)<strong> Storytelling </strong>is also getting more mainstreamed into change management and multi-stakeholderism. At the end of it, if you tell a good enough story, you can sell and get people to believe in your projects. This inherently builds partnership models. There is something that is permission marketing: all sales in the future are relationship based and indirect sales.(E.g. Red Bull is all about the experience) That’s how we have to be when we talk about multi-stakeholderism. Everything needs to be built in.</p>
<p align="justify">_____________________________________________________________________________________________________________________________________</p>
<p align="justify"><em>** Next installment will look at how storytelling enhances visibility and accessibility, and how it is being used by Urban Governance groups in Bangalore.**</em></p>
<h3><strong>Sources:</strong></h3>
<ul><li>Arendt, Hannah (1994) Essays in Understanding Edited with an
Introduction by Jerome Kohn. The literary Trust of Hannah Arendt
Bluecher.p.308
</li><li>
<div id="gs_cit2" class="gs_citr">Benjamin, Walter. (1977): "The storyteller."89.</div>
</li><li>Disch,Lisa Jane (1994) Hannah Arendt and the limits of Philosophy. Cornell University Press. p.172-173
</li><li>
<div id="gs_cit2" class="gs_citr">Kieslich, Ingo. (2013) "Walter
Benjamin, Hannah Arendt: Storytelling in and as theoretical writing."
PhD diss., Vanderbilt University,</div>
</li><li>McCloud, Scott. (1994)."Understanding comics: The invisible art." <em>Northampton, Mass</em> <br /></li><li>
<div id="gs_cit2" class="gs_citr">Oni, Peter (2012). "The Cognitive Power of Storytelling: Re-reading Hannah Arendt in a Postmodernist/Africanist Context."</div>
</li></ul>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/storytelling-sartaj-anand'>https://cis-india.org/digital-natives/making-change/storytelling-sartaj-anand</a>
</p>
No publisherdenisseMaking ChangeDigital Natives2014-03-12T11:43:19ZBlog EntryReaping the Benefits of Gamification
https://cis-india.org/digital-natives/making-change/reaping-the-benefits-of-gamification
<b>As a part of the Making Change blog-post series, in this post we will identify a new technique: gamification. This technique is being used for sustainable environment conservation by modern day change-makers. We interview two out of three co-founders of Reap benefit- Kamal Raj and Gautam Prakash who believe in the adoption of more sustained environmental practices that induce social change towards conserving the environment.</b>
<p> </p>
<p> </p>
<div align="left">
<pre style="text-align: justify;"><strong>CHANGE-MAKER:</strong> Kamal Raj,Gautam Prakash and Kuldeep Dantewadia
<strong>ORGANISATION:</strong> Reap Benefit
<strong>METHOD OF CHANGE: </strong>Gamification and Human centric systems for consistent behavior change towards better waste-water-energy management.
<strong>STRATEGY OF CHANGE:</strong> Building a new era of environmentally conscious youth in India through technology and an interdisciplinary approach to change.</pre>
</div>
<p style="text-align: justify;">We depend on the environment and the resources that it provides us, but surprisingly we are unaware of the effects of its depletion and the need to save these resources. A few of the problems that people now face are with resources like- water,waste and energy because we do not acknowledge the fact that we are wasting them unconsciously. This only triggers the need for more and more solutions which would change the way people perceive the resources and realize the need to conserve. While trying to start an initiative to come up with some solutions to manage these resources, we are approached by the question of the <strong>accessibility, affordability and sustainability</strong> of those solutions. The solutions and the practice of that solution is a two-way process for any sustainable making-change initiative.</p>
<p align="left" style="text-align: justify;">In this post I will be introducing to you Reap Benefit and the technique of Gamification. I will bring out a comparative analysis of the various definitions by renowned gaming authorities across the world who are involved in the process of using games in non-game contexts to bring out change in the offline space. Only after this, will I be acknowledging the importance of the strategies used by Reap Benefit for making these solutions sustainable. The strategies will be- human centric solutions and gamification. Then, I will bring out the connection between these two strategies to provide you an inter-disciplinary understanding of the making change process. Next, these strategies will be coupled with the discussion on the use of technology to speed-up the process. Also, throughout this post we will be referring to the blog-<strong> Methods of Social Change</strong> written by Denisse Albornoz and we will also make an attempt to answer the questions- 'Who,Where,How' of this making change project in relation to Reap Benefit. The blog post can be accessed <a href="https://cis-india.org/digital-natives/making-change/methods-for-social-change/">here. </a></p>
<p align="left" style="text-align: justify;">Before the journey of the post, I would like you to read this little success story narrated by Kamal Raj in the interview that led Reap benefit a step higher in its aim for making change:</p>
<p class="callout">Reap benefit went to a school which received only 400 litres of water supply a day resulting in poor health and care conditions. This water would be used for washing their plates after the mid-day meal and also for sanitation systems. This would only make the place a platform for water, food and breeding mosquitoes all together. Since the students usually consumed food with their right hand, while taking the plate to wash it, they would leave the plates at one side; they would open the tap with their left hand, would take their plates again and start washing them. During this time interval, they would waste a lot of water. <br /><br />As, a solution to this, Reap Benefit changed the taps which would discharge 60% less of water. They also created a clean water purification system. Now, with the same 400 litres of water, students washed their plates and adopted better sanitation practices. The challenges that they faced actually made them innovate better systems for remarkable change.</p>
<p align="left"><strong> <img src="https://cis-india.org/home-images/tapswithoutaerators.jpg/image_preview" title="taps without aerators" height="157" width="159" alt="taps without aerators" class="image-inline image-inline" /> <img src="https://cis-india.org/home-images/tapswithaerators.jpg/image_preview" title="taps with aerators" height="157" width="160" alt="taps with aerators" class="image-inline image-inline" /><br /></strong></p>
<p align="left"><strong>Think about these questions for a minute..<br /></strong></p>
<div align="left">
<ul>
<li>Does this story relate to <strong>physical needs?</strong></li>
<li>Does this story relate to <strong>creative problem solving?</strong></li>
<li>Is it a story that brings out<strong> better affordable solutions?</strong></li>
<li>With this solution were the <strong>students benefited</strong>?</li>
<li>Was this a <strong>successful idea?</strong></li></ul>
</div>
<h2>Reap Benefit</h2>
<p>First of all, take a look at a brief introduction of Reap Benefit given by Kamal Raj:</p>
<p></p>
<p style="text-align: justify;" class="callout"><strong>Kamal: </strong><em>"Reap Benefit works to implement affordable solutions, enabling quantifiable waste-water-energy management systems, as a way to facilitate behavioural change by engaging the head, hand and heart of the user. Having worked with many people, we have realized that behaviour modification allows for more sustained adoption of environment sustainability practices. We take them through a 4-stage behavioural change process – <strong>‘Unconsciously Wrong’, ‘Consciously Wrong’, ‘Consciously Right’ and ‘Unconsciously Right’ </strong>(we will understand this process later in the post). A link to the website is here- <a href="http://reapbenefit.org/">Reap Benefit</a>."</em></p>
<p align="left" style="text-align: justify;">Reap Benefit is bound together by the deep concern for the environment they have and the dead-lock issues that it faces. They aim for affordable solutions with maximum impact in the least time. Kamal marks that they work only with the students within the age group 10-16, because the use gamification is most effective in this age group. Also, he makes an addition to that by saying the rewards the older age groups demand are not as easy-to-meet as those of the age group they work with. It also aims to co-create experiences by working hands on with the youth: their target audience for creating change.</p>
<p align="left" style="text-align: justify;"><img src="https://cis-india.org/home-images/copy_of_reapbenefit.jpg/image_preview" title="Reap benefit" height="175" width="234" alt="Reap benefit" class="image-inline image-inline" /></p>
<p style="text-align: justify;">It is said that the more you practice the better you get. By this, I would like to introduce you to the concept of<strong> quotidian activism</strong>. Reap Benefit deeply believes in this concept. But, what does quotidian activism mean? A working definition is: <em>the form of activism occurring everyday.</em> This form of activism may lead to people making actions sustainable and achieve consistent behavioural change, supported by products and innovations provided by Reap Benefit (later in this post, I will introduce you to some of these innovations).</p>
<p style="text-align: justify;">Finally, Reap Benefit highly focuses on the need to answer the <em>‘</em><strong>why’</strong> behind the problem. This answer would provide a more personal understanding of the problem for creating change. By engaging the participant with the 'why', he will also be able to evaluate the impact and the benefits of his actions, take ownership of the problem and comprehend the need for innovation.</p>
<h3 align="left">What is 'change' for Reap Benefit?</h3>
<p align="left">Presuming every organization has its own design to making change, Reap Benefit's understands it in the following way:</p>
<p style="text-align: justify;" class="callout"><strong>Gautam: </strong><em>“Change for us is a very sub-conscious part of your life. (It is also a) two stage process- <strong>knowledge:</strong> which will tell us we need solution and the<strong> solution.</strong> The knowledge will tell you that you are <em>unconsciously </em>doing the wrong thing. Then when you realize it, you go to a stage of consciously wrong. When you keep doing this you reach a stage when you know that you are consciously doing right, and soon, you are doing it every single day and then you unconsciously do it.”</em> </p>
<p style="text-align: justify;">I will attempt to understand their process of change by adding that this 'to be good' drive in the individual or the need for public approval is what makes them do <em>unconsciously right </em>everyday, and then it is only the last stage what makes it a habit. Gautam also mentions that each of these stages has an impact of its own and altogether, they become more powerful. This change process will lead to sustainable change according to him.</p>
<div style="text-align: justify;">We have seen the change agents that are vital to create change, but how is this change executed? In the next section we will look at two strategies used for making change: <em>gamification</em> and <em>human-centred design</em> and later, we will only try to produce a connection between them.</div>
<div style="text-align: justify;"> </div>
<h2>Discovering Gamification</h2>
<p style="text-align: justify;">In this section, we will unpack the first part of the<strong> 'how' </strong>question. First of all, we will compare the various definitions of the technique given by people involved in understanding the use of game elements in the non-game contexts, to create change in the emotional and social behaviour of people. The definitions of these three people in the big list of so-called gamification authorities will be used provides us with keywords for a comparative understanding of what the technique means. These three people are:</p>
<p style="text-align: justify;"><strong>JANE McGONIGAL: </strong>She is an American game designer and author who advocates the use of mobile and digital technology to channel positive attitudes and collaboration in a real world context.</p>
<p style="text-align: justify;"><strong>GABE ZICHERMANN:</strong><em><strong> </strong></em>He is an author, public speaker, and self-described "serial entrepreneur." He has worked as a proponent of leveraging <a title="Game mechanics" href="http://en.wikipedia.org/wiki/Game_mechanics">game mechanics</a> in business, education, and other non-entertainment platforms to increase user engagement through gamification.</p>
<p style="text-align: justify;"><em><strong>JESSE SCHELL</strong>:</em> He is an American video game designer an acclaimed author, CEO of Schell Games and a Distinguished Professor of the Practice of <a title="Entertainment Technology" class="mw-redirect" href="http://en.wikipedia.org/wiki/Entertainment_Technology">Entertainment Technology</a>.</p>
<h3>Definitions</h3>
<table class="plain">
<tbody>
<tr>
<td><strong>JANE McCONIGAL</strong><br /></td>
<td><strong>GABE ZICHERMANN</strong><br /></td>
<td><strong>JESSE SCHELL</strong><br /></td>
</tr>
<tr style="text-align: justify;">
<td>“It is a blissful <strong>productivity</strong> acquired by the flourishing feeling,<br />that is, accomplishments in a game but only with a <strong>volunteering<br />attribute </strong>of the participant.” </td>
<td>“Games are the only<br /><strong>force</strong> in the universe<br />that can get people to take actions <strong>against their self-interest</strong> in a <br /><strong>predictable</strong> way without using force.” </td>
<td>“It is a <strong>problem solving situation</strong><br />that you enter into because <strong>you want to</strong>.” </td>
</tr>
</tbody>
</table>
<p align="left">I would be like to bring points of intersections between these three definitions.</p>
<div align="left">
<ol>
<li>
<div align="left">
<div style="text-align: justify;"><strong>VOLUNTEERING ATTRIBUTE VS. USE OF FORCE</strong>: The volunteering attribute is an efficient way to foster sustainable participation, as opposed to the use of force which makes a campaign less appealing.</div>
</div>
</li>
<li>
<div align="left">
<div style="text-align: justify;"><strong>PROBLEM SOLVING SKILLS</strong>: Games are a very responsive way of trying to accomplish problem solving as the person is engaged with the problem and willing to solve it.</div>
</div>
</li>
<li style="text-align: justify;"><strong>PRODUCTIVITY</strong>: There problem solving skills leads the participant to a desired outcome. </li></ol>
These points also give you a clear understanding of Reap Benefit who works along the same lines with the volunteer or participant to solve the problem of conservation.<br />But, does the usage of games actually produce behavioral change? If so, how do games provide this function? These are some of the questions we will try and attempt to answer in the next section.</div>
<h3 align="left"></h3>
<h3 align="left">Games as a Tool to Influence Behaviour</h3>
<p id="docs-internal-guid-9cb641a5-daab-08be-6d01-b8f612949133" style="text-align: justify;" dir="ltr">Playing games results in obtaining rewards in some form of the other. These rewards psychologically induce a positive emotional feeling in the participant. When the participant learns something through games and when that emotional feeling arises, he tries and incorporates the same solutions in the games to solving the real life problems. This brings out an improved result and problem solving ability. But what about the affordability of that solution? We need to understand ways to make it affordable because any task once done will not induce consistency in the behavior change. But the task repeated many times will improve or change the behavior over a long period of time. So, when the question of affordability (financial fear) is answered then the emotional feeling primarily can bring out change in the behavior of the individual. (Yongwen Xu, 2011).</p>
<p style="text-align: justify;" dir="ltr">There are also some game mechanics that are to be kept in mind to change behavior while designing games apart from just the element of fun and affordability. So, we will now look at another authority involved in gamification in the upcoming section to explore these mechanics. We will also try and understand these mechanics in relation to Reap Benefit.</p>
<h3>Game Mechanics</h3>
<p style="text-align: justify;">Seth Priebatsch is the creator of <a title="SCVNGR" href="http://en.wikipedia.org/wiki/SCVNGR">SCVNGR</a> and <a title="LevelUp" href="http://en.wikipedia.org/wiki/LevelUp">LevelUp</a> social gaming sites. He has provided a list of game mechanics which could be necessary to understand games and why they produce particular changes for a better environment. These are:</p>
<blockquote>
<ul>
<li style="text-align: justify;"><em><strong>Appointment Dynamics</strong></em>: to bring players to do something at a pre-defined time and place.</li>
<li style="text-align: justify;"><strong><em>Influence and status</em></strong>: any participant or group that is involved in the change-making process, is influenced by the presence of others because of the competition and the envy that leads them to carry forward the task</li>
<li style="text-align: justify;"><strong><em>Progression Dynamics:</em></strong> the success of the student is measured through the tasks by giving rewards. </li>
<li style="text-align: justify;"> <strong><em>Communal Discovery</em></strong>: the entire group or community works towards making change. </li></ul>
</blockquote>
<p style="text-align: justify;">Seth's model could be applied to the process of creating change that Reap Benefit uses, and this is illustrated through their experience of a student-run energy audit in the field. A set of students were assigned the task of doing an audit for the energy conservation and the energy usage of a Puma store. They were just given the base for the audit but the criteria for the audit was planned by them. The students were encouraged by the thought of <strong>getting rewards </strong>for the task. Kamal recalls that they had used games to make the children understand it.</p>
<p style="text-align: justify;">Relating this to Seth's Model, the children were given a <strong>pre-defined time and place</strong> for doing the task and were influenced both, by the element of<strong> competition</strong> between the students and also the idea of receiving a reward once the task is completed. The task only ends by obtaining a sense of <strong>communal discovery</strong> that, all together they can make change on a personal and team level. We understood Seth's model but we will try and comprehend deeper, the use of rewards for inducing behavioral change in the next section.</p>
<h3 style="text-align: justify;">Rewards Mechanism</h3>
<p style="text-align: justify;">Kamal commented on Reap Benefit's 2-3 months periodic reward mechanism. He believes that this makes students equal in position before starting every task.</p>
<p style="text-align: justify;" class="callout"><strong>Kamal:</strong> <em>"We use a lot of things like rewards to motivate them to play a game (with us) and we personalize all these rewards based on the questionnaire that we do at the beginning where we subtly understand what they like." </em></p>
<p>This information which gives ideas of how to encourage each student to get the best performance out of them.</p>
<p style="text-align: justify;"><strong>a) Extrinsic rewards: </strong>The extrinsic reward here, for example would be allotting points to various participants/ teams. Michael Wu, a chief scientist in subjects like digital technologies, says extrinsic rewards are like a jump start to intrinsic rewards.Once the student acknowledges them, they acquire a sense of ownership and innovation and are empowered to create new solutions. Hence, awareness is not created before the task but an output from the task.</p>
<p>Refer to Gabe Zichermann's video for more on the importance of gamification and the rewards mechanism.</p>
<p>.<iframe src="http://www.youtube.com/embed/SwkbuSjZdXI" frameborder="0" height="315" width="560"></iframe></p>
<p style="text-align: justify;">b) Intrinsic rewards: Apart from producing behavior change, gamification's can also indicate learning. One of the elements that facilitates learning would be:</p>
<dl>
<p style="text-align: justify;"><strong>Player Control</strong><em>: </em>A participant will have certain amount of control while gaming which would lead to a sense of responsibility and accomplishment. Learning could be intrinsic only if there is responsibility of gaining a reward through a task.</p>
</dl>
<p>There are many other elements that produce learning and they could be accessed <a href="http://www.yukaichou.com/">here.</a></p>
<h2>Human-Centric Model</h2>
<div class="pullquote">Human-centred systems aim to preserve or enhance human skills, in both manual and office work, in environments in which technology tends to undermine the skills that people use in their work<em>.</em></div>
<p style="text-align: justify;">We will now answer the second part of the 'how' question and show another strategy for making change. Human centric systems do not use machines to create solutions to the problems but rather design the game with the importance of the 'user-friendly' element. This has been explored in a past post by Denisse. Access it <a href="https://cis-india.org/digital-natives/making-change/digital-storytelling-human-behavior-vs-technology" class="internal-link">here.</a></p>
<p style="text-align: justify;">Reap Benefit's ‘transparent dustbin’ is a great model to illustrate this. The dustbin is transparent for people to see and then throw the waste in according to different types of waste. It is kept at an eye-level so that the waste already thrown inside can help the person perceive and throw his waste in the exact dustbin and to make it easily accessible for the public.</p>
<p> </p>
<p style="text-align: center;"><img src="https://cis-india.org/home-images/dustbin.jpg/image_preview" alt="transparent dustbin" class="image-inline image-inline" title="transparent dustbin" /></p>
<p style="text-align: justify;">These human-centric approaches provide a consistent change in the behaviour of the individual because the method is user-friendly and make segregation easy. The objectives is to engage in unconscious behavioural change. The transparent dustbin is better explained by this audio byte of Kamal Raj:</p>
<p><br /><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/147205714&color=ff5500&auto_play=false&hide_related=false&show_artwork=true" frameborder="no" scrolling="no" height="166" width="100%"></iframe></p>
<p>Another innovation of Reap Benefit, is the compose mixture</p>
<p class="callout">Kamal says: <em><strong>"The idea was to throw something with it, like the degrade compost product we innovated and the waste would compost, without smell, without taking 3 months." </strong></em></p>
<p>This mix, by giving visual feedback could be accessible by anyone due to its low cost and easy-to-use method. So, these innovations justify and explain the benefits of human centric models and also produce many new ideas in the minds of the students( James,2010). I would like to explain this by a chain of ideas that arise while segregating plastic and non-plastic waste.</p>
<p style="text-align: center;">The participation in the structure (waste segregation model)</p>
<p style="text-align: center;"><img src="https://cis-india.org/home-images/copy_of_arrowdown.jpe/image_preview" title="arrow" height="28" width="33" alt="arrow" class="image-inline image-inline" /><br /> The negatives of the model (harmful effects of mixing plastic in the model)</p>
<p style="text-align: center;"><img src="https://cis-india.org/home-images/copy_of_arrowdown.jpe/image_preview" title="arrow" height="28" width="33" alt="arrow" class="image-inline image-inline" /><br /> Realizing the need for another mechanism (dustbins for different types of waste)</p>
<p style="text-align: center;"><img src="https://cis-india.org/home-images/copy_of_arrowdown.jpe/image_preview" title="arrow" height="28" width="33" alt="arrow" class="image-inline image-inline" /><br /> Another idea to support the new mechanism (dustbins should be transparent and named)<br /> <img src="https://cis-india.org/home-images/copy_of_arrowdown.jpe/image_preview" title="arrow" height="35" width="33" alt="arrow" class="image-inline image-inline" /><br /> The need to spread this (start campaigning for the system)</p>
<p style="text-align: justify;">Explaining this model in brief: the waste segregation model is the segregation of plastic and other waste. During this process the three ideas that arise are: a) the harmful effects of plastic, b) the need for a plastic waste dustbin and a non-plastic waste dustbin, and the last one, b) the transparency of the dustbin. Then the major question of <strong>spreading the model by using technology</strong> arises. This would be the model thought by the participant during the discussion of the usage of technology for sustainability.</p>
<p style="text-align: justify;">But what is <strong>sustainability</strong> and how is it important? Complementing the technique of gamification and the human- centric approaches with technology to make it a sustainable solution is a challenge. This system may be adopted by all. But the aftermath of implementing this apparatus is a challenging question. In the next section we will comprehend the role of technology adding a more positive result to Reap benefit.</p>
<h2>The Role of Technology and Media</h2>
<p style="text-align: justify;">This section will look at how Reap Benefit uses technology and media and then try and understand how the use of technology can make these solutions sustainable.</p>
<p style="text-align: justify;" class="callout"><strong>Kamal:</strong> <em>"There are two aspects that are already existing- knowledge and the products. So, when someone starts the journey, technology enables us to be with them in this journey without us being there. Without the sharing of photos through digital media like facebook, keeping track of the journey would not be possible. We need technology to bridge the gap."<strong> </strong></em></p>
<p style="text-align: justify;">Information access is facilitated by the use of technology and digital media or social networking, as they share the systems with their online community. But, when this access is denied the only solution is to be a part of the in-tutor system and realize the positives of the same through experience. Technology takes Reap Benefit a step higher in its aim to make sustainable change by targeting youth, the main users of social network platforms.</p>
<h2>Making Change</h2>
<p style="text-align: justify;">We started this post with an introduction to a very strong initiative- Reap Benefit. Techniques such as gamification and human-centric systems are used effectively by this organization to create maximum benefits. It focuses highly on the use of these strategies to induce behaviour modification in youth. We attempted to build a relationship between these techniques to answer whether they are sustainable, intelligible and accessible solutions to making change.</p>
<p style="text-align: justify;">Summing up the 'WHO,WHERE AND HOW' question- We have only understood that, to use the opportunity and take charge before others do so, we need a 3-stage plan. We understood that the WHO means the target, the change agents who will lead the initiative and comprehend the need for change by themselves. The question of WHERE focuses on the idea of making change in the public space rather than in the private sphere which limits the extent of the change. We have summarized this only by bringing out the importance of technology to make change the largest priority of youth. The question of HOW is understood in this post by the use to affordable solutions.</p>
<p id="docs-internal-guid-9cb641a5-daab-ddf5-183f-233098a5b65d" style="text-align: justify;" dir="ltr">The problems faced by the environment call for solutions that are affordable and accessible. These two qualities of the solution would only make it sustainable.These solutions are met by various game elements in a game and the human centric approaches that engage the individual in problem solving by disseminating knowledge to them and informing them about the problems. This makes those solutions to problem-solving evaluatable through quantity and the quality of the result of the problem. Behavior change will be only possible by solutions that break the existing schemas in the society and create new innovations. (James,2010). Now, through sustainable, innovative solutions through these techniques we can make the dream of a clear and clean environment a reality.</p>
<p style="text-align: justify;">While this blog may help you gain a positive understanding about gamification it would certainly lead you to many more questions. In this digital age, we would surely have to ‘re-game-think’ the methodologies for change again and agai,n not only in terms of using unique techniques such as gamification but also in terms of accessibility of such techniques for change in the structural divisions in society.</p>
<h3>Footnotes</h3>
<ol>
<li style="text-align: justify;">Reward is one of the elements that drives the individual to adopt the gamification technique- the reward/feedback mechanism. You can acquire a profound reading on more of these elements that leads to further making-change here- http://www.yukaichou.com/.</li>
<li style="text-align: justify;">A few more elements like the player control and communal discovery that indicates learning through Gamification could be found here- http://en.wikipedia.org/wiki/Gamification</li>
<li style="text-align: justify;">More information on persuasive messages, strategies for changing behavior, rules for effective delivery, and how to manage the participants/audience in the making change initiative can be found-http://sustainability.berkeley.edu/sites/default/files/Promoting_Sustain_Behavior_Primer.pdf</li>
<li style="text-align: justify;">To hear a talk show of Yukaichou on TEDx about Gamification- check it here- http://www.youtube.com/watch?v=v5Qjuegtiyc</li>
<li style="text-align: justify;">To hear another talk show of Gabe Zichermann on TEDx about Gamification- check here- http://www.youtube.com/watch?v=O2N-5maKZ9Q</li>
<li style="text-align: justify;">The process of creating sustainability through gamification and technology, according to Rachel James, goes as follows: </li></ol>
<ol></ol>
<ul>
<li>Attracting attention by breaking the existing schemas (mental structures of preconceived idea, Jean Piaget,1926) This can be done by creating a mystery for them and then involving the individual in complex thought processing to change the schema. Story-telling could also induce emotional reactions to inspire or simulate them.</li>
<li>Persuade them through gamification </li>
<li style="text-align: justify;">Make the strategies for change very rigid which cannot be changed often and acknowledge what you deliver to your audience. </li></ul>
<h3>Sources</h3>
<ol>
<li>http://en.wikipedia.org/wiki/Gamification</li>
<li style="text-align: justify;">James, Rachel. “Promoting Sustainable Behavior- a guide to successful communication”. Web. August 2010. </li>
<li style="text-align: justify;">Xu, Yongwen. ” literature review on web application Gamification and analytics”. Web. August 2011. </li>
<li>http://www.yukaichou.com</li>
<li style="text-align: justify;">Albornoz, Denisse. 'Methods for Social Change'. Web. February 2014. The link for the same is here- http://cis-india.org/digital-natives/making-change/methods-for-social-change. </li></ol>
<p>*******************************************</p>
<p style="text-align: justify;">About Dipali Sheth:</p>
<p style="text-align: justify;">Studying in my 3rd year at Christ University gave me the opportunity to intern at Centre for Internet and Society. This post has been a result of my internship for a month under the Making Change program at CIS. My interest in Research and New Media started the journey here and has only added to making Research my zeal in the near future.</p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/reaping-the-benefits-of-gamification'>https://cis-india.org/digital-natives/making-change/reaping-the-benefits-of-gamification</a>
</p>
No publisherdipaliResearchers at WorkNet CulturesMaking ChangeResearch2015-10-24T14:24:55ZBlog EntryPublic Art, Technology and Citizenship - Blank Noise Project
https://cis-india.org/digital-natives/making-change/blank-noise-citizenship
<b>Jasmeen Patheja speaks about the active citizen in the digital age, its challenges in the public and private spheres and interdisciplinary methods to overcome them.</b>
<div align="center">
<pre><img src="https://cis-india.org/copy2_of_copy_of_PhotoComic.jpg/image_preview" alt="Reconceptualizing Eve-Teasing" class="image-inline image-inline" title="Reconceptualizing Eve-Teasing" />
<strong>
CHANGE-MAKER:</strong> Jasmeen Patheja
<strong>
PROJECT</strong>: Blank Noise Project: A volunteer-led arts collective community
<strong>
STRATEGY OF CHANGE</strong>:
Fostering an active, participatory and horizontal model of citizenship,
empowering its volunteers to participate politically and address issues
of street sexual harassments in the public sphere.
<strong>
METHOD OF CHANGE</strong>: Public space interventions using community art and technology.</pre>
</div>
<p style="text-align: justify;">To open the interview series for the <a href="https://cis-india.org/digital-natives/making-change/" class="external-link">Making Change project</a>, I interviewed <a class="external-link" href="http://fellows.ted.com/profiles/jasmeen-patheja">Jasmeen Patheja</a>. She is the founder of <a class="external-link" href="http://blog.blanknoise.org/">Blank Noise</a>, a <a class="external-link" href="http://en.wikipedia.org/wiki/Blank_Noise">volunteer-led arts collective community that started in Bangalore</a> and has now spread to Mumbai, Delhi, Chennai, Calcutta, Chandigarh, Hyderabad, and Lucknow. It seeks to address street sexual harassment and violence by triggering dialogue and building testimonials around notions of "teasing" and "harassment" in the public discourse. The collective has garnered attention and momentum since it was founded in 2003, and ever since, it’s fostering a model of active citizenship across India through its volunteer network. The story of Blank Noise and the working of community art with technology highlight the need to create spaces of expression and experience in which civic and political creativity can develop and unfold organically.</p>
<p style="text-align: justify;">One of the main reflections stemming from my conversation with Jasmeen was the question of how technologies can create a sense of ownership and active citizenship. At the moment, we are moving on to a scenario in which technology has a more pervasive and complex presence. It is no longer judged merely on its connective utility, but is also understood as an actor, a space and a context within the ecosystem of social change and political democratic systems. For this reason, it is paramount to get to know the citizen that is being exposed to, influenced and impacted by these technologies and identify the ways in which his self-identity, social membership and political participation (King and Waldron 1988, Turner 1986, 1990) are being molded by them.</p>
<p style="text-align: justify;">In this post, I aim to unpack ‘active citizenship’ drawing from political science literature around citizenship and civic engagement. The analysis will be based on two dichotomies proposed by Turner: the tension between the active-passive citizen, and the contradictions between its private and public presence. I will then refer to Westmeister and Kahnein, Kabeer, Gaventa and Bennett to identify the type of citizen that Jasmeen Patheja hopes to yield through her project and the main challenges of manoeuvering in the public space. Finally, I will look at some of the tactics taken by Blank Noise to reconcile these tensions through community art and technology. This exploration of citizenship is a first stage in the journey of detecting the undertones of citizen action for social change in the digital era.</p>
<h2 align="center" style="text-align: justify;">Unpacking Citizenship</h2>
<h3><br />ACTIVE VS. PASSIVE CITIZEN</h3>
<p><strong>What is the difference between an active and a passive citizen?</strong></p>
<div class="pullquote">A passive citizen comes to existence as a subject, recipient or client of the state (...) regards its rights as privileges handed down from above (...)complies with norms yet does not act to change circumstances (...)and its security and survival are merely determined by constitutional and common law traditions</div>
<p align="justify">Turner places the citizenship question on two points of contention. The first: the vectorial nature of citizenship and how to recognize an ‘active or passive’ citizen. According to his analysis, a citizen either comes to existence from above as mere subject of the state, or from below as an active bearer of its rights (Mann 1987, Ullmann 1975, Turner 1990). The force and direction from which the citizen emerges has important implications for the self-identity of the individual, its confidence and disposition for political participation (Merrifield, 2001). A passive citizen regards its rights as privileges handed down from above, in such a way that citizenship becomes a strategy for social integration and cooperation (Mann, 1986). Westheimer and Kahne find the manifestation of this model in what they call a “Personally Responsible Citizen”: a dutiful citizen who complies with norms, pays taxes and obeys laws, yet does not act to change the circumstances of other communities (2004). However, defining the citizen as a passive actor constraints its role within its network. If the citizen’ security and survival are merely determined by constitutional and common law traditions, and the negotiation between institutions and the individual (Weber 1958 - refer to Turner 1990), the individual is a disempowered recipient or client (Cornwall, 2007) as opposed to the proactive agent Blank Noise looks to recruit and shape through heir interventions.</p>
<p>Patheja, as shown by the interview, aims to disrupt the passive citizen model by fostering political participation and putting its counterpart: ’the active citizen’ forward. Blank Noise believes the citizen must ground its claims from the grassroots and grow from below; yet still be visible and present in the public space, redefining problematic concepts looming in society’s social imaginary; what Turner would describe as revolutionary citizenship (1990).</p>
<blockquote>
<p><strong>How is your practice building a stronger model of citizenship?</strong><br />Change cannot happen only at one level. It would involve more people and different groups from different communities. For example, with citizen-led street action; we can’t end it there. It needs to push home the cause and make [the issues] visible with the government. How do we work with the government? Learning to ask and not assume it’s all their responsibility, but learning to assert our citizenship. What does it mean to do this? What does it mean to ask for safer cities in a way that it doesn’t become somebody else’s business entirely but that it’s about being able to see we are a society. We must understand the process of citizenship; what it means to be in a democratic country and what means to be a female citizen in it.</p>
</blockquote>
<p align="center"><img src="https://cis-india.org/digital-natives/making-change/blank-noise-citizenship" alt="null" align="middle" title="Public Art, Technology and Citizenship - Blank Noise Project" /><img src="https://cis-india.org/SafeCityPledgeDelhi.jpg/image_preview" alt="Safe City Pledge - Delhi" class="image-inline image-inline" title="Safe City Pledge - Delhi" /></p>
<p align="center">Safe City Pledge - Delhi<br /> <img src="https://cis-india.org/digital-natives/blog/uploads/SafeCityPledgeMumbai.jpg/image_preview" alt="Safe City Pledge - Mumbai" class="image-inline image-inline" title="Safe City Pledge - Mumbai" /><br />Safe City Pledge - Mumbai<br />Courtesy of Blank Noise blog: <span id="url_shortened"><a href="http://bit.do/fHMm">http://bit.do/fHMm</a></span></p>
<blockquote>
<p>The message is: “this is your city, this is your space. Don’t be apologetic for your presence” And over time, Action Heros are reporting change: ”I'm getting my space. I'm not thinking twice about what I have to wear.” [...]So it was not only about a vocabulary shift, but a shift in attitude.</p>
</blockquote>
<div align="justify;" class="pullquote">
<p><br />An active citizen comes from below as an active bearer of its rights (...), feels impelled to engage and mobilize its network (...) keeps government and community members in check (...) and evolves with a higher sense of individual purpose favoring solidarity and maintaining networks of community action.</p>
</div>
<p align="justify"> </p>
<p align="justify">Westheimer and Kahne label this stronger orientation towards a social-change approach as the second degree of civic engagement or as the behaviour of a <strong>‘participatory citizen</strong>’; an individual who feels impelled to engage and mobilize its network, skills and action to respond to a community need. This participation impetus is one of Patheja’s main expectations from its Action Hero Network. However, this entails relying on intimate shifts of behaviour and attitude among the volunteers, which are in essence hard to demand, inculcate and entrench by a third party.</p>
<p style="text-align: justify;">Their approach also reflects a vision of citizenship that relies on collective action (Montgomery, 2004) to, not only keep the government in check as suggested by Westheimer and Kahnne, but other community and society members as well. From Bennett’s point of view and taking the role of information technologies into account, he would define the ideal Action Hero as a self-actualizing citizen. In contrast to its counterpart: the dutiful citizen, who sees its obligation to participate in government-centered activities, the AC evolves with higher sense of individual purpose, favouring and maintaining networks of community action, backed up by a growing distrust in media and the government. In this sense the role of technology is also paramount to how Blank Noise spreads its predicament and expands its outreach:</p>
<blockquote>
<p class="normal"><strong>What is the role of technology and media in your project?</strong><br />Using the web for example, we happened to stumble upon blogging and we realized there was a community there. Once [Action Heroes] started blogging and the press started writing about it, it created a community further. So, going back to the fact that our constant thread of conversation has been the web, there is a large percentage of the English speaking youth who are action hero agents anidd now have the responsibility of taking the conversations and actions forward.</p>
<p class="normal">On the other hand, this is not always the case. In Delhi we did an event in collaboration with Action Aid. Many of the Action Aid volunteers weren’t necessarily on Facebook. They were people who were largely Hindi speaking; their stories were about harassment in slums and these were men and women wanting to do something about the issue. So being a loose volunteer is one way, but identifying different communities is also important. Every space is a point of engagement and we use different forms of media to enable that.</p>
</blockquote>
<p style="text-align: justify;">Citizen participation, communication and mobilization mechanisms, mediated by the state in the past, are now taken up by the people in the form of social protest, civil disobedience, digital activism, consumerism, etc. (Bennett, 2008). The emphasis on collective action also calls for a broader understanding of the citizen, away from the state-conferred rights and duties, and a definition that includes solidarity and membership to broader communities (Ellison 1997), Heater and Kabeer defines this as a “horizontal view” that stresses the relationship between citizens over that of the state and the individual (Heater 2002, Kabeer 2007) and Berlin has also made the connection between group identity and affiliation as a building block of citizenship (1969).</p>
<blockquote>
<p class="normal">[on Giving Letters to Strangers] We trigger a conversation and it takes its own journey. Over time, what does it take to lean back and relax? Each person participates establishing their own level of comfort and every person’s narrative is different. [The project is] happening in Delhi while it is happening in Bangalore; allowing it to happen in a very individual, self-confrontational and at the same time, collective experience. They are doing this alone knowing that others are doing the same.</p>
</blockquote>
<p style="text-align: center;"><br /><img src="https://cis-india.org/home-images/LettersStrangers.jpg/image_preview" alt="Giving out letters to Strangers" class="image-inline image-inline" title="Giving out letters to Strangers" /><br /><br /><br /><br /><strong>Dear Stranger</strong>:<br />Giving out letters to strangers in the streets of Bangalore. Courtesy of Blank Noise blog: <span id="url_shortened"><a href="http://bit.do/fHJw">http://bit.do/fHJw</a></span></p>
<p style="text-align: center;"><span id="url_shortened"><a href="http://bit.do/fHJw"><img src="https://cis-india.org/home-images/copy_of_LettersStrangers2.jpg/image_preview" alt="Giving out letters to Strangers 2" class="image-inline image-inline" title="Giving out letters to Strangers 2" /><br /></a></span></p>
<p style="text-align: justify;">In this way, Blank Noise has envisioned and designed a project that fosters an active, participatory, self-actualizing and horizontal model of citizenship. This combination builds a citizen prototype with a positive disposition and attitude to civic action; traits that Gaventa identifies as elements of empowerment and political agency that can derive into higher possibilities for social change. Having citizens identify community’s ailments as their own and their network’s responsibility, results in conversations that act as causal nexus of community action. The main challenge at the moment is the implementation of this model. To what extent will the Action Hero represent this model uniformly and steadily, preventing dissonance between Blank Noise’s discourse and its practice. And secondly, how will Blank Noise volunteers negotiate their political participation between public and private spaces?</p>
<h3>PRIVATE VS. PUBLIC SPACE</h3>
<p style="text-align: justify;"><strong>Where should the active citizen operate?</strong></p>
<p style="text-align: justify;">The second tension on citizenship, as identified by Turner, is its political expression on the public arena versus its manifestation on the individual’s private space. We asked Jasmeen about the crises and spaces in which Blank Noise is operating:</p>
<blockquote>
<p style="text-align: justify;"><strong>To what crisis is the project responding to?</strong><br />The project responds to the crises and experiences of street harassment. To the sense of getting defensive, agitated, angry; creating a wall and feeling vulnerable in a city. Blank Noise was initiated at a time were street harassment was disregarded and dismissed as teasing. This ‘eve-teasing’, just going by the pulse of things, included concepts of molestation and sexual violence. There was denial, there was silence.</p>
</blockquote>
<p style="text-align: justify;">First point on the public vs. private dilemma lies on the issue at hand. Volunteers are working to re-conceptualize social norms around ‘safety’, ‘agency’ and ‘gender’, that are not only deeply entrenched in society, but that can also be traced back to the private domain of traditions and culture at the household level. By openly discussing ‘sexual harassment’ in the public space and enabling volunteers to express and act on the basis of a new understanding of citizenship and freedom, the collective is possibly also redefining dynamics at the private space of its volunteers. What is more, the motivation and determination to be an Action Hero, as mentioned by Patheja, must be grounded in a "<em>personal shift and challenge</em>".</p>
<blockquote>
<p style="text-align: justify;"><strong>How does this translate it into citizens taking ownership of the cause and sustained behavioral change in everyday practices?</strong><br />Anger is a good starting point. It is worrying when there is no anger. And then it has to be a personal shift. We’ve learned from conversations and feedback that volunteers who would say: “we came to address the issue and we are realizing that we are doing something in ourselves”. So what is the spirit of an Action Hero? Allowing something to shift and challenging something in yourself. Last year for example we worked towards having locality specific Action Hero networks and on how this intuitive citizen can become a full citizen, in terms of being an informed citizen as well.</p>
</blockquote>
<p style="text-align: center;" class="normal"><img src="https://cis-india.org/home-images/copy_of_ActionHeroGame.jpg/image_preview" alt="Action Hero Game" class="image-inline image-inline" title="Action Hero Game" /></p>
<p style="text-align: center;" class="normal">Acton Hero Game. Courtesy of Blank Noise blog: <span id="url_shortened"><a href="http://bit.do/fHKq">http://bit.do/fHKq</a></span></p>
<p style="text-align: justify;" class="normal">The expectation of a personal pledge at the individual, community and public level, signals the project is blurring the lines between the private and public domain and fostering the politicization of the citizen at all fronts. This suggests that in order for the claims and behaviour of Action Heroes to become sustainable, they must also trickle into the common citizen’s routine. In words of Arendt: <em>“the space of appearance comes into being whenever men are together in the manner of speech and action, predating all formal constitutions of the public realm” </em>(1989). Establishing the private-public space as a common ground works towards bringing consistency and coherence to the interventions, yet it remains in many ways problematic and threatening to individual freedoms.</p>
<blockquote>
<p style="text-align: justify;"><strong>Does your project create new spaces for citizen expression and action?</strong><em><br /></em>Our role is to build testimonials and translate them back into the public domain. An example of this is the blogathon that happened in 2006, initiated by our Action Hero. She said: let’s invite bloggers to share their experiences of street harassment. 4-5 male and female Action Heroes made the event happen and in a couple of days we had hundreds and hundreds of testimonials and people talking about this for the first time. Maybe it was the first time speaking about it, remembering things that happened ages ago and that they had never shared. Suddenly the web was seen as a space where people could speak. Suddenly people had so much to say about the issue, the person dismissing the issue and their relationship with their body and the city.</p>
</blockquote>
<p style="text-align: center;"><img src="https://cis-india.org/home-images/TalktoMe1.JPG/image_preview" alt="Talk to Me" class="image-inline image-inline" title="Talk to Me" /><br /><strong>Talk To Me:</strong><br />Creating spaces for conversation and collaboration. Courtesy of Blank Noise blog: <span id="url_shortened"><a href="http://bit.do/fHKq">http://bit.do/fHKq</a></span></p>
<p style="text-align: justify;">Turner reflects on the French revolution tradition to shed light on this particular challenge for active citizenship, as what bound Frenchmen together was their citizen identity (Baker 1987). Passing on from state subjects, to actively voicing their political, civic and social aspirations coupled with meaningful mechanisms of participation. However, how do we reconcile this tradition of positive democracy with the American understanding of citizenship that enshrines the autonomous sanctity of the private space. American individualism values personal success and the main way to exercise political participation is through voluntary associations that do not represent a large-scale force -or a threat- with enough power to shape their lives (Bellah et. al 2008, Turner 1990). Translating this to the Bangalorean context: a changing society in which community- based traditions in the household are coexisting with an agitated and growingly individualist youth culture; the issues and interventions must be addressed in an implicational manner. The connections between the issue and individual freedoms must be made, in order for these actors to be willing to politicize their action in both the public and private spheres.</p>
<h3><strong>MIDDLE CLASS ACTIVISM<br /></strong></h3>
<p style="text-align: justify;"><strong>Can everybody be an active citizen?</strong></p>
<p style="text-align: justify;">The second challenge is rooted in the socio-economic group that comprises the body of volunteers of Blank Noise. I asked Jasmeen the extent to which the Action Hero Network was being led by middle class citizens.</p>
<blockquote>
<p style="text-align: justify;"><strong>Are you only reaching out to the middle class activist that has the resources to be part of the Blank Noise project?</strong><br /> Yes and no. A large percentage of our volunteers are usually web-savvy, English speaking, teenagers or in their early 20s. Others have been around for the last decade. The mainstream media also reports back mainly to the web-savvy groups. But it is also about one action hero inspiring another Action Hero. I find [the project] fascinating in terms of the spaces it leaks into. Some people tell me they were at their religious meeting and they overheard two women talking about the project, who were not necessarily web-savvy. Ultimately the media is not only reporting us but we see them as point of engagement in which more and more citizens take ownership of the issue. Although our network is largely urban middle class, we are at the point where we collaborate largely with other groups that are working with different communities so it completes the entire picture. The question is: how do you take the conversation forward? What can be that medium? and what kind of technology can get to people?</p>
</blockquote>
<div style="text-align: justify;" class="pullquote"><br />
<div align="right">
<div align="left">“We use different strategies to enable dialogue across communities. It could be on the street, on the blog, within a workshop; the web has been a constant space. If you are an Action Hero, yes you may be web-savvy, but you also carry the responsibility to take the conversation to another space."</div>
Jasmeen Patheja</div>
</div>
<p style="text-align: justify;"><br />This demographic is ultimately an interest group leading a movement and has taken on the responsibility of spreading the call to action among its network. Foregoing the assumption that every Indian citizen wants to challenge concepts of sexual harassment in the city, the fact that one group is spreading a specific opinion puts forward a tension between the dynamics of public social protest and the existence of privatized dissent. Turner reflects on Mill’s On Liberty and shows how this could entail a threat of spreading mass opinion to the extent it makes all people alike (Turner, 1990).</p>
<p style="text-align: justify;">Kabeer also highlights this by exploring the tension between universality versus particularity — a debate that questions the extent to which human rights advocacy in the public sphere will be equally received and supported by every group, given diversity of opinion within as well as obstacles to freedom of speech. Nyamu-Musembi attempts to bridge this dichotomy by framing universality as “the experience of resistance to general oppression” and particularity as “how resistance speaks to each relevant social context”. In order to have the issue speak to all citizen groups, Blank Noise is currently also depending on the the ability of its Action Heroes to pass on a message that speaks to the different needs and cultural sensibilities of communities who do not belong to the Anglo-speaking middle class it is currently operating with.<br /><br />In response to having the protest of a specific social group translate into homogenized dissent, Jasmeen is looking to increase her outreach by approaching and working with other groups.</p>
<blockquote>
<p style="text-align: justify;"><strong>How can you build effective solidarity networks among middle class activists, their networks and further communities?</strong><br />It is an attitude we are trying to push forward: have that conversation with your grandma; with your domestic help. We would love to do something with domestic workers for example. We don’t hear enough stories of who empowers or harasses them. That’s definitely a rising concern within the collective. We really need to have the complete spectrum and what kind of technology or strategies can be used to get it. Identifying these groups is a proposed future project and also an ongoing preoccupation. For now, our role is to trigger conversations and have them take their own journey.</p>
</blockquote>
<p style="text-align: justify;"> </p>
<h3 style="text-align: justify;">METHODS FOR CHANGE</h3>
<p><strong>How does the combination of art and technology foster active citizenship?<br /></strong></p>
<h3 style="text-align: justify;"></h3>
<p style="text-align: justify;">Some of the strategies Blank Noise has devised to overcome these obstacles relate back to the interdisciplinary design of its interventions. First, they are designed to be highly visible and aimed at triggering dialogue. This enables opinions and thoughts to flow from the private space into the public realm. Also, community art and technology as tools of expression and reflection, work as effective channels for responses to flow back and forth between both spaces.</p>
<blockquote>
<p style="text-align: justify;"><strong>Why did you take a multi-stakeholder approach and brought together technology and art?</strong><br />The entire collective is really based on defining strategies and identifying approaches to breaking denial and building conversation. Our role is enabling dialogue across forms of media and using different strategies to enable dialogue across communities. There are also lots of questions of how to create an art practice that can be collaborative and participatory. Where does art exist? How can art exist, be, feel confrontational? Can arte provoke? How can we build testimonials? Could be on the street, on the blog, twitter or within a workshop. The web has been a constant space. We also work with the web in a way that we have a growing community of Action Heroes, and if you are web-savvy, you carry the responsibility to take the conversation to another space.</p>
</blockquote>
<p style="text-align: center;"><img src="https://cis-india.org/home-images/copy_of_Twitter.jpg/image_preview" alt="Twitter" class="image-inline image-inline" title="Twitter" /><br />Twitter campaign. Courtesy of: <span id="url_shortened"><a href="http://bit.do/fHLK">http://bit.do/fHLK</a></span><br /><br /><img src="https://cis-india.org/home-images/Ineverasked1.jpg/image_preview" alt="I never asked for it" class="image-inline image-inline" title="I never asked for it" /><br />Public art installation to redefine sexual harassment and eve-teasing. Courtesy of Caravan Magazine: <span id="url_shortened"><a href="http://bit.do/fHLV">http://bit.do/fHLV</a></span></p>
<p align="justify">Bennett and his work on civic engagement in the digital age, notes that one of the main strategies for positive civic engagement is nurturing creative and expressive actions in this generation.</p>
<blockquote>
<p style="text-align: justify;"><strong>How does this approach work towards creating sustainable change?</strong><em><br /></em>We are creating tool kits for different ideas so the community can take it forward. There are many creative processes that equip them to initiate action in a community space. For instance, the Yelahanka Action Heroes workshop (http://yelahankaactionheroes.wordpress.com/), was a one month initiative that got Sristhi students to arrive to action heroism through games, like the Hahaha Sangha for example. We invited women out of their homes, and we would speak through pure laughter, gibberish and a sense of play. In doing that, people felt they knew each other. Anonymity was broken, people felt comfortable and safety was established. We are working towards creating safe public spaces and going beyond the biases that come from language or through age. But through the Hahaha Sangha we found there is still a need for facilitators to continue the project with the purpose of creating a safe space. Also, one of our interns is in charge of creating an Action Hero College Network and spreading information about different events, calendars, etc. It is still fluid but we are moving in that direction. Action Heroes are the strength of the project.</p>
</blockquote>
<p style="text-align: center;"><img src="https://cis-india.org/home-images/copy_of_Hahaha.jpg/image_preview" alt="Hahaha" class="image-inline image-inline" title="Hahaha" /><br />Hahaha Sangha sessions - Courtesy of Blank Noise blog <span id="url_shortened"><a href="http://bit.do/fHMb">http://bit.do/fHMb</a></span></p>
<p style="text-align: justify;">The ideal of an engaged youth must be sustained by the empowerment of young people; getting them to recognize their personal expression and identities in collective spaces (Bennett, 2008). By setting in place mechanisms and opportunities to critically dissect societal problems and develop a political perspective as put forward by Westheimer and Kahne, as well as the awareness, self-identity and political confidence to act, as noted by Gaventa, the Blank Noise interventions become a context in which active citizenship is more likely.</p>
<h3 style="text-align: justify;">Conclusion</h3>
<p style="text-align: justify;">This analysis, part of the Methods of Social Change research project, aimed to shed light on how change-makers such as Blank Noise still place a heavy consideration on the notion of citizenship when designing, framing and implementing their projects. What is more, it is paramount to identify the working characteristics of an ‘active citizen’ and reflect on whether these are desirable and necessary in the populace to make political and social change more likely. It also contributes to the Making Change project by unpacking the workings of a change actor that is not confined to the ‘category of citizen’ but is still closely linked to processes of citizen action and social change in Bangalore.</p>
<p style="text-align: justify;">As seen throughout this post, the analysis of our citizen is not grounded on its relationship with the state, but instead on its disposition, self-identity and notion of social membership. After identifying our ideal active citizen: an active bearer of his rights, that defines itself horizontally in relation to other citizens and their rights, participates in political processes and is informed about and at odds with power imbalances, the Blank Noise experience demonstrated spatial tensions in implementing this ideal and practice in the public and private realms. Designing strategies and identifying technologies that enable a flow of thought and action between both spaces is a way of restructuring the ecosystem in which volunteers from the Action Hero Network interact with each other, reclaim their citizenship and alter the status quo from within. While Blank Noise is not starting a revolution, it is consolidating a process of steady and growing resistance in the public and private discourse of sexual harassment and eve-teasing in the city.</p>
<p style="text-align: justify;">Shah also notes there are implicit codes allowing only certain people to embrace this model of citizenship. This was evident on the demographic that comprises the activist bases of Blank Noise and the risks of homogenizing the political space with their discourse of change. Jasmeen Patheja brought this point forward herself, but with full confidence on the ability of dialogue and conversation to keep luring other social groups and communities into joining the debate. We discussed opportunities from exploring the foreign women experience in the public space in India to expanding the Blank Noise basis through simultaneous international interventions enabled and coordinated through technology. The network is ever-growing and its mechanisms of change are constantly innovating and adapting through its content. In the meantime, the ‘active citizen’ remains at the core of it all, pushing the project forward; fighting among other battles, that of its identity’s reassertion in the landscape of change.</p>
<hr />
<h2 style="text-align: justify;">Sources</h2>
<ol>
<li>Arendt, Hannah (1989) The Human Condition. Chicago, IL and London: The University of Chicago Press.</li>
<li>Baker, Keith Michael. <em>The French Revolution and the creation of modern political culture</em>. Vol. 3. Pergamon Press, 1987.</li>
<li style="text-align: justify;">Bennett, W. Lance. "Changing citizenship in the digital age." <em>Civic life online: Learning how digital media can engage youth</em> 1 (2008): 1-24.</li>
<li>Berlin, Isaiah. "Two concepts of liberty." <em>Berlin, I</em> (1969): 118-172.</li>
<li style="text-align: justify;">Bellah, Robert Neelly, ed. <em>Habits of the heart: individualism and commitment in American life: with a new preface</em>. University of California Pr, 2008.</li>
<li style="text-align: justify;">Cornwall, Andrea, and Vera Schatten Coelho, eds. <em>Spaces for change?: the politics of citizen participation in new democratic arenas</em>. Vol. 4. Zed Books, 2007.</li>
<li>Ellison, N. (1997) ‘Towards a new social politics: citizenship and reflexivity in late modernity’, Sociology, 31(4): 697–717.</li>
<li style="text-align: justify;">Gaventa, John, and Rajesh Tandon “Citizen engagements in a globalizing world." <em>Globalizing citizens: New dynamics of inclusion and exclusion</em> (2010): 3-30.</li>
<li style="text-align: justify;">Heater, D. (2002) World Citizenship: Cosmopolitan Thinking and Its Opponents, London: Continuum</li>
<li>Kabeer, Naila, ed. <em>Inclusive citizenship: Meanings and expressions</em>. Vol. 1. Zed Books, 2005.</li>
<li style="text-align: justify;">Kathryn Montgomery et al., Youth as E-Citizens: Engaging the Digital Generation. Center for Social Media, 2004. Retrieved February 15, 2007. <a href="http://www.centerforsocialmedia.org/ecitizens/project.htm">http://www.centerforsocialmedia.org/ecitizens/project.htm</a>.</li>
<li style="text-align: justify;">Mann, Michael. "Ruling class strategies and citizenship". <em>Sociology </em>21, no.3 (1987): 339-354</li>
<li>Shah, Nishant “Whose Change is it Anyways? <em>Hivos Knowledge Program. </em>April 30, 2013.</li>
<li>Turner, Bryan. Outline of a Theory of Citizenship. Sociology (May 1990), 24 (2), pg. 189-217</li>
<li style="text-align: justify;">Westheimer, Joel, and Joseph Kahne. "What kind of citizen? The politics of educating for democracy." <em>American educational research journal</em> 41, no. 2 (2004): 237-269</li></ol>
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For more details visit <a href='https://cis-india.org/digital-natives/making-change/blank-noise-citizenship'>https://cis-india.org/digital-natives/making-change/blank-noise-citizenship</a>
</p>
No publisherdenisseSocial MediaWeb PoliticsDigital NativesMaking ChangeBlank Noise ProjectResearchers at Work2015-04-17T10:43:55ZBlog EntryProduction Sprint — A Public Exhibition at CIS
https://cis-india.org/digital-natives/events/production-sprint-public-exhibition-at-cis
<b>The Making Change project invites you for a public exhibition of stories of change from all over Asia, where the first of its Production Sprints will take place. The exhibition will be held at the Centre for Internet and Society (CIS) office in Bangalore on June 7, 2014 between 5 p.m. and 7 p.m.</b>
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<p><a href="https://cis-india.org/digital-natives/blog/mc-flyer.pdf" class="internal-link">Download the event flier</a> [PDF, 402 Kb]</p>
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<p style="text-align: justify;">What does 'Making Change' mean to you? What are the processes of change? The infrastructure of change? The actors of change? A round-table discussion and exhibition by 23 change makers from 15 countries in Asia, at the Centre for Internet & Society, Saturday, 7th June, 5 - 7 p.m. Please do come.</p>
<p style="text-align: justify;">The Making Change project questions traditional understandings of change –where change is employed in the name of power, reduced to a ‘spectacle’ by global media and goes largely unquestioned in the public discourse- and aims to build more adequate frameworks to address the idea of change in the context of common knowledge, networked media and information societies.</p>
<p style="text-align: justify;">Making Change is hosting focused, intensive, and production-oriented workshops called <strong>Production Sprints</strong> to facilitate the convergence of actors and ideas.These will be spaces of knowledge exchange between change-makers around processes, narratives and experiences of change and of experimentation with multi-modal forms and formats of knowledge production (text, image, sound, etc). Participants will be asked to group around four topics: concepts, crises ecologies and networks of change. These visions and practices, we hope will produce new ways of thinking about change.</p>
<p>During the Bangalore production sprint, we will document the various knowledges acquired through the pre-production stage and the 5 day intensive sessions on formats, storytelling and visual presentation modes; and we will close with an exhibition of the resulting narratives of change. We invite you to come and participate in the exhibition.</p>
<p>Date: June 7th, 2014<br /> Time: 5pm- 7pm<br /> Location: The Center for Internet and Society</p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/events/production-sprint-public-exhibition-at-cis'>https://cis-india.org/digital-natives/events/production-sprint-public-exhibition-at-cis</a>
</p>
No publisherpraskrishnaRAW EventsMaking ChangeNet CulturesResearchers at WorkEvent2015-10-24T14:23:30ZEventMultimedia Storytellers: Panel Discussion
https://cis-india.org/digital-natives/making-change/multimedia-storytellers
<b>This post brings three storytellers together to find points of intersection between their methods. The format will be that of a panel discussion and it features: Arjun Srivathsa from Pocket Science India, Ameen Haque from the Storywallahs, and Ajay Dasgupta from The Kahani Project. They discuss technology, interpretation and action in storytelling. </b>
<pre>CHANGE-MAKERS: Arjun Srivathsa, Ameen Haque and Ajay Dasgupta
ORGANIZATIONS:Pocket Science India, The Storywallahs and The Kahani Project
METHOD OF CHANGE: Storytelling</pre>
<p align="justify">Over the last couple of weeks, I had the privilege of interviewing three storytellers. What struck me the most, besides from their fascinating ideas about storytelling, was how many of their ideas overlapped. As much as I would love to sit all of them in the same room and enjoy the fireworks, there are a number of logistical constraints that shut my storyteller reunion daydreams down; so for this post, I decided to be a self-appointed liaison between you and them. I will mimic this discussion by putting my conversations with them side by side, in the format of a panel discussion. Their interaction will have to happen in the realm of your imagination.</p>
<p align="justify">The questionnaire I used for my interviews was open-ended. I was curious to hear what they wanted to share about their work, as opposed to filtering and steering the conversation in a certain direction; so I let them take their own turn. While I clearly inquired about the relationship between storytelling and making change, it was fascinating to see each storyteller reach the question of ‘social impact' through different channels; testimony of the influence of their education and professional backgrounds in their work.</p>
<p align="justify">If I were to bring them together, the topic of the discussion would be: '<strong>Technology, Interpretation and Action in Storytelling</strong>'. We briefly discussed mediation and semiotics<strong><a name="fr1" href="#fn1">[1]</a></strong> in the <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance#pre-production">Pre-Production</a> section of the <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance">Storytelling as Performance</a> post. We mentioned then:</p>
<p align="justify" class="callout"><em>"mediums are combined to enhance the visibility of the message and the power of the experience of stories. [...] Each medium: video, audio, text, music, etc.- becomes “a new literate space” or “symbolic tool” storytellers use to portray narratives about the self, community and society (Hull, 2006)”</em></p>
<em>
</em>
<p align="justify">These thoughts were triggered by the work of the French philosopher, <a href="http://plato.stanford.edu/entries/ricoeur/">Paul Ricoeur</a>, who considers our self-identity a result of sign mediation and interpretation. Other themes in his work include: discourse and action, temporality, narrative and identity; also useful and relevant when exploring how storytelling and reality intersect. For example, how does building a narrative develop into a discourse that mirrors our context and existence? How does the medium chosen to carry this narrative define the language system of our discourse? Finally, let’s not forget this discussion is happening amid the digital question: how does the mediation of digital technologies enable or constrain our narratives of change?</p>
<p align="justify">Against this background, I would like to propose a discussion around five points of intersection that came up organically* during my conversations with them.</p>
<blockquote>
<p>a)<strong> The power of storytelling</strong>: <br />What makes it a powerful vehicle of communication? How does this practice break from more traditional strategies of information dissemination?</p>
<p>b) <strong>Storytelling as a vehicle to make change: <br /></strong>How does the practice of storytelling intervene in the social imagination of its audience? Is it the experience or the content of stories what drives the message of change forward? Where does change happen: at the value, behavioral, community or macro level?</p>
<p>c)<strong> The role of technology in storytelling:</strong> <br />What is the part technology plays in storytelling vis-a-vis traditional storytelling? Is it a static infrastructure or does it shape the force and direction of the story? How does technology influence and impact their work</p>
<p>d) <strong>Translating awareness to action through stories: </strong><br />Can you guarantee the ideas and values imbued by the story will translate into action in the public space?</p>
<p>e)<strong> Influence of stories on citizenship and political participation:</strong> <br />Can the power of stories be leveraged to instill a sense of responsibility in the audience?</p>
<p align="justify" class="discreet">* With the exception of Arjun Srivathsa, who addressed these points in a conference I attended. He later responded to a questionnaire in which I inquired about the intersections specifically.</p>
</blockquote>
<h2 align="justify">Introductions<br /></h2>
<p align="justify">We first have <strong>Arjun Srivathsa</strong>. He has a Masters in Wildlife Biology and Conservation and currently works as a Research Associate for the Centre for Wildlife Studies (CWS India). In tandem, he started Pocket Science India, an initiative that combines wildlife science with art and cartoons to promote conservation in India and disseminate information from scientific journal articles. He aims to bridge the gap between the work of scientists and people using art and humour.</p>
<p class="callout">
<strong>Arjun:</strong> I find the world of science and scientists very cool. Finding new things, discovering and inventing ways to understand the world better is an awesome way of life. I chose a career in science for this reason, second only to my love for nature and wildlife. But the essence of science, according to me, is not just to discover, but also to communicate. Even though wildlife research in India has progressed massively in the past few decades, the only notion people have is that of exaggerated scenes from television documentaries. When I discovered that most of the work by Indian scientists on wildlife and conservation of India is making no difference to people (mostly because they are unaware), I decided to use the easiest way to bridge the gap: through humour and art.</p>
<p align="justify">Second speaker<strong> </strong>is<strong> Ameen Haque</strong> from <a href="http://www.thestorywallahs.com/">The Storywallahs</a>. In what he calls his past life, he worked for 18 years in Advertising and Brand Strategy Consulting. Ameen also has a background in theatre and now works as as storyteller for The Storywallahs.</p>
<p align="center"><iframe src="//www.youtube.com/embed/F8U5HAI-0TI" frameborder="0" height="315" width="420">&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/center&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;</iframe></p>
<p align="justify">Finally, we have <strong>Ajay Dasgupta</strong>, the founder of <a href="http://thekahaniproject.org/">The Kahani Project</a>, who also has a background in theatre and believes listening to stories is a fundamental right of children. His team works to capture stories in audio format and make them accessible.</p>
<iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/144633144&color=00aabb&auto_play=false&hide_related=false&show_artwork=true" frameborder="no" scrolling="no" height="166" width="100%"></iframe>
<p>I will now invite them to share their thoughts on the points described above. Each panelist will respond to the questions using<strong> a different medium</strong>: Arjun will comment with text and images, Ameen will comment with video and Ajay will comment using audiobytes. The idea is for each storyteller to use the medium and language they use for their own storytelling: cartoons, body language and audio respectively, as we explore how this choice mediates how they conceptualize change. I will act as a moderator and comment on common themes in the light of Paul Ricoeur’s characteristics of narratives.</p>
<h2>1. The Power of Storytelling<br /></h2>
<h3>What makes it a powerful vehicle of communication?</h3>
<p> </p>
<h2></h2>
<div class="pullquote"><span id="docs-internal-guid-10dcb36e-642b-76be-1e09-54a2a3103a5c">“narrative attains full significance when it becomes a condition of temporal existence” Time and Narrative<br /></span></div>
<div><span id="docs-internal-guid-10dcb36e-642b-76be-1e09-54a2a3103a5c"></span></div>
<p align="justify">The first characteristic of narratives according to Ricoeur is:<strong> the ability to bring independent elements and episodes together into a plot within a specific context and time</strong>. The relationship between time and narrative is addressed by the philosopher in his work <em>'Oneself as Another</em>,' in which he frames narratives as the most 'faithful articulations of human time'. This leads to an understanding of time as a framework where we can locate unique events and patterns, trajectories and sequences. Our three storytellers comment on how stories are an effective mean to communicate information, and how this information resonates because it can be located in the frame of our human existence.</p>
<p class="callout">
<strong>Arjun:</strong> Storytelling really is the nascence of any communication technique. As kids we were all told stories with bees and birds, which spoke and thought. The moral life lessons and similar “information” were served to us on these fascinating platters.</p>
<div align="center"> <img src="https://cis-india.org/home-images/1524964_614398581930298_1037858013_n.jpg/image_preview" alt="Pocket Science 1" class="image-inline image-inline" title="Pocket Science 1" /></div>
<div align="center">
<div align="center"><span id="fbPhotoSnowliftCaption" class="fbPhotosPhotoCaption"><span class="hasCaption"><em>Dugongs are closely related to whales and dolphins. They are peaceful mammals that swim around gracefully and feed on sea grass. <br />They are categorized as “VULNERABLE” because there are not too many of them left in the world. </em>
</span></span></div>
<span id="fbPhotoSnowliftCaption" class="fbPhotosPhotoCaption"><span class="hasCaption">
<p align="center">Find full cartoon <a href="https://www.facebook.com/photo.php?fbid=614398581930298&set=a.614397888597034.1073741836.609687355734754&type=1&theater">here</a></p>
</span></span></div>
<p class="callout">At some point in life, we all seem to stop appreciating the power of storytelling. Plain reporting of information has been done to death. Even an amazing discovery written as a formal report will fail to excite audience. It is time we all get back to appreciating stories. They sell. Movies generally do better than documentaries don’t they?</p>
<p align="justify"><strong>Ameen:</strong></p>
<p align="center"><iframe src="//www.youtube.com/embed/Q5fphRoT-2k" frameborder="0" height="315" width="420"></iframe></p>
<p align="justify"> </p>
<p><strong>Ajay:</strong></p>
<p align="center"><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/144633135&color=00aabb&auto_play=false&hide_related=false&show_artwork=true" frameborder="no" scrolling="no" height="166" width="100%"></iframe></p>
<h2>2. Storytelling as a vehicle to make change</h2>
<h3> How and where does change happen?</h3>
<p> </p>
<div class="pullquote">“All action is in principle interaction [...] change happens through interaction, as others are also encouraged to change” From Text to Action</div>
<p style="text-align: justify;" dir="ltr">The second characteristic of narratives is how the <strong>episodes in our narratives involve contingencies that will be shaped and reformulated through the development of the story</strong>. The narratives are constructed in such a way that induce us to imagine possible events in the future and how we would act in said circumstances. This characteristic is supported by Ricoeur's understanding of the <a href="http://plato.stanford.edu/entries/ricoeur/#3.2">'self' as an 'agent'</a>, who can act and influence causation by taking initiative or interfering<strong><a name="fr1" href="#fn1">[2]</a></strong> in the story. Even if the listener cannot necessarily influence the outcome of the story (unless it is participatory storytelling), it triggers thoughts about its capability to act and its ability to change future realities, as he imagines himself n the situation of its characters. This out-of-body experience is what turns story into experience.</p>
<p style="text-align: justify;" dir="ltr">Our storytellers comment on how stories can influence and activate our agency and enable listeners to act towards creating change.</p>
<p class="callout"><strong>Arjun: </strong>Of course! Like I said, it is easier to influence people when you are not being preachy. Storytelling sidesteps the moral high ground that change makers are often blamed to occupy and takes a pleasantly shrewd path, as silly as it may sound.</p>
<table class="plain">
<thead>
<tr>
<th>
<div align="center"><img src="https://cis-india.org/home-images/PS.jpg/image_preview" alt="Pocket Science 4" class="image-inline image-inline" title="Pocket Science 4" /></div>
</th>
<th>
<div align="center"><img src="https://cis-india.org/home-images/PSI2.jpg/image_preview" alt="PSI2" class="image-inline image-inline" title="PSI2" /></div>
</th>
</tr>
</thead>
<tbody>
<tr>
<td>
<em> </em><em><span id="fbPhotoSnowliftCaption" class="fbPhotosPhotoCaption"><span class="hasCaption">#2:
Increase in wildlife tourism has been brought about by the increasing
population of the ‘Tourist’. This species is easy to recognize (see
figure). The species has created an ecosystem of its own. It eats any
kind of high or low profile food. Lives in resorts. Seeks charismatic
animals like the tiger. Its daily activity involves excessive use of its
camera. This species facilitates wildlife tourism </span></span></em></td>
<td><span id="fbPhotoSnowliftCaption" class="fbPhotosPhotoCaption"><span class="hasCaption"></span></span><em>#9: Wildlife tourism is an excellent way to
expose people of India and abroad to its rich natural heritage [...] We
definitely need to regulate the number of tourists to avoid crowding in
the forests, but we also need to educate tourists, especially the
first-timers, about wildlife and its conservation. The tourist can be an important tool in conservation –
let’s not let it go waste!</em>"<br /></td>
</tr>
</tbody>
</table>
<p align="center">Find full cartoon <a href="https://www.facebook.com/photo.php?fbid=609780439058779&set=pb.609687355734754.-2207520000.1396426793.&type=3&theater">here</a>.</p>
<p align="justify" class="callout">To the question of where we locate change, it depends on what this change is. Through my work, I often target <strong>individuals and smaller communities</strong> (say students, villagers etc.). I don't necessarily grab my paintbrush and declare that I will change the world. My idea of change is a tailored, targeted and therefore an efficient influence on individuals.</p>
<p align="justify"><strong>Ameen:</strong></p>
<p align="center"><iframe src="//www.youtube.com/embed/GJpeQMltaT4" frameborder="0" height="315" width="420"></iframe></p>
<p align="justify"><strong>Ajay:</strong></p>
<iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/144633137&color=00aabb&auto_play=false&hide_related=false&show_artwork=true" frameborder="no" scrolling="no" height="166" width="100%"></iframe>
<h2><br /></h2>
<h2>3. The role of technology in storytelling</h2>
<h3>How does technology influence and impact your work?</h3>
<p> </p>
<p style="text-align: justify;" dir="ltr">Ricoeur’s thoughts on the relationship between text and action, makes us reconsider how we think about ‘<em>text</em>’ and how this reading can be applied to technology. According to him, the distinction between text and action is not at the linguistic, but at the discursive level. This is how he differentiates language from discourse:</p>
<table class="plain">
<thead>
<tr>
<th><br /></th>
<th>Language<br /></th>
<th>Discourse<br /></th>
</tr>
</thead>
<tbody>
<tr>
<td>Structure</td>
<td>A system: timeless and static<br /></td>
<td>Located at a given time and moment<br /></td>
</tr>
<tr>
<td>Composition</td>
<td>A sequence of signs<br /></td>
<td>A sequence of events that describe, claim and represent the world<br /></td>
</tr>
<tr>
<td>Meaning</td>
<td>Refers to signs<br /></td>
<td>Refers to the world<br /></td>
</tr>
<tr>
<td>Communication</td>
<td>Provides codes for communication. <br />Necessary but not sufficient<br /></td>
<td>Communicates</td>
</tr>
</tbody>
</table>
<p align="justify">Using these working definitions, we can understand the medium as <strong>a language:</strong> a system that provides us with signs and codes for communication. A creative use of language and mediums will hence, enable us to create narratives and produce meaning (which will be generated and negotiated by the audience). Technology is in this case our language, and how each storyteller uses it determines new ways to create meaning: experiences, connections and associations with and within their stories. We now ask them if/how the use of this 'language' mediates and impacts their work.</p>
<p align="justify" class="callout"><strong>Arjun:</strong> Technology is the best facilitator in the realm of my science-art-communication. I depend on it extensively, to first educate myself. Then to create artwork (computer, tablet, smartphone). And then eventually I depend heavily on social media to broadcast my work. I will definitely credit the power of technology for fostering and enabling effective communication.</p>
<div align="center"><img src="https://cis-india.org/home-images/PSI3.jpg/image_preview" alt="PSI3" class="image-inline image-inline" title="PSI3" /></div>
<p align="center"><em># 11: The story of Ajoba was carried far and wide in newspapers, television news and the internet</em>. Find full cartoon <a href="https://www.facebook.com/photo.php?fbid=610114332358723&set=pb.609687355734754.-2207520000.1396426793.&type=3&theater">here</a>.</p>
<p align="justify" class="callout">In my capacity, I feel most confident targeting students and urban youth. But thanks to the power of social media, putting my work out there has grabbed the attention of change-makers who are capable of things that is beyond my scope. This has led to collaborations through which the reach has become wider. Teachers use my art work in their classes, some organisations are using it in forest department buildings to educate visitors, some local groups have translated my work into regional languages.</p>
<p align="justify"><strong>Ameen:</strong></p>
<p align="center"><iframe src="//www.youtube.com/embed/25EAnt1yi94" frameborder="0" height="315" width="420"></iframe></p>
<p align="justify"><strong>Ajay:</strong></p>
<iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/144633141&color=00aabb&auto_play=false&hide_related=false&show_artwork=true" frameborder="no" scrolling="no" height="166" width="100%"></iframe>
<h2><br /></h2>
<h2>4. Translating awareness into action through stories<br /></h2>
<h3>Can you guarantee the ideas and values imbued by the story translate into action in the public space?</h3>
<p> </p>
<div class="pullquote"> “what must be the nature of action...if it is to be read in terms of change in the world?” From Text to Action</div>
<p id="docs-internal-guid-10dcb36e-6935-a65e-1136-120c46ff2174" style="text-align: justify;" dir="ltr">So far they have told us about the power and content of stories. However, we have yet to find out what is it in stories that make listeners translate fiction into real life action. Ricoeur's final characteristic of narratives points us in the direction of empathy and interpretation.</p>
<p style="text-align: justify;" dir="ltr">Like discourse, action is open to interpretation. He posits t<strong>hat characters of our stories rise to the status of ‘persons’ when we evaluate their actions, including their doings and sufferings</strong>. This ethical verdict determines the identity of the character in the eyes of the audience (above any other physical or emotional characteristics) and this is what ultimately adds meaning to the events of the story, as it inspires the audience to emulate or reject this behavior through their actions.</p>
<p style="text-align: justify;" dir="ltr">We asked our storytellers their thoughts on how to translate stories' messages into meaningful action, or if it was even possible to guarantee this transition to begin with:</p>
<p align="justify" class="callout"><strong>Arjun:</strong> I don’t [know]. One never does, I feel. But a lot of good awareness programs have made me change little things in my life. The people or groups who initiated those campaigns don't know of this, do they? This is somewhat similar. I believe that even if ONE person in the thousand who view my work gets influenced into making little changes, then it was worth my time and effort.</p>
<p align="justify"><strong>Ameen:</strong></p>
<p align="center"><iframe src="//www.youtube.com/embed/neFe7kj8dIc" frameborder="0" height="315" width="420"></iframe></p>
<p align="left"><strong><br /></strong></p>
<p align="left"><strong>Ajay: </strong>(Ajay commented on the impact of stories while we were discussing how to gauge the impact of his work. In our first conversation he said:<em> "Change is happening but there are no tests that can measure it and quantify it.</em>" and he elaborates on this idea below:)</p>
<iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/144633138&color=00aabb&auto_play=false&hide_related=false&show_artwork=true" frameborder="no" scrolling="no" height="166" width="100%"></iframe>
<p align="left"> </p>
<h2 align="left">5. Influence of stories on citizenship and political participation<br /></h2>
<h3>Can the power of stories be leveraged to instill a sense of responsibility in the audience?</h3>
<div class="pullquote"><br />"You can only achieve power in common by including the opinions of as many people as possible in the discourse"</div>
<p align="justify"> </p>
<p align="justify">Finally, as stated in the brief of the project on methods for change, we are also interested in defining how political participation should be manifested in the public space. Ricoeur frames political action as a result of discourse and political deliberation.For a brief discussion of the relationship between storytelling and our political identity visit <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2">Part 2 of Storytelling as Performance</a>.)</p>
<p align="justify">This last section captures the storytellers' point of view on how stories may affect our sense of citizenship and political responsibility.</p>
<p align="left" class="callout"><strong>Arjun</strong>: We are living in a society which is becoming increasingly insensitive and arrogant. There seems to be no time to stop and see the big picture: what are we doing? are our demands and lifestyles sustainable? Is the future generation secure? Impacts of our actions on the natural world.</p>
<table class="plain">
<tbody>
<tr>
<td><img src="https://cis-india.org/home-images/1511040_609776472392509_490391694_n.jpg/image_preview" alt="Pocket Science 2" class="image-inline image-inline" title="Pocket Science 2" /></td>
<td><img src="https://cis-india.org/home-images/copy_of_1533944_609777242392432_1081033930_n.jpg/image_preview" alt="Pocket Science 3" class="image-inline image-inline" title="Pocket Science 3" /></td>
</tr>
<tr>
<td> <span id="fbPhotoSnowliftCaption" class="fbPhotosPhotoCaption"><span class="hasCaption">#1: Most of us love seafood. And why shouldn't we? It tops the charts as some of the most delicious delicacies in the world! It so happens that we rarely think about what goes on
“behind-the-scenes” and take many things for granted. The story behind
how food reaches your plate is quite a scary one!</span></span></td>
<td> <span id="fbPhotoSnowliftCaption" class="fbPhotosPhotoCaption"><span class="hasCaption">#12: So next time you feel like a getting a seafood dinner, do it with some perspective.</span></span></td>
</tr>
</tbody>
</table>
<div align="center">Find full cartoon <a href="https://www.facebook.com/media/set/?set=a.609776052392551.1073741831.609687355734754&type=1">here</a></div>
<strong>Ameen:</strong>
<p> </p>
<p align="center"><iframe src="//www.youtube.com/embed/lO0y0QZ3vhQ" frameborder="0" height="315" width="420"></iframe></p>
<p> </p>
<p><strong>Ajay</strong>:</p>
<iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/144633136&color=00aabb&auto_play=false&hide_related=false&show_artwork=true" frameborder="no" scrolling="no" height="166" width="100%"></iframe>
<p> </p>
<h2>Closing Remarks</h2>
<p align="justify">I hope you enjoyed reading, watching and listening these three wonderful storytellers share their ideas on technology, interpretation and action. The question that remains unresolved is whether the effect of the story is shaped by the use of technology or not. At the end of the day it is the interpretation of stories -more than what it is said and how it is being said- what will determine the sustainability of these intents for change. The answers of our storytellers reinforce the notion that technology is a system, a language, a medium that transports our messages and intentions, but that inherently lacks the ability to provide guarantees for action and sway users into a lifestyle of responsible citizenship the second they pull out from their cartoon, screen or mp3.</p>
<p> The box below includes a quick run through the main ideas discussed throughout the post:</p>
<blockquote>
<p>1. <strong>On the power of storytelling: </strong></p>
<ul><li>Arjun argues that storytelling is the origin of all communication techniques, and this makes it extremely attractive for the public. <br /></li><li>Both Ajay and Ameen bring up the ability to influence behavior, shape the minds of people and transmit experiences, values and beliefs.</li><li>Both also brought up how dominant religions, ideologies, markets governments use storytelling to build movements and sustain their support</li><li>Finally Ajay comments on the issue of access: stories are powerful yet only a small share of stories are being told Hence, the need for this method to become more pervasive.</li></ul>
<br />
<p>2. <strong>Storytelling as a vehicle for change:</strong><br />Each storyteller locates change in different yet complementary spaces:</p>
<ul><li>Arjun believes it must occur at the community level and hence the approach (stories) must be tailored and targeted in order to achieve an effective influence. His approach to change is very contextual.</li><li>Ameen locates it at the behavioral level; in our ability to make decisions and choices. His approach to change is based on how we use information from stories to interact with our surroundings.</li><li>Ajay locates it at the value level: He believes stories should influence us to adjust our values and only then, we will shape our behavior accordingly.</li></ul>
<br />
<p><strong>3. Role of technology:<br /></strong>We approached technology as a 'text' and as a 'language' that creates new possibilities for meaning and interpretation.</p>
<ul><li>For Arjun and Ajay, technology enabled them to connect with other organizations and increased possibilities for partnerships and collaborations. </li></ul>
<ul><li>The three of them believe technology is an accelerator of the journey of stories and that it enables them to reach a larger audience.</li><li>Ameen argued that each medium requires different fluencies, and that the language of each medium should be adapted for the story. For example, a story will be told in different ways if using body language, video, audio, etc. He uses the example of the <a href="https://cis-india.org/digital-natives/making-change/Twitter">Twitter adaption of the Mahabharata.</a><br /></li><li>Ajay closes by noting that although technology enables, it cannot replace the storyteller. <br /></li></ul>
<br />
<p><strong>4. Translating awareness into action</strong></p>
<ul><li>Arjun and Ameen comment on the power of effectively and positively influencing <em>one</em> person. They believe the impact will exponentially spread and grow through that person's network or community.</li><li>Arjun believes you can guarantee it will turn into action.</li><li>Ameen believes you need to move them and inspire them through your characters to the point they feel they can be the hero of that story and act accordingly.</li><li>Ajay takes a more pragmatic approach towards action and shares some of the activities The Kahani Project uses to complement his storytelling sessions, such as: story-thons, story-booths and interactive storytelling, where they engage the audience in the production of their own stories.</li></ul>
<br />
<p><strong>5. Impact of storytelling on citizenship and political participation</strong></p>
<ul><li>Arun and Ajay believe this will come as a result of self-reflection and an evaluation of our impact in the world.</li><li>Ameen believes effective stories transmit the 'responsibility of action' through rhetoric. He uses the example of the popularity of India Against Corruption movement.</li><li>Ajay believes storytelling is a humanizing force that has the power of healing. He recommends institutions should utilize this method to spread confidence and inclusion among society and particularly with excluded groups. <br /></li></ul>
</blockquote>
<h2>Footnotes</h2>
<p align="justify">[<a href="https://cis-india.org/digital-natives/making-change/multimedia-storytellers#fr1" name="fn1">1</a>] Semiotics is defined as the study of signs and symbols and their use or interpretation. It is the study of making meaning and is essential to understand communication processes. While we will not look at any specific semiotics theory, we will focus on how stories create meaning through different signs and mediums, and how this meaning can be leveraged for making change.<br /><br />[<a name="fn1" href="#fr1">2</a>] Refer to Stanford Encyclopedia of Philosophy’s <a href="http://plato.stanford.edu/entries/ricoeur/">page on Paul Ricoeur</a> and the section on ‘Selves and Agents’ to learn more about how action is mediated by causation, interference and intervention. Some interesting thoughts that inspired the above post</p>
<p dir="ltr">“What must be the nature of the world … if human beings are able to introduce changes into it?. Ricoeur adopts the analysis of interference or intervention that G. H. von Wright gives in Explanation and Understanding, and shows that for there to be interference, there must be both: an ongoing anterior established order or course of things and a human doing that somehow intervenes in and disturbs that order. Moreover, interference is always purposeful. Hence an interference is not merely ascribable to an agent. It is also imputable to the agent as the one whose purpose motivates the interference.”</p>
<p>
“The second crucial question about action is “What must be the nature of action … if it is to be read in terms of a change in the world?” Ricoeur argues that every action involves initiative, i.e., “an intervention of the agent of action into the course of the world, an intervention that effectively causes changes in the world” (Oneself as Another, 109, translation modified). Initiative requires a bodily agent possessing specific capabilities and vulnerabilities who inhabits some concrete worldly situation.”</p>
<h2>Sources:</h2>
<p> </p>
<p>Dauenhauer, Bernard and Pellauer, David, "Paul Ricoeur", <em>The Stanford Encyclopedia of Philosophy </em> (Winter 2012 Edition), Edward N. Zalta (ed.),
URL = <http://plato.stanford.edu/archives/win2012/entries/ricoeur/>.</p>
<p> </p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/multimedia-storytellers'>https://cis-india.org/digital-natives/making-change/multimedia-storytellers</a>
</p>
No publisherdenisseMaking ChangeNet CulturesResearchFeaturedResearchers at Work2015-10-24T14:26:51ZBlog EntryMethods for Social Change
https://cis-india.org/digital-natives/making-change/methods-for-social-change
<b>On this brief introduction, I outline the main targets of my research project for CIS and the HIVOS Knowledge Program. As a response to the thought piece ‘Whose Change is it Anyway’ I will explore civic engagement among middle class youth over the course of the next 9 months by interviewing change makers and collectives that are part of multi-stakeholder projects in Bangalore.</b>
<h3>Why look at the civic engagement of digital natives?</h3>
<p style="text-align: justify;">Some of the main knowledge gaps in the literature revolve around understanding the type and extent of political motivation and engagement of citizens (Fowler and Biekart, 2011) and how these motivations translate into sustainable and meaningful participation (Cornwall and Coelho, 2007) in the public space. Having the digital platforms as a space of participation, expression and experience (Cornwall and Coelho 2007, Pleyers, 2012) is necessary but insufficient infrastructure for civic engagement. It is the equivalent of building highways to improve the mobility and communication transactions of a community, disregarding the extent to which it connects the interests, knowledges and identities of those who transit these roads. Through the ‘Methods for Social Change’ project I want to explore the different factors behind building a strong sense of citizenship and sustained civic engagement through technology-mediated change practices.</p>
<p style="text-align: justify;" class="normal">The project seeks to respond to the questions around change-making raised in the thought piece '<em>Whose Change is it Anyway?', </em>as part of the Making Change project.<em> </em>One of the main challenges today is how to move beyond the ‘spectacle’ created around digitally mediated change. The third axis of the piece specifically refers to what Shah calls the ‘spectacle imperative’, and suggests us to take a look at the less visible, undocumented narratives that are currently shaping change. Maro Pantazidou also makes the distinction between mass events and every-day practices of change; an interesting complement to Shah’s critique. Both frame ‘spectacle’ events that signal change in the public space as frequently short-lived instances of change, that lack a strong foundation to carry the “revolution” forward through every-day behaviour and practices.</p>
<p style="text-align: justify;" class="normal">This is not to say I am discrediting the impact of visibility of mass event citizen action. Change must be tackled from different fronts; whether it is by occupying the social imaginary through highly visible displays of civil disobedience or by tackling smaller community battles. However, according to John Gaventa and Gregory Barrett and their findings on mapping the outcomes of citizen engagement, there must be two elements to sustain activism culture: a) the presence of informed active citizens in the movement and b) practicing prefigurative activism, which is establishing horizontal democratic values in the internal organization of this movement. In other words, one of the ways to move beyond the ‘spectacle’ paradigm in citizen action, is through embedding civicness and solidarity networks in its citizens. Hence, my research will be based on the hypothesis that in order to make a transition from spectacle to quotidian activism, change practices must be infused with citizenship-building methods and the negotiation of the citizen identity in public and private spaces.</p>
<h3 style="text-align: justify;" class="normal">Who, Where and How</h3>
<p>From this proposition, there are three areas to be explored:</p>
<p style="text-align: justify;" class="normal">First, the profile of our <strong>change agents. </strong>The population interacting with political and social issues through digital technologies is a very specific and privileged demographic. This group, assuming motivation and disposition, must count with the corresponding access and resources to act. As brought up in the Mapping Digital Media: India Report, recently published by the Open Society Foundation, middle class activism is not only on the rise but is currently experiencing the highest visibility when compared to political and social activism. This is the case not only for India but also for emerging economies in the Global South where the internet penetration rate is very much related to socio-economic status as well as to the urban-rural divide. Shah refers to this as the gentrification of contemporary politics and it is one of the core poignant critiques of his piece.</p>
<p style="text-align: justify;" class="normal">However, it also leads to the question of how to channel the resources and privileged accessibility of this group for the 'greater good'. Instead of focusing on the problematic behind this power inequality, I would like to look at how this group is using these resources to create partnerships that allows them to disseminate knowledge, awareness and confidence to other citizens; the formula behind strong citizenship and willingness to act according to Gaventa. This underscores the need for a mapping exercise that looks at the Indian political and social context in Bangalore and India, and identify the main challenges and opportunities to build citizenship and engagement among the middle class.</p>
<p style="text-align: justify;" class="normal">Second, <strong>the spaces </strong>where responsible citizenry must be instilled. As mentioned above, one of the main questions is how to translate the horizontal values of pre-figurative activism proposed by Gaventa into the horizontal forms of organization at the community level proposed by Pantazidou. The latter claims that establishing solidarity networks fights citizen alienation by providing a sense of belonging and adds that in order to strengthen these communal relations, citizens must be fully active, present and available in the social arena. In this respect, the possibilities for collaboration through online tools are grand for activism. Online tools and net-ability as pointed out by Fowler and Biekart in their exploration of post-2010 trends in activism, increase connected solidarity and collective consciousness, which are paramount for engaging the populace with its civic duties both in the community as in the larger public space.</p>
<p style="text-align: justify;" class="normal">Nevertheless, digital tools remain neutral in the question of how to translate it into sustainable every-day practices for change. In order for online engagement to be truly sustained it must be backed up by a solid offline community that carries this lifestyle forward; a question at the backbone of this research. I will be looking at individuals and collectives from different fields that build partnerships to create positive and sustainable change in Bangalore and India. The objective is to see how further collaboration between change agents translates to the ground level by bringing new groups of people, with different skill sets, lenses and networks into the field of social change. Another interesting possibility is exploring whether these new amalgams of change practices prove to be more enticing and provoking for the 21st century citizen.</p>
<p style="text-align: justify;" class="normal">Along these lines, the <strong>methods </strong>utilized to engage this group will be the third area of research. Although the prevalence of the ‘spectacle’ blurs the lines between engaging in meaningful civicness and succumbing into the fad of ready-made activism, it would be interesting to look at what makes the ‘spectacle’ appealing and borrow some of those elements to improve advocacy practices. As outlined in the piece, events of change now seem to demand three characteristics to be effective: legibility, intelligibility and accessibility. Creating an image following these criteria provides the message a degree of visibility and clarity that enables its recognition and further amplification through digital technologies.</p>
<p style="text-align: justify;" class="normal">Therefore, the final research goal is to explore multi-stakeholderism and its potential to enhance visibility for social change. Identify artists, graphic designers, start-ups, entrepreneurs and collectives who are remixing their skills with technology to revisit the question of impact and influence on their audience. I would like to test whether Pleyers’ thesis on the cross-fertilization of activisms also applies to strategie and analyse whether this approach helps overcome the limitations of each tactic, foster ownership by different stakeholders and ultimately empower citizens. Furthermore, as part of a generation that is highly stimulated by the 'visual', I am curious to see how the role of aesthetics and inter-disciplinary collaboration behind middle class activism unfolds. Particularly in Bangalore, a crossroads of technology, activism and creativity, innovation is becoming a praxis norm among change makers. What is left to explore is the extent to which this creative ecosystem can produce and attract the apathetic citizen into the camp of sustainable civic action.</p>
<p style="text-align: justify;" class="normal">All interviews and change-makers profiles will be published regularly on the <a href="https://cis-india.org/digital-natives/making-change/" class="external-link">Making Change</a> page on the CIS Website.</p>
<hr />
<h2 style="text-align: justify;" class="normal">Sources</h2>
<ol>
<li>Biekart, Kees, and Alan Fowler. "Transforming Activisms 2010+: Exploring Ways and Waves." <em>Development and Change</em> 44, no. 3 (2013): 527-546</li>
<li>Cornwall, Andrea, and Vera Schatten Coelho, eds. <em>Spaces for change?: the politics of citizen participation in new democratic arenas</em>. Vol. 4. Zed Books, 2007.</li>
<li>Gaventa, John, and Gregory Barrett. "So what difference does it make? Mapping the outcomes of citizen engagement." <em>IDS Working Papers</em> 2010, no. 347 (2010): 01-72.</li>
<li>Open Society Foundations “Mapping Digital Media: India, 2012. Retrieved from: <a href="http://www.opensocietyfoundations.org/sites/default/files/mapping-digital-media-india-20130326.pdf">http://www.opensocietyfoundations.org/sites/default/files/mapping-digital-media-india-20130326.pdf</a></li>
<li>Shah, Nishant “Whose Change is it Anyways? <em>Hivos Knowledge Program. </em>April 30, 2013.</li>
<li>Pantazidou, Maro. "Treading New Ground: A Changing Moment for Citizen Action in Greece.</li>
<li>Pleyers, Geoffrey. "Beyond Occupy: Progressive Activists in Europe." <em>Open Democracy: free thinking for the world</em> 2012 (2012): 5pages-8.</li></ol>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/methods-for-social-change'>https://cis-india.org/digital-natives/making-change/methods-for-social-change</a>
</p>
No publisherdenisseResearchers at WorkWeb PoliticsMaking ChangeDigital Natives2015-04-17T10:42:11ZBlog EntryInformation Structures for Citizen Participation - Janaagraha
https://cis-india.org/digital-natives/making-change/information-structures-janaagraha
<b>In our efforts to understand how change is conceptualized in the digital era, we find a growing emphasis on the role of effective information structures to empower the citizen and the government. We interview Joylita Saldanha from Janaagraha to answer questions around information, participation and e-governance. </b>
<pre><strong>CHANGE-MAKER:</strong>Interview with Joylita Saldanha
<strong>ORGANIZATION</strong>: Janaagraha - I change my city
<strong>METHOD OF CHANGE: </strong>Online platforms to enable communication between the citizen and the government.
<strong>STRATEGY OF CHANGE:</strong>Empower the government -create resources to help them do what the citizens expect them to do.</pre>
<p align="justify">10 posts into the project, we are identifying the most outstanding patterns between processes of change. One of the themes that comes up often is<strong>: information management.</strong> How do we translate data to information, and information to knowledge? What is the best way to produce, consume and disseminate information? How does visible information lead to better mechanisms of participation in democracy? As the topic recurs in my conversations with change-makers, I have even reflected about the way that I display the research outputs of this project, and have adapted the format of these articles to make them as interactive and accessible as possible. Why? Because we believe this research is an entry point for a wider conversation around different ways to understand ‘making change’, and in order to produce this knowledge we need different actors to take part in the conversation. Hence, the format of our information must be (visually) persuasive enough to sway the readers into at least reading the article, and encourage their engagement, interaction and participation.</p>
<p align="justify">This is also the rationale behind digital information platforms, including <strong>e-governance.</strong> Governments, authorities and organizations are devising new ways of presenting their information and making their services more accessible and interactive for the public. According to the <strong>UNESCO’</strong>s <a href="http://portal.unesco.org/ci/en/ev.php-URL_ID=3038&URL_DO=DO_TOPIC&URL_SECTION=201.html">definition</a>, e-governance is the public sector’s use of information and communication technology with the aim of:</p>
<ol><li>Improving information and service delivery</li><li>Encouraging citizen participation in decision-making processes</li><li>Making governments accountable, transparent and effective<br /></li></ol>
<div align="center"><iframe src="//www.youtube.com/embed/9lk9SDji2kk" frameborder="0" height="315" width="420"></iframe></div>
<div align="center" style="text-align: center;">What is e-governance?<br />By the IDRC and IdeaCorp</div>
<p align="justify">India has its own <strong>National e-governance plan</strong> in place. It’s ambitious in scope:</p>
<blockquote>
<h3 align="center">“a massive country-wide infrastructure reaching down to the remotest of villages is evolving, and large-scale digitization of records is taking place to enable easy, reliable access over the internet. The ultimate objective is to bring public services closer home to citizens”. </h3>
</blockquote>
<div align="center"> Read more on the plan <a href="http://india.gov.in/e-governance/national-e-governance-plan">here</a>.</div>
<p align="justify"><br />However most of the online services offered on this platform are focused on tax returns, citizenship/visa/PAN/TAN applications or train bookings. The communication direction remains uni-lateral, going strictly from <strong>government to citizen</strong>. They also host a portal for citizen grievances (link below), in an effort to also tackle<strong> citizen to government </strong>communication. While the portal has some fancy tools like a 4 colour palette to customize the theme of the site; the interface seems outdated and the ‘Guidelines for Redress of Public Grievances’ has not been updated since 2010.</p>
<table class="plain">
<tbody>
<tr>
<td><strong>Communication</strong><br /></td>
<td align="center"><strong>Government to Citizen</strong></td>
<td align="center"><strong>Citizen to government<br /></strong></td>
</tr>
<tr>
<td align="center"><strong>Portal</strong><br /></td>
<td align="center">Aadhar Kiosk<br /></td>
<td align="center">Portal for Public Grievances<br /></td>
</tr>
<tr>
<td align="center"><strong>Link</strong></td>
<td align="center">http://resident.uidai.net.in/</td>
<td align="center">http://pgportal.gov.in/</td>
</tr>
<tr>
<td align="center"><strong>Interface</strong></td>
<td><img src="https://cis-india.org/home-images/AdhaarKiosk2.jpg/image_preview" alt="ak2" class="image-inline image-inline" title="ak2" /></td>
<td><img src="https://cis-india.org/home-images/PublicGrievances2.jpg/image_preview" alt="pg2" class="image-inline image-inline" title="pg2" /></td>
</tr>
</tbody>
</table>
<p align="justify">At this point, I should probably add much needed disclaimers: my online search might not have been exhaustive enough. There might be other e-governance services (hosted by the government for citizens) I did not cover in my quick google run, or as a foreigner I might be unaware of the right places to look. Having said that, I have been trying to use my newbie experience throughout these posts, to explore the digital immigrant from a different angle. The digital immigrant is not only who was born before the 1990s, but also includes those of us who are technologically challenged and for whom the more complex sites are still wild, undiscovered territories. If these information structures are not accessible enough for someone who intentionally scouted for them for about an hour, it will not be for the user who does not have the time to spare and needs a more reliable and resilient bridge to connect with the government. This problem is at the core of civic participation and as a result, change actors are devising new modes to interfere, facilitate and engage with government information.</p>
<h2 style="text-align: justify;" dir="ltr">Information and Urban Governance<br /></h2>
<p style="text-align: justify;" class="discreet" dir="ltr">(This section will be revised)</p>
<p align="center" style="text-align: justify;" dir="ltr">The question on information management is key in the analysis of citizen action in emerging information societies. This project acknowledged from its inception that the information flow of networks is changing and shaping the dynamics of state-citizen-market relationships (Shah, 2014). I will refer to Yochai
Benkler’s The Wealth of Networks, to revisit the information economy, as it has been a recurrent reference in my analyses throughout the project, and it will be a useful benchmark to cross-reference findings in the future. On this opportunity, I would like to highlight his views on the role of information flow in democratic societies:</p>
<div align="center">
<blockquote>
<h3 align="center" style="text-align: center;">“The basic claim is that the diversity of ways of organizing information production and use, opens a range of possibilities for pursuing the core political values of liberal societies-individual freedom, a more genuinely participatory political system, a critical culture, and social
justice” Benkler, 2006<br /></h3>
</blockquote>
<p align="left">Enabling
a smoother and more transparent information flow, according to his work,
has the following effects on citizen’s participation:</p>
</div>
<p style="text-align: justify;" dir="ltr"><strong>1. Autonomy:
</strong>Access to information enables citizens to perceive a wider range of
possibilities and options against which they can gauge their choices.
This is particularly important when the citizen participates in
decision-making processes.</p>
<p style="text-align: justify;" dir="ltr"><strong>2. Democracy</strong>: The
emergence of an information economy, creates information structures
that are not only an alternative to mass media, as Benkler states, but I
would like to add are also alternative to government-run e-governance platforms that cannot fully cater to citizens' need
for participation and debate. Creating an accessible and participatory
information structure also creates a space
that fosters public discussion, and hence, the expression of our
political nature. (Visit <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2">Storytelling as Performance Part 2</a> for a larger exploration of the political in the public space)</p>
<p style="text-align: justify;" dir="ltr"><strong>3. Human justice</strong>: The
freedom to access basic resources and services, allows us to fulfil
our capabilities in society, including producing our own information, as
well as improving our well-being by accessing information about health,
education, public infrastructure, etc.</p>
<p style="text-align: justify;" dir="ltr">These three characteristics can be very well tied up with the three objectives of e-governance outlined above: wider information delivery, citizen participation and government accountability. Citizens aspire to access information that
enables them to make good choices and participate in conversations that
affect their livelihoods. For this reason, we find a
common goal among the change actors (interviewed in the series), is
devising new modes to engage with government-related information that complement or replace government-owned platforms.</p>
<h2 style="text-align: justify;" dir="ltr">Civil Society' and E-governance<br /></h2>
<p align="center" style="text-align: justify;" dir="ltr">One
of the best known examples of these initiatives have been spearheaded by the Bangalore-based NGO: <strong><a href="http://www.janaagraha.org/">Janaagraha</a></strong>. the Centre for
Citizenship and Democracy.</p>
<div align="center"><img src="https://cis-india.org/home-images/Logohorizontal.png/image_preview" alt="logo h" class="image-inline image-inline" title="logo h" /></div>
<p align="center">Image courtesy of Duke University website</p>
<p style="text-align: justify;" dir="ltr">The organization works to improve the quality
of life in Indian cities and towns, by improving the information around infrastructure and services; and citizenship. We
interviewed Joylita Saldanha, who works for the NGO’s leadership team to
learn more about Janaagraha’s views on the role of information for
urban governance, based on the experience of platforms such as <a href="http://ichangemycity.com/">I change my city</a>. Her perspective c
aught me off guard, as she framed the problem in urban governance from a
somewhat unconventional angle:</p>
<blockquote style="float: right;">
<h3 align="center"><img src="https://cis-india.org/home-images/copy_of_Joylita.jpg/image_preview" style="float: right;" title="Joylita" height="170" width="138" alt="Joylita" class="image-center image-inline" /><strong>Joylita Saldanha</strong></h3>
<div align="center"><strong>Janaagraha's Leadership Team</strong></div>
<br />
<ul><li>Experience conceptualizing and<br /> building Mobile and Web products in Los Angeles and Bangalore<br /></li></ul>
<ul><li>Believes technology is a great lever and enabler.</li><li>Sees potential in technology to drive community action at the ground level</li></ul>
</blockquote>
<p align="justify">Whenever we talk about social change, participation and democracy, we root for the discourse that works to empower the citizen. Janaagraha finds this assumption incomplete. Saldanha suggests it is our role to find <strong>new ways to empower <em>the government </em>and help <em>them </em>do their job:<em> "</em></strong><em>One citizen cannot be always an agent of change so we need communities coming together [...] We want to look at how to get citizens involved, because we can’t keep blaming the government if we don’t participate. We need to help them do what they do".</em></p>
<p align="justify">Read this short interview to get a glimpse of the information structures Janaagraha is building to empower the government.</p>
<h2 align="justify">Interview:<br /></h2>
<p>In order to gauge the extent to which Janaagraha is empowering and enabling the government to make information accessible for the public, we will look at how their <em>online</em> platforms are improving e-governance, based on the three characteristics outlined in the <strong>UNESCO </strong>definition and the three characteristics of effective information economies outlined by Benkler.</p>
<p align="center"><img src="https://cis-india.org/home-images/copy2_of_copy_of_egovernance2.jpg/image_preview" alt="e-gov" class="image-inline image-inline" title="e-gov" /></p>
<h3><strong><span id="docs-internal-guid-f0a0d708-b685-3928-7ef6-460803e1d0da">Stage 1: Improving information delivery</span></strong></h3>
<p class="callout"><strong>How does I change my city tackle this information crisis?
</strong></p>
<p><strong>JS:</strong> Janaagraha wants to improve the quality of life in two ways:</p>
<ul><li>
Improving the quality of infrastructure. <br /></li><li>Improving the quality of citizenship and citizen engagement. <br /><br /></li></ul>
<p>We look at I change my city as something that enables citizens and governments to be more transparent for each other. Janaagraha can’t be everywhere, but technology crosscuts all the programs to allow us to roll it out to other cities.</p>
<p class="callout"><strong> How does Janaagraha know what information people need?
</strong></p>
<p><strong>JS:</strong>We have a<strong> Net Plus Roots</strong> approach:</p>
<table class="plain" align="center">
<thead>
<tr>
<th>Stage<br /></th>
<th align="center">Roots: Information transactions at the grassroots level<br /></th>
<th align="center">Net: Information transactions through technology<br /></th>
</tr>
</thead>
<tbody>
<tr>
<td>Process<br /></td>
<td>
Reach out to communities and engage with them
<ul><li>Community outreach and advocacy teams contacts the government </li><li>Get the government and the citizen connected</li><li>Send out citizen reports to government<br /></li><li>Follow up with the government to get responses</li><li>Share responses with the citizens<br /></li></ul>
</td>
<td>We take all learnings from the grassroots and apply them to technology.<br />
<ul><li>The design/product team in place does customer
research.</li><li>Look at google keywords and try to understand what people are searching for <br /></li><li>Disseminate that content with citizens </li></ul>
</td>
</tr>
<tr>
<td> Example</td>
<td><strong>Crisis:</strong> Low voting turn out.<br /><strong>Roots intervention:<br /></strong>Look at where people go to enroll for voting and how we can clean up the electoral role at the grassroots level.<br /><strong>Net intervention:<br /></strong><a href="http://www.jaagteraho.net/">Jaagte Raho</a>: A portal People can register online to vote.<br /><br /><br /></td>
<td><strong>Crisis: </strong><span id="docs-internal-guid-f0a0d708-b69c-4271-222a-07b477f84d1b">How
to get a driving license in Bangalore.<br /><strong>Roots intervention: <br /></strong>People were not getting them
because they don’t know the correct process or what to do. They don’t
know the hows or the whys. <br />N<strong>et intervention<br /></strong>We created a section called How To and put
the process of<br />a) How to get a driving license<br />b) why do you go and get
a driving license<br />c) what are the documents you need to carry.</span><br /></td>
</tr>
</tbody>
</table>
<p>Right now we are
playing the role of facilitator, but eventually we don’t want to be
those facilitators. We want these platforms to be bridges between the
citizen and the government.</p>
<p class="callout"><strong>My only problem with this is that an information structure based and reliant on digital technologies will only allow the interests of the middle class to permeate the system. How will information from other groups feed into the structure?</strong></p>
<p align="justify"><strong>JS:</strong> We definitely want to enable access for everyone, but we don’t want a duplication of efforts. If the road is broken; even if one person complains and gets that pothole fixed then the road will be good for everyone to use. At the end of the day what we want people is to participate. From then we can take it to the next level and ask: ok what are we really missing in terms of planning? where are we missing participatory budgeting? where can we involve everybody: not only the urban but everybody. That’s what it takes it to the next level.</p>
<h3>Stage 2: Encouraging citizen participation in decision-making processes</h3>
<p class="callout"><strong>How does access to information improve urban governance?
</strong></p>
<strong>JS: </strong>A very basic important aspect of where you live is to find which is your ward who is your electoral representative and what does he do. People don’t even know which ward they are living in, which is their assembly constituency, etc. Engaging with the electoral representative, then engaging with civic agencies. These are things you need to have in place before we start looking beyond this.
<strong><br /><br /></strong>
<p class="callout"><strong> And you are facilitating this information?</strong></p>
<strong>JS: </strong>Yes, we are trying to map out services in the neighborhood and give more information about this. We have Municipal Commissions in Bangalore, and most people don’t know where these agencies are located, so our survey team went out found the offices and mapped them.
<p> </p>
<p align="center"><img src="https://cis-india.org/home-images/map2.jpg/image_preview" title="map 2" height="270" width="400" alt="map 2" class="image-inline image-inline" /> </p>
<p>We use maps a lot because we make a lot of emphasis in spatial data. We want people to participate: tell us where their the park or playground is, locate it and then we take this information and find out: what is the budget allocated for this park, when was the last clean up, what is the future of this park, etc. At the same time, we want the citizen to tell us about its state and their wish-lists for this park.</p>
<p class="callout"><strong>You mention spatial data. What is the best way to use it? and who should manage it?</strong></p>
<p align="justify">One thing we see when we interact with civic agencies or electoral, is that most of them don’t have a grasp of the analytics to understand what is the ground level situation, and that is where we come in. We have an information structure in place and we make data accessible. This helps representatives understand what are the patterns: a) what are the trends, b) where are their successes, c) where are their failures. Data needs to play a major role in how we take our decisions. It cannot be intuitively thought out.</p>
<h3>Stage 3: Making governments accountable and transparent</h3>
<p class="callout"><strong>How can these resources make the government more accountable?</strong></p>
<p align="justify">We need more [information] systems in place to identify what is accessible in terms of services and infrastructures. First step is making things transparent; and making elected representatives, civic agencies, citizens -all these people accountable. We believe that accountability and participation goes hand in hand. You need to participate in order to make it accountable. The process of engagement is empowering for the citizen once they realize they can bring about change."</p>
<p align="justify">It takes time to get things done; change happens very slowly. And we can’t keep blaming the government if we don’t participate. We don’t lend them a hand, and let’s be honest, we probably don’t have the resources. So, how do we enable the government? How do we empower them? That’s something Janaagraha works for: helping the government do what they need to do.</p>
<p>***********</p>
<p>The next interview will feature Surabhi HR from <a href="http://politicalquotient.in/">Political Quotient</a>, an organization working to redefine how youth engage with politics in the digital era. We will refer back to the characteristics about information economies and e-governance outlined on this post and use Janaagraha's experience as a backdrop, to explore the work PQ is doing: organizing spatial data, improving information structures for the government and bridging communication between citizens and their elected representatives.</p>
<p><strong>Sources:</strong></p>
<p>Benkler, Yochai. <em>The wealth of networks: How social production transforms markets and freedom</em>. Yale University Press, 2006.</p>
<p><span class="reference-text"><span class="citation journal">Shah, Nishant “Whose Change is it Anyways? Hivos Knowledge Program. April 30, 2013.</span></span></p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/information-structures-janaagraha'>https://cis-india.org/digital-natives/making-change/information-structures-janaagraha</a>
</p>
No publisherdenisseResearchers at WorkNet CulturesMaking ChangeResearch2015-10-24T14:28:47ZBlog EntryInformation Design - Visualizing Action (TTC)
https://cis-india.org/digital-natives/making-change/tactical-technology-design-activism-1
<b>This is the second part of the Making Change analysis on information activism. It explores the role of the presentation and design of information to translate information into action.</b>
<pre style="text-align: justify;"><strong>CHANGE-MAKER:</strong> Maya Ganesh
<strong>
PROJECT</strong>:
Visualizing Information for Advocacy
<strong><strong>
METHOD OF CHANGE</strong>:
</strong>Redesign the production, presentation and representation of data to stimulate citizen action.<strong>
STRATEGY OF CHANGE: </strong>
- Demystify the technology, strategy and tactics behind information design
- Train people on how to use them for their projects.
- Empower people and increase political participation at the grassroots</pre>
<h2>Part 2: Information Design</h2>
<p align="justify">Tactical Technology aims to demystify strategies that stimulate citizen participation through the production, presentation and representation of data. Their 2010 program:<a href="https://tacticaltech.org/visualising-information-advocacy"> Visualizing Information for Advocacy</a> focuses on finding "the right combination of information, design, technology and networks" (2010) to communicate issues and stimulate action. As explored in the last post, campaigns must not only inform citizens, but must persuade them into acting. The way information is presented: the symbols, shapes and sequences plays a big part in creating deeper connections between the consumer and information. Using more visual advocacy examples, I will list three elements that underpin this connection: symbols, design and consumption culture.</p>
<h3>I. Symbols</h3>
<p><strong>Marks or characters representing an object, function or abstract process</strong></p>
<p>Lance Bennett’s work on civic engagement (2008), identified two features in information that motivate citizens to act:</p>
<p style="text-align: justify;" dir="ltr">a) Familiar values and activities<br /> b) Action options that facilitate decision-making and the participation process</p>
<p style="text-align: justify;">By personalizing data and finding symbols that embody these values and action options, the citizen is more likely to engage with the information. Throughout this post we will look at some examples, outside of Tactical Tech, that are applying these principles.</p>
<pre style="text-align: justify;" dir="ltr">Example 1:<br />Dislike Poverty Campaign- Un Techo para mi Pais (TECHO) Latin America<br /></pre>
<p style="text-align: justify;" dir="ltr">First example is this is the <a href="http://vimeo.com/15656801">campaign</a> by the Chilean NGO<a href="http://www.techo.org/en/"> Un Techo para mi Pais</a>. The organization’s main objectives are to a) to eradicate poverty and b) build a strong body of volunteers that epitomize a new way of understanding citizenship in the region. They are very popular among youth, in part due to their communication strategies and their use of social media. Recently, the ‘No Me Gusta’ (Dislike) campaign was featured in Spanish graphic design activism blog:<a href="http://www.grafous.com/no-me-gusta/"> Grafous</a>, and the non-profit marketing website<a href="http://osocio.org/message/no_me_gusta_i_dislike_this/"> Osocio</a> for its creative use of 'slacktivism' to mirror the young citizen's attitude towards poverty.</p>
<p style="text-align: justify;" class="callout"><strong>Slacktivism</strong>: "actions performed via the Internet in support of a political or social cause but regarded as requiring little time or involvement, e.g. liking or joining a campaign group on a social networking website"</p>
<p align="center"><img src="https://cis-india.org/digital-natives/blog/TECHO1.jpg/image_preview" alt="Techo 1" class="image-inline image-inline" title="Techo 1" /></p>
<p align="center"><img src="https://cis-india.org/digital-natives/blog/TECHO2.jpg/image_preview" alt="Techo 2" class="image-inline image-inline" title="Techo 2" /><br /><span id="docs-internal-guid-3c3e8713-307f-8c4d-a5bf-1b5269c5701e">No Me Gusta campaign, Un Techo para mi Pais. Photo courtesy of Grafous: <a class="external-link" href="http://www.grafous.com/no-me-gusta/">http://www.grafous.com/no-me-gusta/</a>.</span></p>
<p align="justify">The images juxtapose pictures of slums and an adaptation of the Facebook Like button - a familiar symbol of affirmation and approval among youth- into a Dislike button: enabling expression of discontent. This is coupled with the phrase: “<em>if you dislike this, you can help by logging onto (...)</em>”, channeling this disapproval into a plan of action. The campaign shows a thorough understanding of its target audience: including the visual culture of social media users, their digital habits and their satisfaction driven behavior (embodied by the like button). It ridicules the user by facing him with two realities: the ineludible situation of poverty versus his redeemable slacktivist idleness. This strategy proved to be effective and attracted the attention of potential volunteers; asserting the middle class, tech-savvy identity of the TECHO volunteer throughout Latin America.</p>
<blockquote style="float: left;">
<p align="center"><strong>Nonviolent methods and <br />Civic Participation</strong></p>
<ul>
<li>Capture attention.</li>
<li>Increase visibility of activism.</li>
<li>Reduce the stake of participation <br />for citizens</li>
<li>Attracts 'risk-averse' citizens and<br />creates 'safety in numbers'.</li>
<li>Success of campaign is more likely<br />(if 3.5% of population participates)</li></ul>
</blockquote>
<p align="justify">The use of familiar symbols is one of the <a href="http://www.starhawk.org/activism/trainer-resources/198ways.html">198 strategies</a> listed by Gene Sharp in Part Two of <a href="http://www.aeinstein.org/books/the-politics-of-nonviolent-action-part-2/">The Politics of Nonviolent Action</a> (explored in a<a href="https://cis-india.org/digital-natives/blog/digitally-enhanced-civil-resistance"> past post</a>). In the same spirit, Tactical Technology’s project <a href="https://archive.informationactivism.org/">10 tactics</a> provides “original and artful” wide communication non-violent methods to capture attention and disseminate information. This includes slogans, caricatures, symbols, posters and media presence, which besides from grabbing attention also reduces the stake of participation for citizens. According to Erica Chenoweth and Maria Stephan, these methods increase the visibility of activist efforts, because they create a sense of ‘safety in numbers” and hence draw the “risk-averse” into the movements. Furthermore, their study shows that if a campaign manages to capture the active and sustained participation of only 3.5% of the total population, it is likely to succeed (2008).</p>
<p align="justify">While this statistic shows that enhancing the visibility of social change campaigns is an extremely resource-efficient strategy, on the other hand, it confirms information is in the hands of a privileged minority. The information-poor activist is completely reliant on the values and symbols the middle class chooses to downstream, unless information is designed by grassroots organizations who can localize it -one of the main objectives of Tactical Technology. The flow of ideas and conversations among the middle class, though not inclusive, is already stimulating the spirit of information dissemination. However, representations of data are not enough to trigger cognitive associations between the citizen and the issues. We must also consider the design and aesthetic features of these representations and how they inspire civic engagement.</p>
<h3>II. (Graphic) Design</h3>
<p><strong>Communication, stylizing and problem-solving through the use of type, space and image. </strong></p>
<blockquote>
<p id="docs-internal-guid-3c3e8713-3345-6c35-9147-f1533da6a2fe" style="text-align: justify;" class="callout" dir="ltr"><strong>MG</strong>: Presentation continues to be a problem. We have focused a lot on this, but it continues to be an issue when people have and are using information. You can’t assume people will get it and you need to think about what kind of information you have and what kind of audiences you want to see it, etc.</p>
</blockquote>
<p style="text-align: justify;">Liz Mcquiston, author of the 1995 and the 2004 editions of Graphic Agitation explored how art and design brings political and social issues to the fore. She argues that the increasing ubiquity of digital technology since the 90s, plus a popular ‘do-it-yourself’ culture, is creating a new environment of political protest that empowers individuals to take ownership of the creation and consumption of information. This is in line with Richard Wurman’s argument on the rise of the <strong>prosumer: </strong>digital users who are not only consuming but are also producing an unprecedented amount of information, which states that larger volumes of information, coupled with the expressive potential of art and design, makes personalized relationships with data possible, having it cater to our interests, needs and contexts (2001).</p>
<pre style="text-align: justify;" dir="ltr">Example 2:<br />Design for Protest by Hector Serrano (University Cardenal Herrera)<br /></pre>
<div style="text-align: justify;" class="pull quote" dir="ltr">Information design is creating ready-made avenues for civic engagement by breaking data down and providing step by step guides for implementation. For instance, students from the University Cardenal Herrera in Spain collaborated together in the project: “<a href="http://designforprotest.wordpress.com/proyectos/">Design for Protest”</a>, led by <a href="http://www.hectorserrano.com/">Hector Serrano</a>, graphic designer and activist. The concept was to design “effective and functional” tools of demonstration, rooted in the rising number of protests around the world during the economic crisis. The students created communication tools: from foldable banners to protest umbrellas that allow protesters in Spain (and around the world) to convey their messages in creative, quick and affordable ways. This is the perfect conflation between consuming information proposals and producing new information from the grassroots to intervene in the public space.</div>
<p align="center" style="text-align: justify;" dir="ltr"><br /><img src="http://designforprotest.files.wordpress.com/2012/03/10.jpg?w=920" alt="" height="450" width="665" align="middle" /></p>
<p align="center">Paraguas (Umbrella). Photo courtesy and How-to: <a href="http://designforprotest.wordpress.com/2012/03/30/paraguas/">Design For Protest: Paraguas<br /></a></p>
<p align="center"><img src="http://designforprotest.files.wordpress.com/2012/03/4_01.jpg?w=920" alt="" height="450" width="665" align="middle" /><br /> Light Banner. Photo courtesy and How-to: <a href="http://designforprotest.wordpress.com/2012/03/30/light-banner/">Design For Protest: Light Banner</a></p>
<p align="center"><a href="http://designforprotest.wordpress.com/2012/03/30/paraguas/"><br /></a></p>
<div align="center"><img src="http://designforprotest.files.wordpress.com/2012/03/2_05.jpg?w=920" alt="" height="558" width="397" align="middle" /></div>
<p align="center" style="text-align: center;" dir="ltr">Pocket Protest. Photo courtesy and How-to: <a href="http://designforprotest.wordpress.com/2012/03/30/protesta-de-bolsillo/">Design for Protest: Protesta de Bolsillo</a></p>
<p style="text-align: justify;" dir="ltr">The field of information design is creating ready-made avenues for civic engagement. It is breaking down data and providing step-by-step guides for implementation. Although the Design for Protest project is not creating a permanent source of information, it is providing feasible alternatives to display information both in short-lived protests as much as in long-term campaigns, facilitating action-taking and abiding to the second feature of Bennett's hypothesis: providing action options to aid decision-making. Ganesh commented how these tool kits are also a mean Tactical Tech uses to secure sustainability and continuity:</p>
<blockquote>
<p style="text-align: justify;" class="callout"><span id="docs-internal-guid-4b925b2a-3424-bea4-cc67-94b3cb5dc47a"><strong>MG:</strong> We have many available resources: from tools and guides (mobile in a box, security in a box, etc.), to the website. It is very focused on the digital tools that support what you want to do with your campaigning. You have a plethora of websites telling you what tools to use but not how to use it or how to think about how you want to use them for campaigning. As a result you have campaigns that are not well thought or that don’t use the appropriate type of technology, or driven by the technology first than what they want to do. This is one of the ways in which it continues.</span></p>
</blockquote>
<h3></h3>
<h3>III. (Culture) Design</h3>
<p><strong>Localizing information design</strong></p>
<p style="text-align: justify;">The <strong>‘prosumer’ model </strong>aligns with an active model of citizenship we describe in a <a href="https://cis-india.org/digital-natives/making-change/blank-noise-active-citizen-dissonance">previous post.</a> It fits citizens who are active and willing to find resources, and create and disseminate information that resonates within their context. Yochai Benkler’s work on information production (2006) Also touches on how cultural production enhances democratic practices in network societies. He argues that creating cultural meaning of the world has two important effects:</p>
<p style="text-align: justify;" dir="ltr">a) Sustains values of individual freedom of expression.<br />b) Provides opportunities of participation and cultural reassertion.</p>
<p style="text-align: justify;" dir="ltr">Ganesh’s account of the experience of Tactical Technology in the Middle East also highlights how cultural remix is a form political and creative empowerment:</p>
<blockquote>
<p style="text-align: justify;" class="callout" dir="ltr"><strong>MG:</strong> It is interesting how the Arab version has evolved. We had support to extend Ten Tactics in the Arabic region, but we didn’t want to do translations and tell people what to do. We wanted to see how people are thinking about information activism in their region, what kind of products would be useful to them. We’ve already printed 2000 copies and we are left only with 140. It is really popular because people really want to do this. We’ve met with 5-7 groups in the Arab region we’ve known for a long time. We said: here’s money (originally meant for translations) take our resources, anything you’ve found that we’ve published and: customize it, remix it, break it up and put it back together again; turn it into a resource that you can feel you can use with your communities. Partnering up, you must keep in mind their mandates and their communities.</p>
</blockquote>
<p style="text-align: justify;" dir="ltr">Localizing design and aesthetics is essential to keep the connections between data-citizen relevant. This is explored from the perspective of post-colonial computing by Irani et. al; a project that aims to understand how ‘good design’ must be consistent with cultural identities and the transformative nature of cultural formation between the context and the individual (2010).</p>
<pre style="text-align: justify;" dir="ltr"><strong>Example 3:</strong><br />Proudly African and Transgender by Gabrielle Le Roux (In collaboration with Amnesty International and IGLHRC)</pre>
<p style="text-align: justify;" dir="ltr">An interesting example of this is the work done by Gabrielle Le Roux, in collaboration with African trans and intersex activists (<a href="http://www.iglhrc.org">IGLHRC</a>). A showcase of portraits and uncovered narratives of transgendered Africans in East and Southern Africa: that reasserts interesex and transgender identity in a society were these issues remain taboo and hence under the radar.</p>
<p style="text-align: justify;" dir="ltr"><img style="float: left;" src="https://lh3.googleusercontent.com/f1HV0NnuLqLOP-N36QGFbr-eXSILqtz0vFXA6OrSTqPuqiniOe89xiyxhJqnlD2wRLgcOtPQYZf3po7biJGQZ9gCAwROMbywL9xyjO6OkyzcK3jNzIqWwT8J4Q" alt="" height="427px;" width="303px;" /> <img style="float: right;" dir="ltr" src="https://lh5.googleusercontent.com/vCK1YHfG-_rOjr8VS8dRv4GVGE7AmrsalUMhIgMNP4Io6Th8IVHg4h5syGa0-NRrEMKhRjtpFPB877ssMJwtncjtM_w8YTt-gCiDpEgh64kbZlAuunQ-hvwrvw" alt="" height="431" width="303" /></p>
<p align="center" style="text-align: justify;" dir="ltr"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></p>
<p align="center" style="text-align: justify;" dir="ltr"> </p>
<p align="center" style="text-align: justify;" dir="ltr">These visuals were exhibited in Europe by Amnesty International, and showcased in the <a href="http://www.blacklooks.org">Black Looks </a>community (who participated in Tactical Tech’s 2009 <a href="http://camp2013.tacticaltech.org">InfoCamp</a>) as well as in the WITS Centre for Diversity Studies research on <a href="http://incudisa.wordpress.com/">Politics of Engagement:</a> an interactive collaboration on social change through art-activism and research.</p>
<pre><strong>Example 4:</strong>
Camp Acra et Adoquin Delmas 33 - Haiti</pre>
<p align="justify">An example less inclined on aesthetics but focused on visual documentation is the <a href="http://chanjemleson.wordpress.com/">Camp Acra et Adoquin Delmas 33</a> blog, from Haiti. A site in which Camp Acra members are documenting their settlement and growth after the 2010 earthquake through essential information and images, fostering community building and communal identity reassertion.</p>
<p align="center"><img id="docs-internal-guid-4b925b2a-33b7-4c5f-4371-534d21958e0f" src="https://lh5.googleusercontent.com/JaZwKtfIODw6LQuJOdRlEofLtr9tEZox9mw9WMTDJJxLnlJaX6RCmxjGbNggtgF2pD0B706J1kShumAImBWJ7X0Po44ktKjs5SmMh402BmjjNB4whfLowh1ixw" alt="" height="377px;" width="486px;" /></p>
<div align="right" class="pullquote">“visual representations of information gives context to numbers, uncovers relationships and engages the viewers in ways that raw information could never do”<br /> David McCandless</div>
<p align="justify">As <a href="http://www.davidmccandless.com/">David McCandless</a>,data journalist, information designer and author of <a href="http://www.informationisbeautiful.net/2009/the-visual-miscellaneum/">The Visual Miscellaneum</a> points out: “visual representations of information gives context to numbers, uncovers relationships and engages the viewers in ways that raw information could never do” (2009). Having these representations mingle with culturally specific undertones provides opportunities to create solidarity ties between the citizen and its culture, as well as the add of “individual glosses” through action, critical reflection and participation (Benkler, 2006). However is this need for an aesthetic approach to information and culture representation a result of our consumer behaviour? Is it problematic that activism is catering to a model of promotion and presentation of information to incite participation? The next section will look shortly at the consumption culture in information activism.</p>
<h3 align="justify">IV. Consumption (Culture)</h3>
<p style="text-align: justify;"><strong>Is information design catering to consumption habits instead of citizen needs?</strong><br />As seen, information design is grounded on the premise that the representation of data must create deep connections with its audience in order to incite a reaction. However, is this the result of a culture of consumption? Let’s not forget the citizens targeted by visual campaigns are also consumers in constant interaction with the market. Kozinet’s study of virtual communities of consumption (1999), is in line with Wurman's description of the behavior of a prosumer:</p>
<h3 align="center" style="text-align: center;" dir="ltr"><strong>Behaviour of consumer vs. information prosumer</strong></h3>
<table class="plain" align="center">
<thead>
<tr>
<th><strong>Kozinet - Virtual communities of consumption</strong></th>
<th align="center"><strong>Wurman - The prosumer</strong></th>
</tr>
</thead>
<tbody>
<tr>
<td>Discerning consumer</td>
<td>Displays curiosity in information</td>
</tr>
<tr>
<td>Less accessible for one-to-one processes</td>
<td>Suspicion over information gate-keepers</td>
</tr>
<tr>
<td>Producers of large amounts of cultural information</td>
<td>“New-found hunger” to find information related to its interests</td>
</tr>
</tbody>
</table>
<p>Moreover, the Kozinet suggests a few strategies of how to interact with the consumer that also fit the strategies presented by Bennett at the beginning of this analysis:</p>
<h3 align="center">How to connect with the consumer vs. citizen</h3>
<table class="plain">
<thead>
<tr>
<th>Kozinet - Virtual communities of consumption</th>
<th align="center">Bennett - Features of information for civic engagement</th>
</tr>
</thead>
<tbody>
<tr>
<td>Segmentation of consumers<br id="docs-internal-guid-4b925b2a-3456-5d05-0f33-04a2bd0b87b2" /></td>
<td>Tailor information to values and activities familiar to the citizen</td>
</tr>
<tr>
<td>More interaction with consumer</td>
<td>Suggest action options to facilitate decision-making and participation</td>
</tr>
<tr>
<td>Create loyal networks of consumption</td>
<td><br /></td>
</tr>
</tbody>
</table>
<p>With this parallel in mind, we asked Ganesh the extent to which info-activism resembles market consumption models:</p>
<blockquote>
<p style="text-align: justify;" class="callout" dir="ltr"><strong>MG:</strong> You need to think strategically about how it’s going to get picked up, where you want to promote your information, how you want to publish, present it; and push it. The problem with NGO, activists and independent individuals is that they are not as empowered financially [...]. If you look at the corporate section, journalism, etc; you have huge institutions and a lot of more finances behind this stuff. NGOs have one shot to make it work. That’s when people like us come in, to demystify, give people training and create platforms.</p>
</blockquote>
<p style="text-align: justify;" dir="ltr">Comparing activists with ‘virtual consumption communities’ questions the extent to which corporate and social impact models are feeding of each other to present information and succeed. A deeper analysis of this relationship falls out of the scope of this post, but it is worth mentioning when exploring activism in information network societies. As Ganesh clarified, info-activism is not related to marketing, but visualizing information in attractive and interesting ways is crucial not only to persuade, but to make activism accessible and enticing. Today, ten years after it was founded, Tactical Tech maintains a critical approach to their work. It is now moving on to a next stage, beyond the mere representation of data and paying closer attention to the type of information that enhances impact and influence of their tactics.</p>
<blockquote>
<p style="text-align: justify;" class="callout" dir="ltr"><strong>MG</strong>: We have definitely moved on thinking about interesting ways of looking at this. Our questions are more critical and political right now. The nature of platforms, the nature of information sharing, what is the true face of social media? There is so much information and data right now. Once information is out there how do you actually make it evidence for evidence-based advocacy. We are trying to play with that idea a little bit. It's not only about having impact but also influence.</p>
</blockquote>
<h2>Conclusion:</h2>
<p style="text-align: justify;" dir="ltr">Part 1 and 2 of this analysis have explored the process of transforming data into civic action. In part 1 we re-visited the question of information communities. We found that diversity in political opinion democratizes the debate in the public space. Information strategies must focus on making information from the grassroots visible and strengthening offline networks that facilitate information dissemination. In part 2, we explored the strategies behind the presentation and representation of this information.</p>
<p style="text-align: justify;" dir="ltr">Three main findings came from this analysis:</p>
<p style="text-align: justify;" dir="ltr">a) Non-violent visual advocacy is more likely to reduce the stakes of participation for the common citizen making political engagement more likely.<br /> b) The role of design for short or long-term advocacy is to simplifythe process of civic action, facilitate decision-making and makethese projects self-sustainable. <br />c) Our consumption habits in the market are shaping how we process and interact with information in the public space. The possibility of consumer behavior permeating modalities of activism reinforces the need to explore the most interesting strategies for information dissemination.</p>
<p align="justify">From the perspective of the <strong>Making Change</strong> project’ it is interesting to explore this method to social change as a breach from the ‘spectacle’ criticism outlined by Shah. He argues that in contemporary activism, only a limited production of images enter the network - images in many cases detached from the material realities and experiences that shape the change process in the first place. This tendency results in paraphernalia over the visual, disregarding the crises that led to the inception of protests. The findings from this analysis indicate that visual persuasion is essential to capture the attention of citizens, and hence, the need for a pinch of ‘spectacle’ in data presentation cannot be overlooked. The challenge info-activism now faces is making data’s dissemination self-sustainable in offline communities through the strategy and design of its campaigns.</p>
<p align="justify">Furthermore, the data, stories and narratives Tactical Tech is working to uncover can only be effectively transformed into action through a reconfiguration of the data-citizen relationship. Information strategies, besides from focusing on how to make data enticing, must also focus on the recognition of a status quo of idleness around how we consume, produce, question or interact with information. Tactical Tech has gone a far way at spearheading this line of thought and spreading graphic resistance through civil society, however this is not sufficient unless this recalibration occurs at the individual citizen level.</p>
<h2 align="justify">Sources:</h2>
<ol>
<li style="text-align: justify;">Bennett, W. Lance. "Changing citizenship in the digital age." Civic life online: Learning how digital media can engage youth 1 (2008): 1-24.</li>
<li style="text-align: justify;">
<div id="gs_cit2" class="gs_citr">Benkler, Yochai. <em>The wealth of networks: How social production transforms markets and freedom</em>. Yale University Press, 2006.</div>
</li>
<li style="text-align: justify;">
<div id="gs_cit2" class="gs_citr">Bimber, Bruce, Andrew J. Flanagin, and Cynthia Stohl. "Reconceptualizing collective action in the contemporary media environment." Communication Theory 15, no. 4 (2005): 365-388.</div>
</li>
<li style="text-align: justify;">Brundidge, J.S. & Rice, R.E. (2009). Political engagement online: Do the information rich get richer and the like-minded more similar? In Chadwick, A. and Howard, N.H. (eds.), Routledge Handbook of Internet Politics (pp. 144-156). New York: Routledge </li>
<li style="text-align: justify;">Kozinets, Robert V. "E-tribalized marketing?: The strategic implications of virtual communities of consumption." European Management Journal 17, no. 3 (1999): 252-264. </li>
<li style="text-align: justify;">McCandless, David. The Visual Miscellaneum: A Colorful Guide to the World's Most Consequential Trivia. Collins Design, 2009.</li>
<li style="text-align: justify;">Shah, Nishant “Whose Change is it Anyways? Hivos Knowledge Program. April 30, 2013.</li>
<li style="text-align: justify;">Wurman, Richard Saul, Loring Leifer, David Sume, and Karen Whitehouse. Information anxiety 2. Vol. 6000. Indianapolis, IN: Que, 2001.</li></ol>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/tactical-technology-design-activism-1'>https://cis-india.org/digital-natives/making-change/tactical-technology-design-activism-1</a>
</p>
No publisherdenisseResearchers at WorkWeb PoliticsMaking ChangeDigital Natives2015-04-17T10:34:22ZBlog EntryInformation Activism - Tactics for Empowerment (TTC)
https://cis-india.org/digital-natives/making-change/tactical-technology-information-is-power
<b>This is the first of a two-part analysis of information activism for the Making Change project. This post looks at the benefits and limitations of increasing access to information to enable citizenship and political participation. </b>
<pre style="text-align: justify;"><strong>CHANGE-MAKER</strong>: Maya Ganesh<br /><strong><br />PROJECT</strong>: 10 Tactics for Information Activism<br /><strong><br />METHOD OF CHANGE</strong>: <br />Information activism at the intersection of data, design and technology<br /><strong><br />STRATEGY OF CHANGE</strong>:<br />-Demystify the technology, strategy and tactics behind information activism.
-Train people on how to use them for their projects.
-Empower people and increase political participation at the grassroots<br /></pre>
<p style="text-align: justify;">I came into the office today and CIS Director gifted me the Red House edition of the Universal Declaration of Human Rights: ‘We are All Born Free”. Skimming through it, I found a series of graphics and artistic interpretations of Articles 1 to 30:</p>
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<p align="center"><img src="https://cis-india.org/bornfree.jpg/image_preview" alt="Article 5 - We are all born free" class="image-inline" title="Article 5 - We are all born free" /></p>
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<td><strong>Article 5 </strong><br /> Photo courtesy of Library Mice blog: <a href="http://librarymice.com/we-are-all-born-free/">http://bit.ly/1cAMpYy</a></td>
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<p align="center"><img src="https://cis-india.org/bornfree2.jpg/image_preview" alt="Article 24 - We are all born free" class="image-inline" title="Article 24 - We are all born free" /></p>
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<td style="text-align: center;"><strong>Article 24 </strong><br /> Photo courtesy of Illustration Cupboard: <a href="http://www.illustrationcupboard.com/illustration.aspx?iId=3405&type=artist&idValue=351&aiPage=1">http://bit.ly/1kI5EBd</a></td>
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<p>The purpose of this book is to find “exciting ways to socialize young people to very real issues”, rewrite human rights in a “simple,accessible form” and stimulate imagination to “observe and absorb details in a way that words struggle to express”. While specifically targeted for 12+ children, these images create associations and connections that trump the dullness of black and white texts for any audience; offering an alternative way of presenting complex bodies of knowledge crucial for our survival, such as the Declaration of Human Rights.</p>
<div style="text-align: left;" class="pullquote" dir="ltr">Change: information interventions to inspire and facilitate change-making among civil society networks.</div>
<p style="text-align: justify;" dir="ltr">In the same spirit, Tactical Technology aims to use information design strategies to create similar associations in the field of activism. The <a href="https://www.tacticaltech.org/">Tactical Technology Collective</a> is an organization dedicated to the intersections of data, design and technology in campaigning. Its has two main programs:<a href="https://www.tacticaltech.org/#evidence-and-action"> Evidence & Action</a> that works with data management in digital campaigning; and <a href="https://www.tacticaltech.org/#privacy-and-expression">Privacy & Expression</a> that provides digital security and privacysupport advice to activists. The collective envisions change as a creative and pragmatic intervention that inspires and facilitates change-making among civil society networks. We interviewed Maya Ganesh, who is part of the E&A program, and our conversation shed light on benefits and the challenges of using visual advocacy strategies to create social change.</p>
<p style="text-align: justify;" dir="ltr">On this opportunity, I will explore the potential of information activism to create opportunities and spaces of engagement. Following Saussure’s dyadic model of the sign, it will be split in two parts. The first entry will look at the ‘signified’: the ideas, associations and cultural conventions derived from information and how these could solve crises of civic engagement and citizen action. The second entry will look at the ‘signifier’ -the shapes and sequences that compose the knowledges navigating political activism. These will be viewed from the strategic, design and technological point of view. Both parts will be informed by our conversation with Maya and complemented by literature on political engagement in the digital age. On a less academic note, the posts will also refer to the experience of graphic designers, artists and bloggers who are experimenting with information design to express dissent in transnational platforms.</p>
<h2 dir="ltr">Part 1: Is Information Power?</h2>
<p style="text-align: justify;" dir="ltr">‘Transforming Information into Action’ is Tactical Technology’s take on the traditional idiom ‘Knowledge is Power’. The collective’s experience shows there are a number of steps to transform raw data into political power and for the purpose of this analysis, I will only look at information disseminated with this particular intention. This will aid to understand the relationship between increasing information availability and having it trigger civic action in contemporary activism. According to Fowler and Biekart, acts of public disobedience and activism after 2010 share the objective of reclaiming active citizenship through ‘novel ways’ that counter traditional political participation mechanisms (2013). Hence, we want to know if information activism is one of these ‘novel’ strategies enabling citizenship in the digital era.</p>
<h3 style="text-align: justify;" dir="ltr">More power to whom?</h3>
<p style="text-align: justify;"><strong>Overcoming information inequity</strong><br />If information activism is “the strategic and deliberate use of information within a campaign”, the first step is to question the type of information used in these campaigns. While many scholars claim that access to political opinion increases participation in the democratic process by fostering debate and inclusive deliberation on policy issues (Dahl, 1989, Bennett, 2003, 2008; Montgomery et al. 2004,) Brundidge and Rice’s exploration of Internet politics shows that strategies that merely increase access to information are flawed by design. They claim that increasing information mainly benefits the middle class, who counts with previous exposure to political knowledge and hence processes it with greater ease. This group ultimately dominates the public discourse widening -what they call- the ‘knowledge gap’ between socioeconomic classes (Brunridge and Rice, 2009, Bimber et al. 2005). This is the ‘information’ version of the gentrification of politics explored by Shah in the <a href="http:http:/cis-india.org/digital-natives/blog/hivos-knowledge-programme-june-14-2013-nishant-shah-whose-change-is-it-anyway">Whose Change is it Anyway</a> thought piece, and a definite deterrent of collective action at the grassroots level.</p>
<p style="text-align: justify;">A basic example to show how this manifests in the information environment is this info-graphic on <a href="http://www.2012socialactivism.com/">Social Activism</a> created by <a href="http://www.columnfivemedia.com/">Column Five</a> and <a href="http://www.takepart.com/">Take Part</a> and presenting the findings on their 2010 study on Social responsibility:</p>
<pre><strong>Example 1:
</strong>Social Activism Study (2010): <span class="st">How can brands engage Young Adults in Social Responsibility? </span></pre>
<p align="center"><img class="decoded" src="http://www.2012socialactivism.com/images/infographic.png" alt="http://www.2012socialactivism.com/images/infographic.png" height="878" width="310" align="middle" /><br />Access complete info-graphic here: <a href="http://www.2012socialactivism.com/images/infographic.png">http://www.2012socialactivism.com/images/infographic.png</a></p>
<p style="text-align: justify;" dir="ltr">The information is clear, the presentation is clean. This graphic could mobilize the middle class citizen who works in a company and has time and money to spare in donations and fund-raising activities. The graphic is informational yet it does not offer alternative participation avenues for groups outside of the politically savvy, young, educated and affluent circle (Brundidge and Rice, 2009) Instead, it reiterates socioeconomic inequalities from the offline community into the information landscape. With this in mind we asked Maya whether gentrification was a barrier for info-activism interventions at the grassroots:</p>
<blockquote style="text-align: justify;"><strong>MG</strong>: The things we are documenting are by citizens with socioeconomic barriers and obstacles. It is not our mandate to reach out to the ‘common citizen’ but it is very much our mandate to look at what is happening and what is happening to people with socioeconomic barriers who are lower on the ladder. If you look at <a href="https://tacticaltech.org/first-look-syrian-info-activism">Syrian info-activism</a>, these are people facing the worst situations you can imagine, and they are doing it [...] and we document what they are doing, trying to understand it, pull out trends and then showing people.<br /></blockquote>
<h3 id="docs-internal-guid-55c9389d-2e66-a4f1-cb32-393bdd9637f0" style="text-align: justify;" dir="ltr"></h3>
<h3 id="docs-internal-guid-55c9389d-2e66-a4f1-cb32-393bdd9637f0" style="text-align: justify;" dir="ltr">Empowering information communities</h3>
<p style="text-align: justify;"><strong>Offline networks support information dissemination</strong><br />In this respect, offline community networks are key to bridging the knowledge gap cited above. The relationship between organizations like Dawlaty, SMEX and Alt City and groups in the Arab region function as a core of ideas and resources from which localized methods and solutions emerge (read more <a href="https://www.tacticaltech.org/info-activism-resources-localised-and-arab-world">here</a>). This flow of information, coupled with the offline support, makes information from less visible demographics visible, deepens democracy and creates opportunities for these actors to participate and set the public agenda (2009). We asked Maya in what other ways information activism facilitates this process:</p>
<blockquote>
<p style="text-align: justify;" dir="ltr"><strong>MG</strong>: We have moved on a lot from information activism. <a href="https://informationactivism.org/en">10 Tactics</a> is quite old for us now but it is still interesting to see how this stuff works. This material was produced in 2008-9 and is very popular with our audience. A lot of our work now is [...] take this material to newer communities of activists or people who have been around for a long time but are getting involved with the digital for the first time. That’s one part of our work and it’s sort of self-sustainable that way.</p>
</blockquote>
<p style="text-align: justify;" dir="ltr">Therefore the value of information activism, rather than increasing the quantity of available data, is how it enables diversity and visibility of political opinion in the public sphere. One of the better known examples of information design interventions that gloat inclusiveness is:</p>
<pre><strong>Example 2</strong>
Occupy Design: the collective that builds “visual design for the 99%”:</pre>
<p style="text-align: center;" dir="ltr"><img src="https://cis-india.org/digital-natives/blog/Occupy1.jpg/image_preview" alt="Occupy 1" class="image-inline" title="Occupy 1" /></p>
<p style="text-align: center;" dir="ltr"><strong>2011</strong></p>
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<p style="text-align: center;" dir="ltr"><strong>2011</strong><br />Images courtesy of Experimenta Magazine: <a href="http://bit.ly/1hGpvOP">http://bit.ly/1hGpvOP</a></p>
<p align="justify">By presenting income and unemployment statistics about the American middle and lower class in the public space, activists from Occupy Design made the claims of the Occupy Wall Street Movement visual and visible. This enabled this group, the 99%, to reclaim the space not only through physical mobilization but also through the expression of subjectivities and open -graphic- power contestation. According to Pleyers, the pervasiveness of the movement both at the offline, online -and in this case, visual- levels created opportunities of horizontal participation, asserting spaces of democratic experience (2012).</p>
<h3>From Information to Action</h3>
<p><strong>Is information enough?</strong><br />Nevertheless, exposure to powerful images does not necessarily guarantee impact and influence, much less civic engagement. We asked Maya what she thought motivated civic action:</p>
<blockquote>
<p style="text-align: justify;"><strong> MG: </strong>External things push you over the edge. A flash-point issue could tip you over to do something different, even if you are that someone that has never been involved in anything. The gang rape in Delhi for example: it has sparked a lot of people who have never been involved and are now pushed to [act]. There are different precipitating factors and that’s why the stories of people: what people do, how they do it and why they do it, matters.</p>
</blockquote>
<p align="center"><img src="https://cis-india.org/digital-natives/blog/Galhigangrape.jpg/image_preview" alt="Delhi Gang Rape" class="image-inline" title="Delhi Gang Rape" /></p>
<p align="center">Women protesting in Bangalore after the Delhi gang rape. Photo courtesy of Dawn: <a href="http://bit.ly/1cAFLRP">http://bit.ly/1cAFLRP</a></p>
<p style="text-align: justify;" dir="ltr">Whether it is ‘external things’, a ‘flash-point issue’ or ‘precipitating factors’; the individual must make a connection between new events and how they affect the current status quo. A set of critical skills must be in place, as well as a desire to participate in civic life. (Brundidge and Rice 2009, as well as Montgomery et al. 2004) Richard Wurman, the american graphic designer, refers to this in his book ‘Information Anxiety’. He posits that there is an ‘ever-widening gap’; a ‘black hole’ between data and knowledge that limits our ability to make sense of information; even if it is vital for our context and survival. “The opportunity is that there is so much information; the catastrophe is that 99 percent of it isn’t meaningful or understandable” (Wurman et. al 2001) How do we reconcile this challenge with Tactical Technology’s mandate? What is the turning point between exposure to information and engagement in civic action?</p>
<p style="text-align: justify;" dir="ltr">In this post two issues behind information dissemination have been explored:</p>
<ul>
<li style="text-align: justify;">The risk of creating homogeneous political discussions by catering only to middle class’ interests; overlooking diversity of political expression in the public discourse. </li>
<li style="text-align: justify;">The need for offline communities to facilitate information dissemination on the ground and mainstream the technical and financial support offered by collectives such as Tactical Technology. </li></ul>
<p style="text-align: justify;" class="callout">The next question is how info-activism creates the connections between data and information to trigger civic engagement, and on this note, we proceed to analyse the role of the ‘signifier’ in information dissemination on the next post. Part two post will look at the strategy, design and technology behind the symbols and sequences of information, and how these determine the citizen’s perception of its ability to create change.</p>
<h2></h2>
<p>Access Part 2: Information Design, following this link:</p>
<h2 style="text-align: justify;" dir="ltr">Sources:</h2>
<ol>
<li style="text-align: justify;">Biekart, Kees, and Alan Fowler. "Transforming Activisms 2010+: Exploring Ways and Waves." Development and Change 44, no. 3 (2013): 527-546.</li>
<li style="text-align: justify;">Brundidge, J.S. & Rice, R.E. (2009). Political engagement online: Do the information rich get richer and the like-minded more similar? In Chadwick, A. and Howard, N.H. (eds.), Routledge Handbook of Internet Politics (pp. 144-156). New York: Routledge</li>
<li style="text-align: justify;">Bennett, Winston. "Communicating global activism." Information, Communication & Society 6, no. 2 (2003): 143-168.</li>
<li style="text-align: justify;">Bennett, W. Lance. "Changing citizenship in the digital age." Civic life online: Learning how digital media can engage youth 1 (2008): 1-24.</li>
<li style="text-align: justify;">Dahl, Robert A. Democracy and its Critics. Yale University Press, 1989.</li>
<li style="text-align: justify;">Kathryn Montgomery et al., Youth as E-Citizens: Engaging the Digital Generation. Center for Social Media, 2004. Retrieved February 15, 20</li>
<li style="text-align: justify;">Pleyers, Geoffrey. "Beyond Occupy: Progressive Activists in Europe." Open Democracy: free thinking for the world 2012 (2012): 5pages-8.</li>
<li style="text-align: justify;">Shah, Nishant “Whose Change is it Anyways? Hivos Knowledge Program. April 30, 2013.</li>
<li style="text-align: justify;">Wurman, Richard Saul, Loring Leifer, David Sume, and Karen Whitehouse. Information anxiety 2. Vol. 6000. Indianapolis, IN: Que, 2001.</li></ol>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/tactical-technology-information-is-power'>https://cis-india.org/digital-natives/making-change/tactical-technology-information-is-power</a>
</p>
No publisherDenisse AlbornozResearchers at WorkWeb PoliticsMaking ChangeDigital Natives2015-04-17T10:36:01ZBlog EntryFrom Taboo to Beautiful - Menstrupedia
https://cis-india.org/digital-natives/making-change/menstrupedia-taboo-beautiful
<b>On this post, we take a look at 'menstrual activism' -a movement that despite its trajectory in feminism, remains unnoticed in most accounts of traditional and digital activism. We interview Tuhin Paul, the artist and storyteller behind Menstrupedia, an India-based social venture creating comics to shatter the myths and misunderstandings surrounding menstruation around the world. </b>
<p> </p>
<pre><strong>CHANGE-MAKER:</strong> Tuhin Paul, Aditi Gupta<em> </em>and Rajat Mittal<em>
</em><strong>ORGANIZATION:</strong> Menstrupedia
<strong>METHOD OF CHANGE:</strong> Storytelling and comics
<strong>STRATEGY OF CHANGE:</strong> To shatter the myths and misunderstandings surrounding
menstruation, by delivering accessible, informative and entertaining
content about menstruation through different media.</pre>
<p align="justify">Most of us think we know what menstruation is; except...we don’t. Many of my male friends still cringe at the mention of the phrase “I’m on my period”, or use it as a derogatory justification for my occasional cranky mood at the office: “It’s that time of the month, isn’t it?” Poor menstruation has been the culprit of femininity; always bashful, tiptoeing for five days straight, trying its best to remain incognito. The social venture Menstrupedia is committed to change this. Aditi, Tuhin and Rajat want to shift how we look at menstruation and remove the stigma that haunts the natural, self-regulation process women undergo to keep their bodies healthy and strong to sustain life in the future.</p>
<p align="justify">Now, if you are already wondering what menstruation has to do with internet and society, just wait for it. This post manages to bring art, punk, menstruation <em>and</em> technology together, all within the scope of the <a href="https://cis-india.org/digital-natives/blog/whose-change-is-it-anyway.pdf">Making Change</a> project! Before though, we shall start with some definitions. Let us first lay conceptual grounds about menstruation and Menstrupedia, to then locate and unpack their theory of change.</p>
<p> </p>
<h2>What is menstruation?</h2>
<p>It can be defined as:</p>
<blockquote><strong><a href="http://en.wikipedia.org/wiki/Menstruation">Menstruation</a></strong> is the periodic discharge of blood and mucosal tissue (the endometrium) from the uterus and vagina. It starts at menarche at or before sexual maturity (maturation), in females of certain mammalian species, and ceases at or near menopause (commonly considered the end of a female's reproductive life).</blockquote>
<p>And it looks something like this:</p>
<p align="center"><img src="https://cis-india.org/home-images/physiologymenstruation.jpg/image_preview" title="Cycle" height="243" width="292" alt="Cycle" class="image-inline image-inline" /></p>
<p> </p>
<p>But, I believe, most women will agree the following are much more accurate depictions of the spectrum of thoughts, emotions and sensations that menstruation spurs:</p>
<h3>The Beauty of RED</h3>
<p><iframe src="http://www.youtube.com/embed/qf4TulXdNXY" frameborder="0" height="315" width="560"></iframe></p>
<h3>My Periods: A Blessing or a Curse</h3>
<p><strong>By Naina Jha</strong></p>
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<td>My periods<br /> Are a dreadful experience<br /> Because of all the pain.<br /> Myths and secrets make it a mystery<br /> What worsens it most though, are members of my family<br /> Especially my mother, who always make it a big deal<br /> They never try to understand what I truly feel<br /> I face all those cramps and cry the whole night long<br /> None of which is seen or heard or felt by anyone.</td>
<td>
<p>Instead of telling me, what it is,<br /> They ask me to behave maturely instead.<br /> Can somebody tell me how I am supposed to<br /> Naturally accept it?<br /> My mother asks me to stay away from men<br /> And a few days later, she asks me to marry one!<br /> When I ask her to furnish<br /> the reason behind her haste<br /> She told me that now that I was menstruating,<br /> I was grown up and ready to give birth to another.</p>
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<p>I don’t know whether to feel blessed about it<br /> Or consider it to be my curse.<br /> For these periods are the only reason for me to be disposed.<br /> Since my childhood, I felt rather blessed to be born as a girl<br /> But after getting my periods now,<br /> I’m convinced that it’s a curse...</p>
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<p>Find it in <a href="http://menstrupedia.com/blog/my-periods-a-blessing-or-a-curse/">Menstrupedia's blog</a>.</p>
<p align="justify">Despite all this, it is still perceived as a social stigma in society. There is clearly a dissonance between the definition, experience and perceptions around menstruation, that calls for a reconfiguration of the information we are using to define it.</p>
<p> </p>
<h2>Stigma as a Crisis</h2>
<p align="justify">However, re-defining 'menstruation' is no popular or easy task. The word belongs to a group of contested terminology around womanhood and is the protagonist of its own breed of feminist activism: <strong>menstrual activism</strong>. <a name="fr1" href="#fn1">[1]</a> Although I would consider many of the stigmas surrounding menstruation to be quite self-explanatory (we've all experienced and perpetuated them in one way or another -and if they are not, then you are the product of an obscenely progressive upbringing for which I congratulate your parents, teachers and all parties involved), I will still outline the main reasons why menstruation is a source of social stigma for women, and refer to scholarly authority on the subject to legitimize my rant.</p>
<p align="justify">Ingrid Johnston-Robledo and Joan Chrisler use Goffman's definition of stigma <a name="fr2" href="#fn2">[2]</a> on their paper: <a href="http://link.springer.com/article/10.1007/s11199-011-0052-z#page-1">The Menstrual Mark: Menstruation as a Social Stigma</a> to explain the misadventures of menstruation:</p>
<pre><strong>Stigma: </strong>
stain or mark setting people apart from others. it conveys the information
that those people have a defect of body or of character that spoils their
appearance or identity</pre>
<p align="justify">Among the various negative social constructs deeming menstruation a dirty and repulsive state, this one made a particular echo:<em> “[menstruation is] a tribal identity of femaleness”.</em> Menstruation is the equivalent of a <em>rite of passage</em> marking the lives of girls with a 'before' and an 'after' on how the world sees them and how they see themselves. From the dreaded stain on the skirt and the 5-day mission to keep its poignant color and smell on the down low, to having to justify mood and body swings to the overly inquisitive; menstruation is imagined as inconvenient, unpleasant and unwelcome. As Johnston-Robledo and Chrisler point out: the menstrual cycle, coupled with stigmas, pushes women to adopt the role of the<em> “physically or mentally disordered”</em> and reinforce it through their communication, secrecy, embarrassment and silence (Kissling, 1996).</p>
<p><em> </em></p>
<h2 dir="ltr">Why does it matter?</h2>
<p align="justify">Besides from strengthening attitudes that underpin gender discrimination and attempting against girls' self-identity and sense of worth, there are other tangible consequences for their development and education. I'm going to throw some facts and figures at you, to back this up with the case of India.</p>
<p align="justify">An <a href="http://www.wsscc.org/resources/resource-news-archive/menstruation-taboo-puts-300-mln-women-india-risk-experts-0">article</a> published by the WSSCC, the Geneva based Water supply and Sanitation Council, shows the Menstruation taboo, consequence of a<em> “patriarchal, hierarchical society”</em>, puts 300 million women at risk in India. They do not have access to menstrual hygiene products, which has an effect on their health, education (23% of girls in India leave school when they start menstruating and the remaining 77% miss 5 days of school a month) and their livelihoods.</p>
<p align="justify">In terms of awareness and information about the issue, WSSCC found that 90% didn't know what a menstrual period was until they got it. Aru Bhartiya's research on <a href="http://www.ijssh.org/papers/296-B00016.pdf">Menstruation, Religion and Society</a>, shows the main sources of information about menstruation come from beliefs and norms grounded on culture and religion. Some of the related restrictions (that stem from Hinduism, among others) include isolation, exclusion from religious activities, and restraint from intercourse. She coupled this with a survey where she found: 63% of her sample turned to online sites over their mothers for information, 62% did not feel comfortable talking about the subject with males and 70% giggled upon reading the topic of the survey. All in all, a pretty gruesome scenario</p>
<h2>Here's where Menstrupedia comes in</h2>
<p align="justify">The research ground work attempted above was done in depth by Menstrupedia back in 2009 when the project started taking shape. They conducted research for one year while in NID and did not only find that awareness about menstruation was very low, but that parents and teachers did not know how to talk about the subject.</p>
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<td>Facts about menstruation awareness in India. Video courtesy of <a href="https://www.youtube.com/user/menstrupedia">Menstru pedia</a> Youtube channel.</td>
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<p align="justify">Their proposed intervention: distribute an education visual guide and a comic to explain the topic. They tested out the prototype among 500 girls in 5 different states in Northern India and the results were astonishing.</p>
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<td style="text-align: center;"><img src="https://cis-india.org/home-images/194053_426937890752368_1403341955_o.jpg/image_preview" title="workshop 1" height="267" width="177" alt="workshop 1" class="image-inline image-inline" /></td>
<td><img src="https://cis-india.org/home-images/1102736_426937754085715_534486559_o.jpg/image_preview" title="workshop 2" height="266" width="402" alt="workshop 1" class="image-inline image-inline" /></td>
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<p><span id="fbPhotoSnowliftCaption" class="fbPhotosPhotoCaption"><span class="hasCaption">A workshop conducted by MJB smriti sansthan to spread awareness about mensuration. <br />Find full album of <a href="https://www.facebook.com/media/set/?set=a.538044002975089.1073741837.277577839021708&type=3">Menstrupedia Comic being used around India</a> on <a href="https://www.facebook.com/Menstrupedia">Menstrupedia's Facebook page.</a><br /></span></span></p>
<blockquote class="gmail_quote"><em>"To my surprise, they [the nuns] all agreed that until they read the information given in the Menstrupedia comic,</em><em> even they were of the opinion that Menstruation was a ‘dirty’ and 'abominable' thing and they wondered 'why</em><em> women suffered from it in the first place'?</em><em> But after reading the comic book, their view had changed…now they felt that this was a 'vital' part of</em><em> womanhood and there's nothing to feel ashamed about it!</em><em> The best part was while this exercise clarified their ideas, beliefs, concepts about menstruation, it also</em><em> helped me to get over my innate hesitancy to approach such a sensitive issue in ‘public’ and boosted</em><em> my confidence for taking this up as a 'mission' to reach out to the maximum possible girls across the</em><em> country." </em><br />
<div align="right"><strong>Ina Mondkar,</strong><br /> on her experience of educating young nuns about menstruation.</div>
</blockquote>
<p align="center">Testimonial after a workshop held in two Buddhist monasteries in Ladakh.</p>
<p align="justify">Their mandate today reads:<strong> ‘Menstrupedia is a guide to explain menstruation and all issues surrounding it in the most friendly manner.’ </strong>They currently host a <a href="http://menstrupedia.com/">website</a> with information about puberty, menstruation, hygiene and myths, along with illustrations that turn explaining the process of growing up into a much friendlier endeavour than its stigma-ladden alternatives.</p>
<p align="center"><img src="https://cis-india.org/home-images/Comic.jpg/image_preview" alt="Comic" class="image-inline image-inline" title="Comic" /></p>
<p align="center">Snipbit of the first chapter. Read it for free <a href="http://menstrupedia.com/comic/">here</a>.</p>
<p align="justify">Through the comic and the interactions around it, Menstrupedia strives to create a) <strong>content </strong>that frame menstruation as a natural process that is inconvenient, yes; but that should have no negative effects on their self-esteem and development; and b) <strong>an environment</strong> where girls can talk about it openly and clarify their doubts.</p>
<h3>Technology's role in the mix</h3>
<div class="pullquote"><strong>"</strong>We want to reach out to as many girls as possible”. Tuhin, Menstrupedia</div>
<p align="justify">The role of digital technologies basically comes down to <strong>scalability</strong>. Opposite to <a href="https://soundcloud.com/user742107957/scalingup">The Kahani Project's views</a> on scaling up, Menstrupedia makes emphasis on using technology<strong> to reach a larger audience</strong>. Currently they have a series of communication channels enabled by technology that include: a visual <a href="http://menstrupedia.com/quickguide">quick guide</a>, a <a href="http://questions.menstrupedia.com/">Q&A forum</a> (for both men and women), a <a href="http://menstrupedia.com/blog">blog</a> (a platform of self-expression on menstruation), a <a href="https://www.youtube.com/user/menstrupedia">you tube channel</a> (where they provide updates on their progress) and the upcoming comic.</p>
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<p align="justify">Upon the question of the digital divide and whether this expands the divide between have and have nots, Tuhin was very set on the idea of producing the same content in both its digital and print form. <em>“parents or schools should be able to buy the comic and give it to their daughters, so whenever they feel like it, they can refer to it”</em>. The focus is on making this material as readily available as possible, in order to overcome the tension between new and old information: <em>“workshops are conducted but the moment they go back home, their mothers impose certain restrictions. It becomes a dilemma. But if you provide [The girl] with a comic book, she has something she can take home and educate her mother with”</em></p>
<h2>And here's why it works</h2>
<p align="justify">More than the comic book itself, what is truly remarkable about Menstrupedia is Tuhin, Rajat and Aditi’s guts to pick up such a problematic theme in the Indian social imaginary and challenge the entrenched, stubborn beliefs surrounding the issue. The comic book, asides from being appealing to the eye and an accessible format of storytelling (a method we have unpacked in <a href="https://cis-india.org/@@search?SearchableText=storytelling">previous posts</a>), fits right into the movement of menstrual activism and what it stands for.</p>
<div align="justify" class="pullquote">“We thought of creating something: a tool that can help girls understand menstruation without having to rely on anybody else”. Tuhin, Menstrupedia</div>
<p align="justify">First, it is a <strong>self-reliant resource.</strong> Once the comic book leaves Menstrupedia's hands and lands on those of kids and adults, it takes its own journey. The format of the comic is accessible enough for someone to pick it up and learn about menstruation without the intervention or the support of a third party. This makes Menstrupedia's comic <strong>highly flexible and mobile</strong>. It can be shared from teacher to child, from mom to daughter, from peer to peer: “[it should teach] <em>how to help your friends when they get their period”</em> (Tuhin) However, it has the autonomy to also take roads less travelled: from mom to dad, from child to teacher, from boy to girl. The goal at the end of the day: a self-reliant, solidarity-based community where information circulating about menstruation highlights its capacity to give life and overshadows its traditional stigmatized identity.</p>
<p align="justify">This self-reliance is characteristic of previous manifestations of menstrual activism. Back in the 80s, the feminist movement, tightly linked to punk culture, embraced the<strong> do it yourself movement,</strong><a name="fr3" href="#fn3">[3]</a> that enabled women to materialize personalized forms of resistance. They published <a href="http://en.wikipedia.org.advanc.io/wiki/Zine">zines</a> promoting<em> “dirty self-awareness, body and menstrual consciousness and unlearning shame” t</em>hrough <em>“raw stories and personal narratives” </em>(Bobel, 2006). According to Bobel using the<strong> self as an example</strong> is a core element in the “history of self-help” within the DIY movement. The role of the Menstrupedia blog is then crucial to sustain the exposure and production of “raw narratives”. Tuhin adds: <em>“We don't write articles on the blog. It is a platform where people from different backgrounds write about their experiences with menstruation and bring in a different perspective”:</em> For example,<em><br /></em></p>
<p><strong>Red is my colour</strong> by Umang Saigal</p>
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<p>Red is my colour,<br /> To make you understand, I endeavour,<br /> Try to analyse and try to favour.<br /> It is not just a thought, but an attempt,<br /> To treat ill minds that are curable.</p>
<p>When I was born, I was put in a red cradle,<br /> I grew up watching the red faces for a girl-children in anger,<br /> Red became my favourite,<br /> But I never knew,<br /> That someday I would be cadged in my own red world.</p>
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<td>Red lover I was,<br /> All Love I lost,<br /> When I got my first red spots,<br /> What pain it caused only I know,<br /> When I realized, Red determined my ‘class’
<p>I grew up then, ignoring red,<br /> At night when I found my bedsheet wet,<br /> All day it ached,<br /> All day it stained,<br /> And in agony I would, turn insane.</p>
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<p>At times I would think,<br /> Does red symbolize beauty or pain?<br /> But when I got tied, in the sacred knot,<br /> I found transposition of my whole process of thought,<br /> When from dirty to gold, Red crowned my bridal course.</p>
<p>As I grew old,<br /> All my desires vanished and got cold,<br /> My mind still in a dilemma,<br /> What more than colour in itself could it unfold?<br /> What was the secret behind its truth untold?</p>
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<p>Is Red for beauty, or is it for beast?<br /> It interests me now to know the least,<br /> All I know is that Red is a Transition,<br /> From anguish to pride<br /> Red is a sensation.</p>
<p>Red is my colour, as it is meant to be,<br /> No matter what the world thinks it to be,<br /> No love lost, one Love found,<br /> Red symbolizes life and also our wounds,<br /> I speak it aloud with life profound,<br /> That red is my colour, and this is what I’ve found.</p>
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<p align="center">Submission to the <a href="http://menstrupedia.com/blog/red-is-my-colour/">Menstrupedia blog</a></p>
<p align="justify">'Self-expression' is not a concept we usually find side by side with 'menstruation'; however, if we look at what has been done in the past, we find that Menstrupedia is actually contributing to a much larger tradition of resistance. For instance, <a href="http://menstrala.blogspot.in/">Menstrala</a>, by the American artist Vanessa Tiegs. Menstrala is the name of a collection of 88 paintings <em>“affirming the hidden forbidden bright red cycle of renewal”.</em></p>
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<p align="justify">Another interesting example is American feminist Gloria Steinem's<a name="fr4" href="#fn4">[4]</a> text <a href="http://www.mylittleredbook.net/imcm_orig.pdf">If Men Could Menstruate</a>.</p>
<blockquote>“What would happen, for instance, if suddenly, magically, men could menstruate and women could not? <br />The answer is clear:<br /> Menstruation would become an enviable, boast worthy, masculine event: <br />Men would brag about how long and how much. <br />Boys would mark the onset of menses, that longed- for proof of manhood,with religious and stag parties.”<br />
<div align="right"><strong>Gloria Steinem</strong><br />[excerpt]</div>
</blockquote>
<p align="justify">Opportunities like these, enable Menstrupedia's community to actively participate in the reconfiguration of 'menstruation' as a concept and as an experience. By exposing new narratives and perspectives on the issue and by disseminating menstrual health information, the community is able to crowd source resistance and dismantle the stigma together.</p>
<h2>Making Change through Menstrupedia</h2>
<p align="justify">The case of Menstrupedia reminds us of <a href="https://cis-india.org/digital-natives/making-change/blank-noise-citizenship">Blank Noise</a> because of its approach to change. Both locate their crises at<strong> the discursive level</strong> and seek to resolve them by creating new forms of meaning-making. They advocate for a reconsideration of 'givens', for a self-reflection on our role perpetuating these notions and for resistance against conceptual status quos: be it socially accepted culprits like 'eve-teasing', or more discrete rejects like 'menstruation'. Both seek to dismantle power structures that give one discourse preference over others, and both count with a strong gender dynamic dominating the context where these narratives unfold. They are producing a revolution in our system of meaning making, yet only producing resistance in the larger societal context they inhabit.</p>
<p align="justify">On the question of where is Menstrupedia's action located, Tuhin replied by pinning it at the<strong> individual level</strong><em><strong>: </strong>“if a person is aware of menstruation and they know the facts, they are more likely to resist restrictions and spread awareness”. </em>However, they still acknowledge the historicity behind menstrual awareness (as knowledge passed down from generation to generation) that precedes the project. While the introduction of Menstrupedia, to an extent, does shake up household dynamics in terms of content, it also provides tools and resources to sustain the traditional model of oral tradition and knowledge sharing within the community.</p>
<p align="justify">In terms of their role as change-makers ,Tuhin stated that the possibility to intervene was a result of their socio-economic status and the resources they had at hand as “<em>educated members of the middle class with access to information and communication technologies”</em>. Is this the role the middle class should play? I asked. To which he gave a two fold answer: First, in terms of <strong>responsibility of action</strong>:<em> “it is a role that anyone can play depending on what kind of expertise they have. It comes to a point where [intents of change] cannot be sustained by activism if you want to achieve long term impact” </em>And second, in terms of setting up a <strong>resilient infrastructure: </strong><em>“I believe we can create an infrastructure people can use and create models that can help low income groups overcome their challenges and become self-sustainable.” </em>Both answers highlight the need for sustainability in social impact projects, hinting a retreat from wishful thinking upon the presence of technology and a more strategic allocation of skills and resources by middle class and for-profit interventions.</p>
<p align="justify">As far the relationship between art, punk, menstruation and technology goes; that was just a hook to get you through the unreasonable length of my blog post, but if anything, it represents an effort to portray the importance of <strong>contextuality and interdisciplinary</strong> we have been exploring throughout the series. Identifying the use of various mediums and language systems, such as different art forms and modes of self-expression, as well the acknowledgement of the theoretical and social contexts preceding and framing the project, as is feminist activism and the cultural and religious backdrop in India, contribute immensely to fill gaps in the stories of how we imagine change making today; especially at the nascence of new narratives, as we hope is the case for menstruation in a post-Menstrupedia era.</p>
<h2 align="JUSTIFY">Sources:</h2>
<p style="text-align: justify;">Bhartiya, Aru: “<em>Menstruation</em>, <em>Religion and Society”</em> IJSSH: International Journal of Social Science and Humanity. Volume: Vol.3, No.6.</p>
<div id="gs_cit2" style="text-align: justify;" class="gs_citr">Bobel, Chris. "“Our Revolution Has Style”: Contemporary Menstrual Product Activists “Doing Feminism” in the Third Wave." <em>Sex Roles</em> 54, no. 5-6 (2006): 331-345.<br /><br />Johnston-Robledo, Ingrid, and Joan C. Chrisler. "The menstrual mark: Menstruation as social stigma." <em>Sex roles</em> 68, no. 1-2 (2013): 9-18.</div>
<h2>Footnotes</h2>
<p>[<a href="https://cis-india.org/digital-natives/making-change/menstrupedia-taboo-beautiful#fr1" name="fn1">1</a>] Refer to Chris Bobel's work including New Blood: Third-Wave Feminism and the Politics of Menstruation. Access it <a href="http://rutgerspress.rutgers.edu/product/New-Blood,113.aspx">here</a></p>
<p style="text-align: justify;">[<a href="https://cis-india.org/digital-natives/making-change/menstrupedia-taboo-beautiful#fr2" name="fn2">2</a>] Johnston Robledo and Chrisler made reference to <a href="http://en.wikipedia.org.advanc.io/wiki/Erving_Goffman">Erving Goffman</a>'s 1963 work:<strong> Stigma: Notes on the management of spoiled identity<em>. </em></strong><em>"According to Goffman (1963), the word stigma refers to any stain or mark that sets some people apart from others; it conveys the information that those people have a defect of body or of character that spoils their appearance or identity Goffman (1963, p. 4) categorized stigmas into three types: "abominations of the body” (e.g., burns, scars, deformities), “ blemishes of individual character” (e.g., criminality, addictions), and “tribal” identities or social markers associated with marginalized groups (e.g., gender,race, sexual orientation, nationality)".</em></p>
<p style="text-align: justify;">[<a href="https://cis-india.org/digital-natives/making-change/menstrupedia-taboo-beautiful#fr3" name="fn3">3</a>] For a short run through on DIY as part of the Punk Subculture, refer to Ian P. Moran's paper: Punk - The Do-it-Yourself culture."Punk as a subculture goes much further than rebellion and fashion as punks generally seek an alternative lifestyle divergent from the norms of society. The do-it-yourself, or D.I.Y. aspect of punk is one of the most important factors fueling the subculture." Access it <a href="http://repository.wcsu.edu/cgi/viewcontent.cgi?article=1074&context=ssj">here</a>.</p>
<p style="text-align: justify;">[<a href="https://cis-india.org/digital-natives/making-change/menstrupedia-taboo-beautiful#fr4" name="fn4">4</a>] Gloria Steimen is a journalist, and social and political activist who became nationally recognized as a leader of, and media spokeswoman for, the women's liberation movement in the late 1960s and 1970. Visit her official website <a href="http://www.gloriasteinem.com/">here</a>.</p>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/menstrupedia-taboo-beautiful'>https://cis-india.org/digital-natives/making-change/menstrupedia-taboo-beautiful</a>
</p>
No publisherdenisseMaking ChangeNet CulturesResearchFeaturedResearchers at Work2015-10-24T14:25:59ZBlog EntryDigital Design: Human Behavior vs. Technology - Vita Beans
https://cis-india.org/digital-natives/making-change/digital-storytelling-human-behavior-vs-technology
<b>What comes first? Understanding human behavior and communication patterns to design digital technologies? Or should our technologies have the innate capacity to adapt to the profiles of all its potential users? This post will look at accessibility challenges for digital immigrants and the importance of behavioral science for the design of digital technologies. We interview Amruth Bagali Ravindranath from Vita Beans. </b>
<pre><strong>CHANGE-MAKER:</strong> Amruth B R
<strong>
PRODUCT</strong>:
Vita Beans and Guru G
<strong><strong>
METHOD OF CHANGE</strong>:
</strong>Borrow elements from behavioral science and social marketing to make technology more intuitive.
<strong>
STRATEGY OF CHANGE:
</strong>Make technology easy to use, fun and effective.</pre>
<div align="center"><embed align="middle" width="400" height="200" src="http://chirptoons.vitabeans.com/chirplet.swf?chirpfile=60" quality="high" name="chirptoons" allowscriptaccess="always" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer" base="http://chirptoons.vitabeans.com/" wmode="transparent"></embed></div>
<div align="center"><strong>Chirptoons: </strong>Create Cartoons in a Jiffy. Designed by <a href="http://www.vitabeans.com/">Vita Beans</a><br />(The animation seems to be skipping a few lines. Check box below for a transcript)<br />Design your own here: <a href="http://chirptoons.vitabeans.com/createchirplet.php">http://bit.ly/1dOEpPo</a>
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<div align="center"><strong>Transcript of animation:</strong></div>
<p style="text-align: justify;" dir="ltr"><strong>Ajoy</strong>: Hi!<br /><strong>Usha</strong>: Hi! What will we talk about today?<br /><strong>Ajoy:</strong> We will learn to design digital stories!<br class="kix-line-break" /><strong>Usha:</strong> What do you mean by digital stories?<br /><strong>Ajoy: </strong>What we are doing right now!.<br /> Telling a story through a digital medium.<br /><strong>Usha: </strong>Oh! But what is so complicated about that?<br />You write a story and then you post it online What’s<br />the big deal?<br /><strong>Ajoy:</strong> This is true. But you want everyone to access <br />your story right?<br /><strong>Usha:</strong> Yes! Of course!<br /><strong>Ajoy:</strong> Then you need to think about your audience! <br />Are you sure they all know how to use this technology?<br class="kix-line-break" /><strong>Usha:</strong> Well...no, not really.<br /><strong>Ajoy:</strong> Do you know what makes it challenging for them? <br />Or how to adapt technology to make it easier?<br /><strong>Usha:</strong> Eh, no...no clue :(<br /><strong>Ajoy: </strong>Then read on.Today we will take a step back.<br />We must think about human behaviour first!<br class="kix-line-break" />and then design our technology accordingly.<br /><strong>Usha: </strong>Sounds good! Let's do it.</p>
</blockquote>
<p align="justify">First off, apologies for such a feeble and sad animation. When I was given access to Chirptoons, I was quite confident I would be able to produce a somewhat interesting introduction to this post and get you excited about our next interview. However, between first-time user friction and a couple of glitches in the program, I found myself -a semi-savvy digital native who has been using technology, almost every day of her life, for the last 15 years- struggling to create the cartoon and clearly failing at it. The biggest challenge was translating what I had in mind into a digital format (The demo was very straightforward. I was just particularly inept), and it was frustrating to the point I decided to drop it, leave it as is, publish my unfinished cartoon and turn this post into a reflection on 'design challenges behind digital storytelling', so I could move on with my life.</p>
<p align="justify">What I experienced with Chirptoons is what many users: both digital natives and immigrants constantly face due to the pace at which new digital technologies are emerging. While the privileged demographic who has physical access to technology has a decent knowledge of basic web browsing and document processing features, there is still a very large gap in accessibility in terms of how to navigate more complex formats. At the end of the day, producers retain the creative power and determine the functions and flexibility of the technologies we use in the day to day. Just think of Facebook and its constant interface updates. We have all felt the wrenching need for that 'dislike' button to make our interactions a tad more honest, yet we have no power to create it or change Facebook's format to one that enables our needs better.</p>
<p style="text-align: justify;" dir="ltr">So far, we have explored information from different angles: as activism, as visual design, as stories; and how digital technologies have been used strategically to disseminate it. However, our analysis is lacking a better understanding of the <em>digital</em>. We have been focusing on citizens as technology 'consumers', and we have not looked at whether digital infrastructures are accessible enough for users to become 'producers'. The question is<em>: how</em> do we do this: how do we engage different users with different digital literacy levels, skills and aptitudes in the production of digital content? With this post we bring a new topic into our series: accessibility and Information infrastructures. This one will focus on design and the role of behavioural science. Our interview with Amruth Bagali Ravindranath, brought a very unique perspective into the conversation, from
which I would like to highlight three points:</p>
<p align="justify">a) The importance of <strong>behavioral science</strong> for
design. Amruth stressed why we need a thorough understanding of
behavioral and cognitive science in the design of digital technologies
and how crucial it is to investigate the decision processes and
communication strategies of humans to make technologies user-friendly
and context appropriate.</p>
<p align="justify">b) How<strong> public relations and social marketing</strong>
concepts can also provide insight on how to target and engage potential
users more effectively. This point starts to answer some of the
questions we raised on the <a href="https://cis-india.org/digital-natives/making-change/tactical-technology-design-activism-1">Information Design post</a>: thinking about the citizen as a consumer. This point also works as
an alternative take on how to target civic engagement through
technology.</p>
c) How to engage<strong> different type of users: </strong>not
only the digital native, but also digital immigrants<a style="text-align: justify;" href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2#fn1" name="fr1">[1]</a>
<p> who
still play crucial roles as information gatekeepers in fields such as
education or urban governance.</p>
<p> </p>
<h2 align="justify">Vita Beans<br /></h2>
<h3></h3>
<p style="text-align: justify;" dir="ltr">We interviewed <strong>Amruth Bagali Ravindranath</strong>,<strong> </strong>Founder of <a href="http://www.vitabeans.com/">Vita Beans</a> to answer some of these questions. Vita Beans’ mandate is to create inspiring, easy-to-use applications in areas of education and human resources, to share knowledge in innovative, fun an effective ways.
The logic behind their technological framework is trying to mimic the profile of the human brain linked to decision making -including economic, evolutionary, emotional, and psychological elements- and design their applications based on these patterns. Some of the products they offer are cognitive skill development applications, game based learning applications, educational technology research, among others, and their latest educational product: <strong>Guru G</strong> was chosen by the <a href="http://unreasonableatsea.com/overview/">Unreasonable at Sea</a> program (by Unreasonable institute & co-founder of Stanford d.school) as one of the <a href="http://unreasonableatsea.com/companies22/">11 companies changing the world</a>.</p>
<div align="right" style="text-align: left;" class="pullquote" dir="ltr"><strong>"We are trying to adapt to how the user wants to use something, rather than expecting the user to learn. This is essential in the education space to make things work".</strong></div>
<p align="justify"><a href="http://unreasonableatsea.com/vita-beans/">Guru G</a> is a "gamified teaching, teacher training & open certification platform", that aims to democratize access to technology for quality teachers. Rather than focusing on the student as most education technologies do, Guru G believes that teachers are the most important element of the education system. Enabling teachers, means quality education will reach the lives of hundreds of students during their professional life time, and with this in mind, Vita Beans designed a platform that is engaging, easy to use and intuitive, designed specifically with teachers, schools and governments in mind.</p>
<div align="center"><iframe src="//player.vimeo.com/video/65920949" frameborder="0" height="281" width="500"></iframe></div>
<p align="center"><a href="http://vimeo.com/65920949">Unreasonable Barcelona: Anand Joshi, Guru-G</a> from <a href="http://vimeo.com/unreasonable">Unreasonable Media</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
<h3 align="left">Inspiration <br /></h3>
<div align="right" class="pullquote"><em>"Teachers don't use and don't like to use technology" </em></div>
<p align="justify">The idea came from the products Vita Beans had already developed for the education space, such as their text2animation & text2game prototypes. They had produced over 80 collaborative games teachers were using in the classroom. Students play together in teams and learn about different topics through the process of gaming. However, suddenly they realized teachers had great ideas they didn't know how to translate into a<em> </em>digital form because they did not have the knowledge or the skills to create digital content. This is, according to Amruth, the crisis they are trying to solve in the education space: the quality of teachers, access to good teachers and the difficulty for teachers to adopt new technologies were the biggest challenges.<em> "</em></p>
<h3 align="left">The design challenge<br /></h3>
<p align="justify">Their initial prototypes were designed with assumptions based on their gamification experiments with students. <em>"We miserably failed with teachers and we discovered what a good gamification system for teachers looks like by prototyping with teachers and looking at the small things. It was an interesting learning experience." </em> They identified two common reasons why they hesitated to adopt anything new in the classroom.</p>
<ul><li>Teachers don't want to feel like they can't use something a student can.</li><li>Teachers can't visualize themselves using that tool, this there is an element of uncertainty and lack of confidence. </li></ul>
<p align="justify">It was imperative for Vita Beans to switch focus:<em> "Any tool you design, you expect to train the user to understand your tool, and if they refuse to do that; you blame them." </em>They used their behavioural science background to come up with infrastructural solutions that solve the limitations from the outset. </p>
<h3>The solutions</h3>
<p align="justify">They started prototyping with <strong><a href="http://en.wikipedia.org/wiki/Natural_language_processing">natural language processing</a></strong> for their text2animation & text2game projects. NLP is a branch of computer science concerned with the interactions between computers and human languages. Teachers articulated their ideas in simple English and the program used NLP to take what they said, try to understand what they were trying to visualize and convert into programming language to build an animated movie out of it (like what we used to open this article -but with hopefully better results). Amruth was very confident about the potential of this prototype and shared with us that UNICEF might take it up and implement it as an open source animated video and game creation tool in Africa.</p>
They also developed an <strong>adaptive navigation engine</strong> for one of their game based learning platforms; a tool that adapts to what you are trying to do: <em>"There is no fixed way to navigate from one task to another. It tries to learn the closest action that each teacher is trying to do and it executes that. It tries to learn how the teacher wants to use it."' </em>This was a success. They incorporated touch screens to make the product more intuitive and the teachers picked it up quickly.<em> </em>
<p>Amruth claims they are the first in the world to develop a gamification platform specifically for teachers and the reason was their solution to the navigation issue. This experience also indirectly helped in designing Guru-G.</p>
<p> </p>
<div style="text-align: center;"><iframe src="//www.youtube.com/embed/bf_rwl6JTMc" frameborder="0" height="315" width="560"></iframe></div>
<p style="text-align: center;">"Amruth Bagali Ravindranath talks about text2animation & text2game prototypes"<br />Amruth B R, at TedxMcGill. Courtesy of YouTube</p>
<p align="justify">These design solutions and the learnings from each project inspired the team to come up with products which have been adopted commercially across 10 states in India, reached 4000+ schools & over 3 million kids internationally through partners in India & North America. They have helped education companies build their primary and secondary school education products, (including one of India's top classroom technologies), have been covered by the media and won several entrepreneurship awards. More information <a href="http://unreasonableatsea.com/vita-beans/">here</a> and on <a href="http://www.guru-g.com/">their website.</a> Our question is: what is it about behavioral science that helped Amruth's team arrive to this epiphany in tech design? </p>
<h2 align="justify">Behavioral Science and Social Marketing<br /></h2>
<p align="justify">Comparing marketing to advocacy is bound to be met by resistance and perhaps controversy. I raised this question when we interviewed Maya Ganesh for the <a href="https://cis-india.org/digital-natives/making-change/tactical-technology-design-activism-1">Information Design post</a>, and stated the following in our conclusion: "<em>Our consumption habits in the market are shaping how we process and interact with information in the public space. The possibility of
'consumer behavior' permeating modalities of activism, reinforces the need
to explore more interesting strategies for information
dissemination</em>." Now that we are starting to look closely at the infrastructure supporting information, I will stubbornly return to the same question: to what extent should we borrow tactics for advocacy from marketing? and add: how much of it should permeate the design of digital technologies?</p>
<p align="JUSTIFY">Amruth made a casual reference during our interview that triggered this thought. We were discussing the importance of understanding behavior patterns, when he brought up <strong><a href="http://en.wikipedia.org/wiki/Edward_Bernays">Edward Bernays</a>. </strong>This man used psychoanalysis, psychology and social science to design public
persuasion campaigns and could get masses to choose what he wanted them to without them realizing it. While this sounds awfully dangerous and manipulative, I would like to rescue the idea of understanding human behavior well enough to design technology around it and I will entertain this thought in the context of
social change -please, don't judge.</p>
<p align="JUSTIFY">Pillip Kotler, S. C. Johnson Distinguished Professor of International Marketing at the Kellogg School of Management at Northwestern University, wrote a paper bringing marketing and social change together: <em>“Can social
causes be advanced more successfully through applying principles,
concepts and techniques of marketing?”. </em>He defines marketing as:</p>
<blockquote>
<h3 style="text-align: center;">"a sophisticated technology, that draws heavily on behavioral science for clues to solve communication and persuasion related to influencing accessibility. [...] Most of the effort is spent on discovering the wants of a target audience and creating goods and services to satisfy them" (Kotler, 1971)</h3>
</blockquote>
<div> </div>
<p align="justify">This definition is a useful bridge to link marketing with accessibility of digital technologies. G.D. Wiebe wrote an influential paper on social marketing, that coined the question: "<em>Why can't you sell brotherhood and rational thinking like you can sell soap?</em>", that later influenced public information campaigns by USAID, the WHO, and the World Bank <a href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2#fn1" name="fr1">[2]</a> . While he recognized how these models can to an extent <em>commodify </em>human behavior and social principles, he stressed that knowledge of behavioral science is a useful framework for product planning, that must be given a socially useful implementation. He developed the following criteria of considerations:</p>
<table class="plain">
<thead>
<tr>
<th align="center">Criteria<br /></th>
<th align="center">Description<br /></th>
</tr>
</thead>
<tbody>
<tr>
<td> <strong>Force</strong></td>
<td>The intensity of the person's motivation toward the goal -a combination of his predisposition prior to the message and the stimulation of the message<br /></td>
</tr>
<tr>
<td><strong>Direction</strong></td>
<td>Knowledge of how or where the person might go to consummate his motivation.<br /></td>
</tr>
<tr>
<td><strong>Mechanism</strong></td>
<td>The existence of an agency that enables the person to translate his motivation into action.<br /></td>
</tr>
<tr>
<td><strong>Adequacy</strong></td>
<td>The ability and effectiveness of the agency in performing its task.</td>
</tr>
<tr>
<td><strong>Distance</strong></td>
<td>Estimate of the energy and cost required (by the user) to consummate the motivation in relation to the reward<br /></td>
</tr>
</tbody>
</table>
<p align="justify">Considering this framework is part of recognizing how knowledge circulating market networks affects our behavior. Nishant Shah addressed two ideas along these lines in the thought piece. First, he suggests us to recognize the negotiations that take place in the state-citizen-market ecosystem, and how they affect our rights, demands and responsibilities in society. Second, how this leads to a different understanding of the citizen as an "embodiment of these state-market negotiations". Keeping consumer behavior, and the forces shaping, enabling and constraining it in mind, is an interesting framework when we think of ourselves as information consumers -and as Yochai Benkler posits in The Wealth of Networks- in an ongoing transition to information producers. This also depends on how we think of information. We usually define content as information, but the structure and infrastructure are also pieces of 'information' we continuously shape through our interaction with technology. Hence, when we talk about making information accessible, we are also talking about producing legible and intelligible infrastructures. </p>
<h3>Linking it back to digital technology</h3>
<p align="justify">I am aware that the relationship we are trying to draw seems little far-fetched, but Amruth and the Vita Bean's team experience shows this behavioral-science approach, not only has a lot of potential, but is seldom explored in the education technology market. He told us about his success story with a <strong>behavior simulation engine.</strong> They used neuroscience as a base to build computer based activities and games to predict the behavior of its users on specific situations. They had an accuracy of 86%, which according to Amruth, is larger than every known psychological framework, and according to their <a href="http://www.vitabeans.com/case-studies.php">testimonial</a>, above most behavioral tests in the market (which only yield 20-40% of accuracy). Amruth said: <em>"That
was the first behavior research connection that brought us into the
start-up space. Exploring games, exploring human behavior."</em></p>
<blockquote style="float: left;">
<div style="text-align: center;"><strong>Design challenges in<br /></strong><strong><strong>mobile applications**</strong></strong></div>
<li>Make it noticeable </li><li>Make it useless if not shared </li><li>Manufacture peer pressure</li><li>Easy to personalize </li><li>Must evolve constantly </li>(static stories die)</blockquote>
<p align="justify">We can also link these ideas back to storytelling. Amruth and I discussed what is the best way to use technology to engage users with digital stories. He made a good point at pairing up both processes:<em> "What makes a storytelling session effective is how you contextualize a story for the person you are sitting with. As kids we are used to a one way process. As adults, stories are more interactive, so you may bring a new dimension, and the story might go in a very different direction. The technology must enable and reflect that." </em>Compelling narratives must motivate the audience to interact with the stories, and digital devices must perform the same function. The infrastructure and interface of technologies must be intuitive, familiar and persuasive enough to sway users into interacting with it. </p>
<p align="justify">A way to do this is by pairing up technologies with the criterion above. In terms of functionality: provide them with a <strong>mechanism</strong> that translates the users ideas into action, that is <strong>efficient</strong> at enabling them, and that reduces the '<strong>distance </strong>(the<strong> </strong>cost or amount of energy needed) to perform a task -as has been accomplished with Guru G in India. As for the <strong>force </strong>and<strong> direction</strong> of motivation, Amruth brought up some design challenges when discussing adoption of mobile applications [**"<em>by analysing what increases the probability of a solution / campaign
growing organically by word of mouth, going viral, and specifically what make something fashionable</em>". See box on the left]. These challenges may vary from one application to the other but, at the end of day, the analysis and conceptualization of the product must be persuasive and empathetic with its users.</p>
<h3>Making Change</h3>
<p style="text-align: justify;">To close our interview, Amruth and I talked about what it means to 'make change' through digital design. He believes 'making change' is composed of three elements:</p>
<ul><li><strong>Empathy: </strong>Your attempt to make change will depend on the amount of empathy you feel towards the people you are trying to create change for.<em> "We spend time interacting with teachers, classrooms, just to get an idea of how the teacher thinks, empathize with prospective users".</em></li><li><strong>Imagination:</strong> How you translate this empathy into solutions. <em>"Imagination helps you think of as many solutions as you can to solve the design and adoption challenges"</em></li><li><strong>Action: </strong>The most challenging stage according to Amruth: <em>"If your technology is too hard to use, you will lose audience. If it's not impactful enough, it is trivialized. How do you reach a balance in making it effortless and yet, impactful?"</em></li></ul>
<p align="justify"><br />This post took a step back in our analysis of citizen action, to uncover a less visible space where change is also taking place: the intersection of the user with the machine. We seldom look at the relationship: producer-machine-consumer (and its multiple combinations) and how our behavior is being reconfigured by new digital technologies (in this project). The pace at which we need to upgrade our own operation systems, requires a degree of digital literacy that is not being facilitated by the state, the market or even civil society. Vita Beans, is one of the few examples of market actors working towards cutting the middle-man between users and digital technologies. If widely adopted, this model has the potential of re-organizing the state-citizen-market dynamic: from how citizens interact with the technology market to how new ways of producing and using technology might shape citizens' negotiation with the state.</p>
<div>This was also a set of explorations. It is a fairly new area in our research that will lead to more conversations with people who understand technology as an infrastructure and as material, as opposed to us- who often understand it as a practice, a space or an actor. Our goal is to bring content and infrastructure closer together, and make a stronger emphasis on inter-disciplinarity and multi-stakeholderism as a strategy to leverage change.
<div>
<div> </div>
<h2><strong>Footnotes:</strong></h2>
<p><span style="text-align: justify;">[</span><a style="text-align: justify;" href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2#fr1" name="fn1">1</a><span style="text-align: justify;">] Refer to Marc Prensky's Digital Native, Digital Immigrant, for more on the limitations of digital immigrants in the education space; "</span>It‟s very serious, because the single biggest problem facing <span style="text-align: justify;">education today is that our Digital Immigrant instructors, who speak an outdated </span><span style="text-align: justify;">language (that of the pre-digital age), are struggling to teach a population that speaks </span><span style="text-align: justify;">an entirely new language". Access it here: </span><a href="http://bit.ly/IMBu0j">http://bit.ly/IMBu0j</a> <br /><br />The CIS book : Digital Alternatives with a Cause, is also an interesting and comprehensive read of what comprises a digital native or digital immigrant today: <a href="https://cis-india.org/digital-natives/blog/dnbook">http://cis-india.org/digital-natives/blog/dnbook</a><br /><br /><span style="text-align: justify;">[</span><a style="text-align: justify;" href="https://cis-india.org/digital-natives/making-change/storytelling-performance-2#fr1" name="fn1">2</a><span style="text-align: justify;">] </span>The World Bank makes reference to G.D. Wiebe's thinking on their blog: <a href="http://bit.ly/1jNZVZA">http://bit.ly/1jNZVZA</a>. Also refer to: Baker, Michael (2012). The Marketing Book. Oxford: Butterworth-Heinemann. p. 696 and <span class="mw-cite-backlink"><span class="reference-text"><span class="citation book">Lefebvre, R. Craig. Social Marketing and Social Change: Strategies and Tools to Improve Health, Well-Being and the Environment\year=2013. San Francisco: Jossey-Bass. p. 4. for examples of these interventions. Finally, the Wikipedia page on Social Marketing explains the role of G.D. Wiebe in the field: <a href="http://bit.ly/1lw4jPV">http://bit.ly/1lw4jPV</a></span></span></span></p>
<h2><strong>Sources:</strong></h2>
<div id="gs_cit1" class="gs_citr">Kotler, P., & Zaltman, G. (1971). Social marketing: an approach to planned social change. Journal of marketing, 35(3).</div>
<p><span class="reference-text"><span class="citation journal"><br />Shah, Nishant “Whose Change is it Anyways? Hivos Knowledge Program. April 30, 2013.</span></span></p>
<p><span class="reference-text"><span class="citation journal">Wiebe, G.D. (1951-1952). "Merchandising Commodities and Citizenship on Television". Public Opinion Quarterly <strong>15</strong> (Winter): 679.</span></span></p>
</div>
</div>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/digital-storytelling-human-behavior-vs-technology'>https://cis-india.org/digital-natives/making-change/digital-storytelling-human-behavior-vs-technology</a>
</p>
No publisherdenisseMaking ChangeNet CulturesResearchFeaturedResearchers at Work2015-10-24T14:29:23ZBlog EntryCreative Activism - Voices of Young Change Makers in India (UDAAN)
https://cis-india.org/digital-natives/making-change/young-voices-udaan
<b>This post is a short account of what happened at UDAAN in December 2013 — a conference that gathered 100 youth from across the country to discuss pressing environmental issues and creative strategies to tackle them. We conducted a survey to map the perspectives of these young change-makers and get a glimpse of how India's youth is now framing and going about making 'change'</b>
<div align="center">
<pre><strong><img src="https://cis-india.org/home-images/copy_of_UDAANlogo.jpeg/image_preview" title="logo" height="91" width="400" alt="logo" class="image-inline image-inline" />
CHANGE-MAKERS: </strong>Youth (India)
<strong>
EVENT</strong>: UDAAN 2013 organized by 350 India: a global organization building grassroots movements across the country.
<strong>
METHOD OF CHANGE</strong>: Behavioral change, solidarity networks and creative activism.</pre>
<em>
</em></div>
<em>
</em>
<h3 align="right" style="text-align: right;"><em>“Change or making change is to bring about a paradigm shift in the way we do certain things. To alter our general way of life as it remains now into something that is positive and ideal.”</em></h3>
<p align="justify"><br />This is one of the many responses we collected from UDAAN participants on what it means to make change in India today. So
far, in <a href="https://cis-india.org/digital-natives/making-change/">previous articles</a>, we have looked at organizations working
with specific demographics and themes. On this opportunity, we are
exploring the ideas behind a group conformed by individuals coming from
different walks of life, who embody an array of historical,
linguistic and cultural understandings of the world, yet still find an intersection at their intents for change. We addressed
the core questions raised in the project's thought piece: Whose
Change is it Anyway: <em>“What is the understanding of change with
which we were working? What are the kinds of changes being imagened?
Whose change is it, anyway?”</em> -to start touching base with the ideas
underpinning their actions, and identify how -or whether- it
introduces new ways to define this concept. </p>
<h2>UDAAN 2013</h2>
<p align="justify">I had the privilege of joining this inspiring group during a four day conference and got the opportunity to share with students, activists and entrepreneurs from 13 states of India (chosen from a pool of 2000 applicants) involved in social change practices across the country. Despite the diverging world views among participants, the sense of a common purpose was almost undisputed. Every attendee was committed to mitigate the detrimental impact of climate change in their cities, protect vulnerable populations and advocate for justice. However, the most interesting points of contention lied on how to translate this commitment into individual and collective <em>action, </em>create conditions that enable change, and encourage community participation in environmental, political and social issues.</p>
<p align="JUSTIFY">With these questions in mind, the conference focused on providing strategies of action and the attendees explored all sorts of lobbying and political participation mechanisms through its workshops. Three main elements stood out for me. First, the cocktail of tactics provided by experienced campaigners: from direct resistance and non-violent action to story-telling and street theater; participants were inspired to experiment and re-conceptualize activism.</p>
<p align="center"><img src="https://cis-india.org/home-images/IMG_1972.JPG/image_preview" alt="Space Theatre" title="Space Theatre" class="image-inline image-inline" align="centre" /><br />Space Theatre Ensemble</p>
<p align="center"><img src="https://cis-india.org/home-images/Gamification.jpg/image_preview" title="Gamification" height="266" width="400" alt="Gamification" class="image-inline image-inline" /></p>
<p align="center">Educators Collective</p>
<p align="justify">Second, the use of gamification in the workshops, facilitated by the experiential learning group <a href="https://www.facebook.com/educatorscollective?ref=ts&fref=ts">Educators Collective</a>, was the key to introduce values of leadership, solidarity and sustainability into individual behaviour and team practices. And finally, the add of 'unconference slots' to the program empowered attendees to share their methods, initiatives and projects in an open platform. This fostered peer-to-peer learning and more importantly reinforced the net of support and the immense amount of admiration (that grew exponentially between participants) for each other's work.</p>
<h2 align="JUSTIFY"><strong>Youth and Activism in India</strong></h2>
<p align="JUSTIFY">Coming from the perspective of our research project: <a href="https://cis-india.org/digital-natives/blog/hivos-knowledge-programme-june-14-2013-nishant-shah-whose-change-is-it-anyway">Making Change</a>, it was second nature to me to question frameworks utilized around "making change". I was pleasantly surprised to find an array of perspectives and experiences floating around panels, workshops and keynote presentations. They were definitely seeking consensus, yet in a way that did not inhibit diversity of thought, intellectual curiosity and self-reflection. This sparked the idea of collecting these views and use them as a sample of the current status of youth activism in India. Particularly considering how many of the strategies taught at UDAAN, while incredibly powerful, require a set of resources (including capital, time and energy) that are not readily accessible for all aspiring activists in the country.</p>
<p align="JUSTIFY">These thoughts are consistent with a couple of articles I referred to for context on Indian youth and activism. Starting with the IRIS Knowledge Foundation and the UN-HABITAT's report: <a href="https://cis-india.org/digital-natives/making-change/www.esocialsciences.org/General/A201341118517_19.pdf">"State of the Urban Youth, India 2012: Employment, Livelihoods, Skills"</a>. It states that in only seven years, India will become the youngest country of the world with a median age of 29 years old. This, coupled with the fact that India's youth is the largest group in the working-age population — in a country that is expected to become one of the world's next major economic powers (Ilavasaran, 2013) — has, according to Padma Prakash, led demographers and economists to consider youth as the future of the country's economic growth. Having said that, these promising prospects do not reflect that 87.2% of the unemployed of the country are youth, only 27% of Indian youth is literate and 64% is located in rural areas. These facts display a constant negotiation between precariousness and hope, and particularly the high level of dissonance between the expectations and opportunities surrounding this group. Furthermore, as put by Prakash, despite the amount of economic information we have on this group, we lack a deep understanding of the social constructs underpinning their motivations and actions. On one hand, Ilavasaran suggests precariousness is the trigger behind both their unrest and their activism. On the other, the path they end up taking will depend on how they understand making change and their role within this process.</p>
<p align="JUSTIFY">This dilemma was quite evident at UDAAN. Youth from all over India came together to fervently speak about the grievances climate change is causing in their regions and share the stories behind their struggles. On this note, the conference represented an incubator for their ideas and frustrations. and one of its main goals was to steer all this energy towards a path of constructive positive change. Carpini on his work on civic engagement (2000) outlines three factors that lead to participation: motivation, opportunities and capabilities; and how the interplay of the three result in different patterns of change-making. Hence, what is left to answer is how will this chaotic ecosystem shape youth's ideas of creating change? And to what extent will these conditions determine their motivation, opportunities and capacities of participating in the process? The survey we sent out to participants is only a starting point to reflect on these points. It did not aim to resolve these questions, but instead gather a snapshot of how politically and socially active young citizens are locating change and framing some of the biggest challenges of its generation.</p>
<h2 align="JUSTIFY">Online Survey</h2>
<div>About 25 people participated in the survey. The survey had five questions that explored three concepts analyzed in the Making Change research project: change, civic engagement and methods of change. It was divided into three sections:</div>
<p align="JUSTIFY">a) <strong>Definitions:</strong> Participants were asked how they understand 'change' and 'making change'.</p>
<p align="JUSTIFY">b) <strong>Actors:</strong> Participants were asked to reflect on their role and the role of youth in the process of making change. It also touched on concepts of active citizenship and engagement.</p>
<p align="JUSTIFY"><strong>c) Methods: </strong>This section looked at the practices and methods preferred by youth for making change. Participants were asked to think about strategies and tactics discussed at the UDAAN workshops or other initiatives of interest, and how ICT/technology affect the process.</p>
<p align="JUSTIFY">The purpose was to collate as many ideas and perspectives around change-making from this group and hence, the questions were broad and open-ended. The participants remained anonymous and details about their age, religion, region, socio-economic status, etc., were not disclosed. The language barrier and access (and frequency of access) to social media platforms was a big limitation to obtain a larger sample but the responses still reflected interesting patterns, which were later classified and categorized using a keyword system. </p>
<p align="JUSTIFY">The results were displayed on the info-graphics found below:</p>
<ul style="text-align: -webkit-auto;"><li>Infographic 1* reflects the different ways participants outlined change-making: definitions of 'change' and 'making change', type of change (positive, neutral or confrontational), location of change (individual, society or system) and time of change (now, future, long-term).</li><li>Infographics 2* and 3 outline the profiles of a change-maker and an active citizen.</li><li>Infographic 4 lists their preferred methods of change -in no particular order. The bottom section reflects the spectrum of opinions around the use of technology.</li></ul>
<p>*The percentages reflect the portion of respondents who reflected this view and the texts are excerpts of the respondents' answers.</p>
<p align="JUSTIFY">This presentation format was chosen for three reasons: first, to facilitate the consumption of raw data collected from the survey and make visual associations between themes. Second, to put into practice some the recommendations from the storytelling workshop to make research more accessible to the public. And third, as a somewhat self-serving experiment to measure a) the ability of a graphic designer rookie, with no previous experience (like me), to create visual aids and graphics with free online tools, and b) explore empirically some of the methods I have encountered through my research: <a href="https://cis-india.org/digital-natives/making-change/methods-to-conceive-condense-social-change">Methods for Social Change</a>. Hence, the following results will not be of an academic nature as previous posts, but will instead clarify some of the patterns, evident in the original responses, that may have been lost in graphic translation. </p>
<h2>Locating Change: Definitions</h2>
<p style="text-align: right;"><em style="text-align: left;"><strong> "Change is any alteration from an established status-quo. Making change is creating a system that is self-sustaining and capable of surviving over a long period of time"</strong></em></p>
<p>In spite of including both concepts on the same question, most respondents differentiated them in their answers. Approximately 50% of the sample responded 'change' was either an irreversible process or an outcome to a process, while the other 50% implicated themselves in the 'change' process, stating it means to shift and modify how we act and think. A similar spirit was reflected about 'making change'. About 29% of the participants acknowledges a break from previous practices, and 29% considers we are implicated through the adoption of a new model of action. Interestingly enough, only 5% considers making change a duty or a responsibility. This low percentage signals making change is understood as non-compulsory which does not affect active politically involved citizens but leaves the more passive and idle off the hook when it comes to acknowledging their role in the process of change. </p>
<p align="justify">Moving on to type of change: 38% of the respondents consider making change a neutral process that does not guarantee a positive change (as considered by 33% of the sample). It was defined as an event that merely breaks the norm or from usual practices. A possible reading of this is that a group is not mobilizing its efforts with a plausible positive alternative in mind. Instead, it seeks difference without a deeper considerations of <em>how</em> will it differ from the conditions it is breaking from. This fits into the 'politics of hope' paradigm brought up by Shah in the piece: This approach to change and the idiom 'making a difference' is "so infused with the joy of possibilities" that it doesn't evaluate whether the outcome will lead to further assurance or precariousness, when compared to the earlier structure. This approach limits structural, systemic and sustainable change, an issue that was also evident in the results of the time-line. 0% thinks change must be made immediately but the rest of the sample was divided into making plans for the future (19%) and a smaller number on securing a self-sustaining system (10%) to replace the former. </p>
<div align="center"><a href="https://s3.amazonaws.com/easel.ly/all_easels/277883/MakingChange2/image.jpg"><img src="https://s3.amazonaws.com/easel.ly/all_easels/277883/MakingChange2/image.jpg" alt="MakingChange2 title=" height="805" width="628" /></a></div>
<p align="center"><strong> Infographic 1: </strong>Making Change (Generated using: <a style="text-align: left;" href="http://easel.ly">easel.ly-</a>)</p>
<p align="justify">Finally, on the question of where is change located, we find the first instance of a pattern that was evident throughout the survey. On this category 38% finds change must occur externally: either in society and others (19%), or through the shift from a status quo that is perpetuating inequality (19%). Yet the largest group (24%) identified that change must occur internally first. The role of the self was also very prominent in the following sections as well. </p>
<h2>Agents of Change</h2>
<p>After
locating change, the project also intends to understand who are the
main actors and stakeholders lumped into the category of 'citizen' or
'citizen action'. On this survey, these actors were dubbed
'change-makers'. Respondents were free to describe what they
understood by the term and the social construct determining the model
they were working towards (as aspiring change-makers themselves). The
second actor we inquired about was 'active citizen'. The concept of
citizenship is ambiguous terrain, yet there seems to be a connection
between the identity confered by the 'citizen' status and the
respondents' inner call for action. </p>
<h3><strong>a) The Change-Maker:</strong></h3>
<p style="text-align: right;"><strong><em>"I think that all of us can be change-makers. We need to be sure of what and why we need to change and have a vision of how the world will be after making the change</em>"</strong></p>
<p align="JUSTIFY">The Change-Maker (Infographic 2) was defined by the four characteristics outlined below.</p>
<div align="center"><a href="https://s3.amazonaws.com/easel.ly/all_easels/277883/ChangeMaker2/image.jpg"><img src="https://s3.amazonaws.com/easel.ly/all_easels/277883/ChangeMaker2/image.jpg" alt="ChangeMaker2 title=" height="507" width="657" /></a></div>
<p align="center"><strong> Infographic 2</strong>: The Change Maker (Generated using: <a style="text-align: left;" href="http://easel.ly">easel.ly</a> )</p>
<div align="justify">Each characteristic was coupled by actions that reinforce this behaviour. For example, understanding the issue (33%) comes hand-in-hand with inciting motivation through information: <em>'If one aspires to change, then one must first understand what is to be changed, how it is to be changed and what would replace the changed system. The primary step is to realize and acknowledge the problem, educate others and then action” </em>(Anonymous survey respondent, 2013) Another interesting example is how the 28% that identified the individual as the source of change, also recommend self-reflection on how to create the most impact: "[My role as a change-maker is]<em> practicing what I preach and learning to critique myself constructively and in a manner that helps me improve"</em> (Anonymous survey respondent, 2013) This brings a different light to Carpinis categorization of 'capabilities' in social change. It is no longer about participation in an external movement but more about how the individual secures sustained change through his own consistent and coherent behaviour.<br /><br /></div>
<h3><strong>b) The Active Citizen</strong></h3>
<p style="text-align: right;"><em><strong>"An active citizen is who follows the constitution, understands and takes responsibility for himself and for influencing his family and community for the betterment of life's social, economic and environmental issues"</strong></em></p>
<div align="justify">
<div align="right">
<h3></h3>
</div>
<p align="justify">Self-awareness was a key point in how the active citizen was personified. It was one of most emphasized points, placing more responsibility on the role of the citizen as opposed to on the issue at hand. Attitudes such as 'realizing the problem', 'taking responsibility' and 'taking initiative' reflect that the individual is finding motivation on taking ownership of his choices and decision-making power. The individual is focusing less on antagonizing the structure and is instead elevating his identity to a fearless, noble status -the citizen is becoming the hero of its own narrative. This ego-emphasis, is also motivating the citizen to invest on increasing its own knowledge capital and attain a thorough understanding of the issues, to then heighten individual and collective awareness around them. The objective is either local -give back to its community- or normative -work towards justice and equity- but there seems to be consensus on the starting point. </p>
<p align="center"><a href="https://s3.amazonaws.com/easel.ly/all_easels/277883/ActiveCitizen/image.jpg"><img src="https://s3.amazonaws.com/easel.ly/all_easels/277883/ActiveCitizen/image.jpg" alt="ActiveCitizen title=" height="805" width="628" /></a><br /><strong> Infographic 3 -</strong> The Active Citizen (Generated using: <a style="text-align: left;" href="http://easel.ly">easel.ly</a>)</p>
</div>
<h2><strong>Methods for Change</strong></h2>
<p style="text-align: right;"><strong>“<em>By going out there and making the change! Get down and dirty. Then use those examples in the form of story, pictures, etc. and inspire others around you to first change themselves and then help change society!”</em></strong></p>
<div align="justify">Finally, infographic 4 displays a mapping of the methods brought up by participants. Again, awareness and behavioural change were the most popular, placing information and the individual at the epicenter of change-making. The impact of the theater and story telling workshops on participants was also evident, on several mentions to the power of 'artivism'.<br /><br />
<div align="center"><a href="https://s3.amazonaws.com/easel.ly/all_easels/277883/Methods/image.jpg"><img src="https://s3.amazonaws.com/easel.ly/all_easels/277883/Methods/image.jpg" alt="Methods title=" height="840" width="656" /></a></div>
<div align="center">Infographic 4: Methods for Social Change (Generated using: <a style="text-align: left;" href="http://easel.ly">easel.ly</a> )</div>
<p align="JUSTIFY"><br />In regards to communication and technology, I was surprised to find that many respondents find it insufficient. They instead recognize the need for strong offline communities making sure activism online translates into the offline realm. “<em>[online platforms] are vital in building quick connections amongst those who feel alike towards bringing change. But eventually, all struggles for change have to be offline [...] technology could be the first step that eventually leads the path to more offline and personal connections.”</em>(Anonymous survey respondent, 2013) <em>: </em>Others were wary about its power and they recognize it can be used to both help and contain the activist with the same intensity: <em>"Technology can either blind people or give them sight."</em>(Anonymous survey respondent, 2013) These views reflect youth has moved on from the tech hype that pervades the digital activism discourse. The role of technology was not excluded from the conference's tactic package and the group perceives technology as a powerful complement, yet it still places a lot more emphasis on creating sustainable change through education, behaviour and offline interactions than through digital interventions.</p>
<p align="JUSTIFY"><em></em></p>
<h2 align="JUSTIFY"><strong>Conclusion</strong></h2>
<p align="JUSTIFY">Comments at the aftermath of the event reflected participants had undergone a collective mental shift on how to create social change. We arrived looking outwards: accustomed to pointing fingers and scouting for common enemies that personify the misdoings of inequality perpetrators. Five days at Fireflies later and after UDAAN's intervention, I can safely say we left looking inwards. We are now determined to seek information and identify the most effective ways to mainstream it and make it accessible; we are impelled to reconnect with our creative and artistic selves and put them at service of communication; we are encouraged to share our personal stories and have them inspire solidarity and movement in our communities, and above all, we will continue to pursue the level of behaviour-action consistency that legitimizes our efforts at making change. The conference turned out to be a very organic experience and it provided all of us with a space to connect with ourselves and one another in a time of growing loneliness and isolation in the digital age.</p>
<p align="JUSTIFY">Furthermore, the
thoughts that surfaced on the survey are important pointers to
continue uncovering what drives civic engagement among youth. Seeing
these activists locate change in the self was a refreshing break from
the times we used to overindulge in the possibilities of
technology-mediated change. It seems that the digital is already so
embedded in our interactions and ecosystems that it has not only has
ceased to be novel, but it is recognized as insufficent, and hence,
the attention has returned back to the user and its offline
communities. With this in mind, the group that attended UDAAN, as
part of the demographic who represents "the promise and future
of India's growth", is taking up the challenge of strengthening
ideas of making change in their networks. Have them succeed, and this
'growth' will be met by a current of better informed, better armed
young activists working to secure a self-sustaining system for the
generations to come. </p>
<div style="text-align: center;"><em><strong>**</strong> Thanks to everyone who participated on the survey, Special mention to UDAAN organizers, Educators Collective and the wonderful UDAAN 2013 group<strong>**</strong></em></div>
<p align="JUSTIFY"><strong><br />Sources:</strong></p>
<ol>
<li>HABITAT, UN. "State of the Urban Youth, India 2012.", (2013)</li>
<li>Ilavarasan, P. Vigneswara. "Community work and limited online activism among India youth." <em>International Communication Gazette</em> 75, no. 3 (2013): 284-299.</li><li><span style="text-align: -webkit-auto;">Shah, Nishant “Whose Change is it Anyways? </span><em style="text-align: -webkit-auto;">Hivos Knowledge Program. (</em><span style="text-align: -webkit-auto;">April 30, 2013).<br /><br /></span></li></ol>
<p align="JUSTIFY"><strong>Resources:</strong></p>
<ol>
<li>Easel.ly: To create and share visual ideas online: <a class="external-link" href="http://www.easel.ly/">www.easel.ly/</a><cite></cite></li>
<li>Info.gram: Create infographics: <a href="http://infogr.am/">infogr.am</a></li>
<li>More on UDAAN: <a class="external-link" href="http://world.350.org/udaan/">http://world.350.org/udaan/</a></li>
<li>More on Global Power Shift (350) - <a class="external-link" href="http://globalpowershift.org/">http://globalpowershift.org/</a> </li></ol>
</div>
<p>
For more details visit <a href='https://cis-india.org/digital-natives/making-change/young-voices-udaan'>https://cis-india.org/digital-natives/making-change/young-voices-udaan</a>
</p>
No publisherdenisseResearchers at WorkMaking ChangeWeb Politics2015-04-14T13:21:22ZBlog EntryBridging the Information Divide - Political Quotient
https://cis-india.org/digital-natives/making-change/information-divide-political-quotient
<b>On this post, we will unpack 'information poverty'- a problem lying at the very foundation of the crises that inspired this project and a barrier impacting political action. We interview Surabhi HR, the founder director of the political consulting firm Political Quotient, an initiative that seeks to change how youth interacts with politics in India</b>
<pre><strong>CHANGE-MAKER</strong>: Surabhi H R
<strong>ORGANIZATION</strong>: Political Quotient
<strong>METHOD OF CHANGE</strong>: Building an information service for citizen grievances, designed to keep elected representatives accountable for what happens in their constituency.
<strong>STRATEGY OF CHANGE</strong>: Building a new breed of politically conscious youth in India through technology and an interdisciplinary approach to change.</pre>
<p align="justify">The deeper we delve into this project, the more the ‘information question’ rises to the surface as the decisive factor shaping political participation in democracies. Most of the initiatives we have learned about are focused on providing spaces, resources and opportunities to enable voices, participation and richer exchanges of information and knowledge. Yet, framing these as ‘empowering’ overlooks citizens who are trapped in an information gap or suffocated by an information overflow. People who find themselves in either side of the spectrum, are for the most part discouraged from engaging with this information, participating in public discussions (Jaeger, 2005), and do not have the same political opportunities as people with wider and freer access to information.</p>
<p align="justify">As we continue to explore how youth is redefining civic action in digital and information societies, we must thoroughly understand the different ways in which information barriers are affecting political action. On this post, we will go over a short glossary of terms that will help us understand <strong>information poverty</strong> better- a problem lying at the very foundation of the crises that inspired this project. These terms will be somewhat similar to each other, but will be unpacked from three different points of view, describing the implications of information poverty for social justice, technology disparity and democracy. The glossary will be coupled by our conversation with Surabhi HR, the founder director of the political consulting firm <a href="http://politicalquotient.in/">Political Quotient</a>, an initiative that seeks to change how youth interacts with politics in India. Her background in Economics added new nuances to our analysis, as we explore the workings of political action through the lenses of economic theory.</p>
<h3>Political Quotient</h3>
<p align="justify">Political Quotient wants to “<em>build a new breed of politically conscious youth that engages with the political system and equips them with the necessary skills to do so”. </em>They have been running two programs: the <strong>‘Political Internship Programme’</strong> where young people have the opportunity to join party lines and support with legislative research, performance auditing, media management and event organization. And the second program is <strong>‘Politicking’</strong>, in which they organize Google hangouts and panels between student leaders, political commentators, and party heads to debate and discuss policy-making and politics.</p>
<p align="center"><img src="https://cis-india.org/home-images/Politicking.jpg/image_preview" alt="Politicking" class="image-inline image-inline" title="Politicking" /></p>
<p align="justify">Now PQ is moving on to a new phase, in which they recognize it is not only youth who must be empowered. Similarly to <a href="https://cis-india.org/digital-natives/making-change/information-structures-janaagraha">Janaagraha</a>, they also believe there must be an information structure in place to support elected representatives, who have been chosen to govern without the resources to effectively do so. <em>“Things are changing, elected representatives are being held accountable, asked to be more transparent and to be more active, but the honest truth is they don’t have the necessary support to do this” </em>comments Surabhi on the situation that led her and her team to develop a set of services and products to engage people in direct conversation with their elected representatives. These including the following:</p>
<p align="justify">a) A <strong>grievance addressing service:</strong> designed to keep elected representatives accountable for what happens in their constituency. Citizen grievances can be sent by e-mail, smartphone, sms, etc. to the elected representative’s office, where it will reach a multi-platform software that redresses the grievance to the right department; (for example, if the grievance is related to a tree fall, it will be redressed to the forestry department as opposed to staying in the MLA office). The whole process will be transparent, as both the citizen and the MLA will be able to track the status of the complaint, from the day it was issued to the day it was implemented, using technology.</p>
<p align="justify">b) A <strong>government schemes and subsidies information service: </strong>Citizens will have access to information about schemes through digital technologies, and find out if it is reaching the right beneficiaries.</p>
<h2>Glossary:</h2>
<p align="justify">
(or crash course on concepts we should be familiar with when discussing making change in information societies)</p>
<p align="justify">To understand what information poverty is and how Political Quotient’s intervention in the information landscape will impact political action, will refer to the work of Johannes Britz, Doctor in Information Science and that of Anthony Downs, Economist specialist in public policy and public administration. This choice is inspired by a natural tension in our research as we continue to negotiate: what change ‘should’ look like from the lens of social justice and sustainable development, and what the ecosystem of change actually looks like when we deconstruct the political and economic structures enabling and constraining intents of change.</p>
<pre>
<div style="text-align: center;">1.<strong>Information poverty:</strong></div>
According to Johannes Britz, : “the situation in which individuals and communities do not have the skills, abilities or material means to obtain efficient access to information, interpret it and apply it.”</pre>
<p align="justify">Britz believes that information poverty must be addressed from a social justice perspective that considers the social, political and economic consequences of lack of information for our ability to fulfill our capabilities and freedoms. He posits a 'fair information society' as an ideal, in which social institutions work towards eradicating the four main characteristics of information- poor societies (See box below)<a href="https://cis-india.org/digital-natives/making-change/information-divide-political-quotient#fn1" name="fr1"></a><a name="fr1"></a></p>
<blockquote style="float: right;">
<p align="center"><strong>Characteristics of information-poor societies</strong></p>
<p>
1. Lack of essential information<br />2. Lack of financial capital to access information<br />3. Lack of technical infrastructure to access information<br />4. Lack of intellectual capacity to filter and evaluate<br /><strong> </strong>the benefits of information</p>
</blockquote>
<p align="justify">The third characteristic: <strong>'inefficient information infrastructures'</strong> is the main gap, both Janaagraha and Political Quotient, are addressing in urban India. They are both providing services to connect the citizen with their elected representatives; establishing a reliable exchange of information between parties, and as a consequence, more autonomy, transparency and accountability in the governance process.</p>
<p align="justify">How does Political Quotient brings us closer to a fairer information landscape in governance? Surabhi responds: <em>“The [grievance addressing] system is using the benefits of filling the information gap to create tangible assets: greater accountability, interaction, participation in the citizen-elected representative relationship and thereby fundamentally changing the way they interact.” </em></p>
<p align="justify">Following Britz's reading of John Rawls' categories of justice<a name="fr1" href="#fn1">[1]</a>. PQ’s work addresses social justice in the following ways:</p>
<ul><li>
<strong>Recognition and participation:</strong> Enhancing the citizen’s ability to file a complaint is in itself an act of recognition of the citizen’s power to affect its own environment and his possibility to participate in the governance process. <br /></li><li><strong>Reciprocity: </strong>The system enables interaction between the elected representative and the citizen, setting forth reciprocity, transparency and a horizontal platform for exchanges where both parties manage the same information. <br /></li><li><strong>Development of capabilities: </strong>Assuming a successful implementation, grievances addressed imply the realization of the power of the citizen and a more functional infrastructure that enables their development as individuals. <br /></li><li><strong>Distribution and enablement: </strong>Assuming all citizens in Karnataka have access to ICTs, this service distributes power and bridges the distance between them and the government.</li></ul>
<div align="justify" class="pullquote"><br />"In a society where we depend on the creation, access and manipulation
of information, [lack of information] questions the fundamental freedoms
of people”. Britz, 2004</div>
<p> </p>
<p align="justify">While all these are highly idealistic assumptions, the last one is the most problematic (in a country where the Internet and mobile penetration rate remain as low as <a href="http://timesofindia.indiatimes.com/tech/tech-news/With-243-million-users-by-2014-India-to-beat-US-in-internet-reach-Study/articleshow/25719512.cms">16%</a> and <a href="http://www.iamwire.com/2013/06/indian-mobile-landscape-2013/#_am76us06">26%</a> respectively). While information and communication technologies do play an important role in bridging the gap between those who have access and produce information and those who don’t, as Britz outlines, the growth of ICT’s takes information poverty to a <em>“whole new dimension”</em>; in most cases dividing the info-haves and the info-have nots even further. Britz ideal of an fair information society is what we aspire to, yet there are structural limitations in place which might prevent information-based initiatives, such as Political Quotient, from achieving its social justice objectives.</p>
<pre>
<div style="text-align: center;"><strong>2.Information Poverty</strong></div>
<div style="text-align: center;">Information poverty can also be thought of as ‘information inequity’, which for the last 20 years has been strongly correlated to the digital divide. From this perspective, we can define it as the “economic inequality between groups in terms of access to and use of knowledge and ICTs.” </div>
</pre>
<p align="justify">Analyzing information precariousness from the technology perspective brings us to the elements contributing to the digital divide and how they are affecting our ability to be informed by and of digital technologies. According to Britz, the three main elements contributing to the divide are the following:</p>
<blockquote>
<div align="center"><strong>Factors Contributing to Digital Divide</strong><br /><br /></div>
a) <strong>Connectivity: </strong>Lack of infrastructure and material access to ICTs
<br />b) <strong>Content:</strong> Inability to access content because it is unaffordable, unavailable or unsuitable.<br />c) <strong>Human approach:</strong> Lack of education and digital literacy to understand and use information and data as knowledge.<br /></blockquote>
<p align="justify">This is a paramount consideration for Political Quotient if they aspire to reach all the constituencies in Karnataka; both rural and urban. Surabhi recognizes the firm will have to overcome the socioeconomic barriers that impede a pervasive adoption of her product. <em>“When one travels between rural and urban, the differences are many. Nothing has been done on the ground and there is a lot of potential. What is encouraging is that they want to learn.” </em>This limitation is conflicting with the amount of information the stakeholders of this project need to handle in order to successfully bridge the information gap (between the elected representatives and the citizens) and have it be a<em> “mutually beneficial relationship between the voter and the voted” </em>as they envision:</p>
<div align="center"><img src="https://cis-india.org/Capturadepantalla20140414alas15.jpg/image_preview" alt="Information Gaps" class="image-inline image-inline" title="Information Gaps" /><br />Information stakeholders need in order to use this service<br />Infographic generated using <a href="https://infogr.am/">info.gram</a><br /><br /></div>
<p align="justify">While the service PQ is developing seeks to leverage technology to bridge this gap, digital illiteracy might not only prevent citizens from using the system, but could potentially exclude them further from the democratic process. As Shah posits in the project’s <a href="https://cis-india.org/digital-natives/blog/whose-change-is-it-anyway.pdf">thought piece</a> (on increasing the access to ICTS): <em>“the analogue citizen is expected to transition to the emerging new paradigms: earlier categories of discrimination or exclusion are now replaced by technology exclusion.”</em> The team plans to work with their clients (representatives) in digital technologies and organizational skills capacity building, yet an information inequity strategy needs to be put in place in order to guarantee the fulfillment of all the stakeholders’ capabilities -particularly equitable participation from the citizen’s front.</p>
<pre>
<div style="text-align: center;"><strong>3. Information Poverty:</strong></div>
<div style="text-align: center;">Information poverty can also take the economic avatar of ‘imperfect knowledge’. According to Anthony Downs, “lack of complete information on which to base decisions is a condition so basic to human life that it influences the structure of almost every social institution”.</div>
</pre>
<p align="justify">Downs' perspective is based on <a href="http://en.wikipedia.org/wiki/Public_choice">public choice theory</a>, which is <em>“the use of economic tools to deal with traditional problems in political science”</em>. This is a subset of <a href="http://en.wikipedia.org/wiki/Positive_political_theory">positive political theory</a>, that models voters, bureaucrats and politicians as self-interested. He posits in his work <a href="http://www.hec.unil.ch/ocadot/ECOPOdocs/cadot2.pdf">‘Economic Theory for Political Action in a Democracy’</a> that political parties in democracies formulate policy and serve interest groups merely as a means to gaining votes.</p>
<p align="justify">Surabhi and her team align with this thinking: <em>“Politics is not benevolent; ours is a for-profit model that seeks to engage with the elected representative in providing him a mechanism to ensure that he gets more votes. At the same time, we also engage with citizens in ensuring that their interests and issues are looked into. Our basis is that politicians work for votes and the same should be leveraged to solve problems”</em>. Downs’ thesis is that given these assumptions, a democracy –a political system where the parties compete for the control of the government –can only function to its fullest potential when there is perfect information and information is costless. This is what makes democracy the gold standard of governance and the great model on paper that promises to secure our equality and freedoms.</p>
<p align="justify">Yet, democracy does not cease to bring disappointment and a sense of helplessness towards politics amongst youth. The advent of digital technologies has been a glimpse of hope for their political engagement, and this entire research is grounded on the question of how is it they can renew trust and mobilize youth towards civic engagement. A first step towards this direction is assuming the inherent faults in the system, as opposed to focusing on citizen apathy. Democracy has been implemented in a system where there is imperfect knowledge and where there is a high degree of both voluntary and involuntary ignorance <a name="fr2" href="#fn2">[2]</a>,. This, according to Downs, means that:</p>
<blockquote>
<div align="center"><strong>Consequences of imperfect knowledge in governance</strong></div>
<ul><li>Parties do not know what citizens want </li><li>Citizens do not always know what the government is doing or should be doing </li><li>Information to overcome this gap is costly</li></ul>
</blockquote>
<div align="left" class="pullquote"> “Ignorance of politics is not a result of unpatriotic apathy, rather it
is a highly rational response to the fats of political life in a large
democracy” Downs, 1957</div>
If information is costly, so is democracy. The highest risk of deeming citizens apathetic is ignoring the information barriers that prevent them from participating fairly in decision-making processes. Political Quotient cannot intervene by encouraging citizens to be informed, but it can provide them with tools to bring them closer to constituency related information, bringing down the costs of both participation and information. As put by Surabhi: <em>“We want to be an ally of the political system. They need to do good. They are there for 5 years and need to do something.”</em>
<p> </p>
<p> </p>
<h2>Making Change</h2>
<p align="justify">While my glossary of terms may seem repetitive (I did define the same term three times), I want to make an emphasis on how important it is to unpack our concepts through various lens of analysis. We started this project exploring multi-stakeholderism and partnerships on the ground, however we are naturally moving on to spaces of knowledge collaboration where change is conceived through the amalgamation of different disciplines. These convergences do not necessarily happen in the most visible ways though, and one of the project’s objectives is to identify undocumented yet significant interventions to make change in the landscape of information societies.</p>
<p align="justify">Political Quotient’s initiative breaks the following paradigms in the discourse of 'change in the digital era':</p>
<blockquote>
a) It removes the spotlight from the <strong>citizen:</strong> while the focus of the project is to level citizens-citizen and citizen-government power relations (in terms of access to information), the political firm is focusing on improving the efficiency of the government apparatus, which brings new light to how 'citizen action' unfolds in the context of urban governance. <br />
<div> </div>
<div>b) Political Quotient’s <strong>methods</strong> are far from what we see in the ‘spectacle imperative’ where the intent for change is scaled up through visibility in the public sphere. The firm was conceived in the private sector and its work will take place from within the elected representative’s offices. </div>
<div> </div>
<div>c) The firm, in the same way as Vita Beans, applies an i<strong>nterdisciplinary approach </strong>to the design of its technology. (Fun fact: Political Quotient is working alongside Amruth’s team to create mobile applications for the service; which means the infrastructure will include both behavioural science and economic thinking behind its design. Read <a href="https://cis-india.org/digital-natives/making-change/digital-storytelling-human-behavior-vs-technology">one of our previous posts</a>, to learn more about Amruth's approach to change and digital design)</div>
<div> </div>
d) <strong>Technology</strong> is indeed framing their understanding of change, but in this case, the question is how technology can be amplified by human behaviour and education, as opposed to how technology determines or amplifies our ability to make change as it is commonly conceived.<br /></blockquote>
<div> </div>
<p align="justify">Not including an analysis of information poverty, and how it both inspires and limits intents of change, devoids the project from understanding the dynamic nature of information and how it interferes in social justice and political action. Furthermore, info-poverty is not a condition characteristic of digital and information societies. Our ability to access information has always determined our dexterity to navigate institutions and infrastructures; indistinctive of what technologies are available at the time. We hope that Political Quotient’s initiative locates not only the information gaps, but also the inherent obstacles the digital divide might represent for their work, and as stated by Surabhi in their theory of change, take them <em>“as an opportunity for a solution. Going from mere ideas to action”.</em> We wish them the best and will follow up on them after June, once the new elected representatives are in office, to see the extent to which information poverty has been addressed through their service. </p>
<h2 align="justify">Footnotes:</h2>
<p align="justify">[<a href="https://cis-india.org/digital-natives/making-change/information-divide-political-quotient#fr1" name="fn1">1</a>] Britz based his categorization in John Rawls work on principles of
justice. Particularly on 'A Theory of Justice' a work of political
philosophy and ethics where he discusses inequality, distributive
justice and his theory of <a title="Justice as Fairness" href="http://en.wikipedia.org/wiki/Justice_as_Fairness">Justice as Fairness</a>.
We did not refer to his work for this post, but it is worth a read in
the context of the digital divide and the question of fair
redistribution of digital technologies. </p>
<p align="justify">[<a href="https://cis-india.org/digital-natives/making-change/information-divide-political-quotient#fr2" name="fn2">2</a>] Read more on voluntary or involuntary lack of knowledge in Downs' work on <a href="http://www.hec.unil.ch/ocadot/ECOPOdocs/cadot2.pdf">economic theory and political action</a>. Particularly his reading on persuasion, ideologies and rational
ignorance -in a context of imperfect knowledge and democracy. Some
interesting ideas on persuasion: "<em>Persuasion can only occur in the
midst of ignorance; reality is: there are votes who are less informed
than others and they need more facts; and we are mostly approached by
biased versions of facts" </em>and on rational ignorance:<em> "when
information is costly, no decision-maker can afford to know everything
[...] ignorance of politics is not a result of unpatriotic apathy;
rather it is a highly rational response to the facts of political life
in a large democracy"</em>.</p>
<h2 align="justify">Sources</h2>
<div id="gs_cit2" class="gs_citr"><br />1. Britz, Johannes J. "To know or not to know: a moral reflection on information poverty." <em>Journal of Information Science</em> 30, no. 3 (2004): 192-204.<br /><br />
<div id="gs_cit2" class="gs_citr">2. Downs, Anthony. "An economic theory of political action in a democracy." <em>The Journal of Political Economy</em> (1957): 135-150.<br /><br />3. Jaeger, Paul T., and Kim
M. Thompson. "Social information behavior and the democratic process:
Information poverty, normative behavior, and electronic government in
the United States." <em>Library & Information Science Research</em> 26, no. 1 (2005): 94-107.</div>
<br />
<div id="gs_cit2" class="gs_citr">4. Norris, Pippa. <em>Digital divide: Civic engagement, information poverty, and the Internet worldwide</em>. Cambridge University Press, 2001.<br /><br />5. <span class="reference-text"><span class="citation journal">Shah, Nishant “Whose Change is it Anyways? Hivos Knowledge Program. April 30, 2013.</span></span></div>
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For more details visit <a href='https://cis-india.org/digital-natives/making-change/information-divide-political-quotient'>https://cis-india.org/digital-natives/making-change/information-divide-political-quotient</a>
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No publisherdenisseResearchers at WorkNet CulturesMaking ChangeResearch2015-10-24T14:28:06ZBlog Entry