Reflections: Teamwork and Digital Activism

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During the last months, the IDA WhatsApp group has been full of lively discussions. Topics have varied from supportive messages to technical problems and everything in between. Our common feeling is that we are quite proud of what we succeeded in doing together: an active blog that started from scratch.

IDA

The name IDA is an acronym for Inside Digital Activism, and it describes well what we were looking for. We wanted a modern and good-looking platform with content that dives deep into different aspects of digital activism. The banner picture refers to all that digital activism is: something you can see, say, or hear, and again sometimes it´s not accessible to all to comment, watch, or listen to.

The blog visuals were made by Ana. She says that she has always enjoyed image creation and this case was no exception.

“I had a lot of fun putting together images that would represent our thoughts and would give a cohesive aesthetic to our blog.”

The whole process was conducted remotely and digitally. The blog brought us together from different locations in Europe to work on a platform centered on the theme of Digital Protest.

Initially, we conducted a video meeting to establish the blog’s objectives and outline each person’s roles and responsibilities. Throughout the process, we adhered to our agreed-upon structure and maintained ongoing updates via our WhatsApp group chat.

“Deadlines were met with minimal stress, and the workflow was remarkably smooth. Overall, it was surprisingly efficient!” as Limin said.

What we learned?

It was very refreshing to have a completely new type of assignment, and it was interesting to think about what to write about.

 “I loved that each of us could focus on a topic that resonated with us the most. The freedom we had with topics, themes, and styles really gave us the chance to make the blog our own”, Doris explains. She was also responsible for the team’s social media involvement and advertising.

“I was honestly surprised by how time-consuming it can be—especially when you are also responsible for the teammate’s post and want to make them look good for them.”

During the process, we also talked about the role that AI plays nowadays in the content creation. Many of us use proofreading programs that use AI. Ana reflects nicely on how personal writing has a uniqueness that AI can´t yet have.

 “Writing the posts was a super entertaining activity that made me reflect a lot about my own interests and how communication and self-expression are enabled due to digital channels. Specifically on the creation of the posts, I found super interesting the role that AI plays today and will play in the coming years. There is something almost melancholic about taking the time to write a paragraph that you know could be easily created by AI, probably with way more data and information but that absolutely misses that unique character of personal writing.”

WordPress blog as a platform

Our group didn´t have much experience in using WordPress before. Tábata was the one to oversee the technical aspects of the blog.

“In a more technical role, I learned practical tasks and that was very entertaining and useful. It was a very enjoyable experience; I got to learn and present research and insights in a completely different way.”

Limin was skeptical about using WordPress. “However, this assignment left me no choice but to engage with the platform. Through this experience, I’ve realised that the user experience is not ideal, and much time was spent on configuration rather than content creation. In the future, I would select from a few other well-known blogging platforms with more intuitive setups that simplify the process and considerably reduce the learning curve.”

We managed to overcome all the techical issues. As Doris said: “But in the end, thanks to an amazing team, it turned into a valuable experience!”

Teamwork made it work

Noora´s role was to manage the process, see that all things got done in the planned schedule and so on. It was an easy task because our team worked efficiently and well throughout the process.

“Remote studying can be lonely sometimes; it was so nice to have an active WhatsApp group and peer support during the blogging. I learned a lot from my group mates and really enjoyed reading their posts.”

Group support and co-learning are great takeaways for us in this project. Doris also highlighted that:

“This kind of challenging assignment was a great way to learn about blogging in a supportive environment. It feels especially relevant since I can see myself working in communication or public engagement in the future. To sum it up, for me, the exercise was challenging and somewhat stressful, but also a great opportunity for learning!”

Ana mentioned that the blog project brought her the joy of writing.

“For some moments, I started to think that blog writing or even books, would be totally replaced by AI as it is such a “time” saving tool. But very quickly I realized that even though the tool exists, the satisfaction of self-creation and its uniqueness is totally lost when you become the spectator of your own thoughts when they are narrated by artificial intelligence. So, I regained interest in writing and also in reading the thoughts of others around me, starting with my own groupmates, who created beautiful and impactful pieces of work. I felt happy to have the chance and almost the excuse to sit and write. “

This is the last post in IDA. Thank you all for reading!

 

 

Digital Activism —Who is behind it and who does it actually benefit?

Image

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Source: Freepik.

In my first post, I looked into the evolution of the internet and its impact on social movements and digital activities. I focused on two key concepts: affordance and affordability. Today, I am going to expand on that by looking at different research that examines how these inequalities manifest and who is positively and negatively impacted by them. 

Affordability and Access

As I previously mentioned, differences in affordability refer to differences in purchasing power. This means that wealthier people might be able to afford the latest, most expensive and most efficient technology, while others cannot. This disparity also affects digital activism, where costs are higher for lower-income groups (Schradie 2019: 17).

But in the context of the digital activism gap, class is not just about buying the latest iPhone. Access to education and skills are also crucial. In her book The Revolution that Wasn’t: How Digital Activism Favors Conservatives, Schradie (2019: 30) notes that ‘all of the working-class groups lacked a dedicated person, either staff or volunteer, who knew how to maintain and update their online presence.’

Digital organisations –an obsolete entity?

Another of Schradie’s findings (2019: 18) is that the success of digital activism depends on the strength of organisations. After analysing several working-class organisations in the US, the groups that ranked highest on the digital activism index were effective because they operated within a well-structured organisation. 

Her findings align with Pierri’s (2022: 2-7), who examined a digital campaigning organisation associated with the OPEN Movement in Europe. The author finds that, far from being obsolete, digital campaigning organisations have grown more professional over time and have become important mediators between activists and formal political institutions. The current landscape is crowded and very competitive, which means that organisations with greater resources tend to thrive. In contrast, smaller, less formal groups often struggle and may need to merge with larger entities to stay afloat.

The significance of organisation and hierarchy challenges the common and academic view that the internet inherently democratises society. Access to investment, resources, and money remains unequal, meaning that not everyone can fully benefit from the opportunities the digital world offers (Schradie 2019: 19).

The Question of Affordances 

During her ethnographic research, Pierri (2022: 12–13, 18) found that affordances play a key role in the internal dynamics of digital campaigning organisations. Tensions arose between Campaign and Tech Teams, with campaigners feeling restricted by data-driven decisions and a lack of tailored solutions. The Tech Team’s focus on data was seen as limiting the campaign’s flexibility. Additionally, while women are well-represented in staff and leadership, they are notably underrepresented in technical roles, highlighting a gender gap in tech positions.

But another important, yet often overlooked, aspect of digital affordances is the accessibility of the internet for people with disabilities. To them, the Internet is inherently unfriendly. People with visual impairments might face issues like incompatible screen readers and missing image descriptions. Mobility-impaired individuals may face challenges with small buttons and non-responsive designs. Individuals with hearing impairments are affected by the lack of text alternatives for audio content. Cognitive and learning disabilities are exacerbated by poor site design, while flashing elements can trigger seizures for those with epilepsy (Jaeger 2012: 2).

Beyond affordances and affordability: Providing safe spaces

Something that might not often be considered when discussing access to digital activism is  how physical spaces might be the only safe spaces for some communities (Schradie 2019: 46–47). Besides fears of hacking, phishing and security breaches, the internet can be an incredibly hostile space for women,  people of colour, LGBT+ people, or people with disabilities, among other minorities. It might discourage them from participating in the digital space, sharing their thoughts, ideas and experiences. 

Oftentimes, social media community rules are set by a small group and may not fully address users’ safety needs. Furthermore, these rules can shift when circumstances change. For instance, when Elon Musk bought Twitter for $44 billion on April 14, 2022. This acquisition not only came with a complete rebranding—the platform is now called ‘X’—, but with the dissolution of its Trust and Safety Council. This advisory body, established by the company in 2016, was composed of 100 independent organisations focused on civil and human rights and other social issues to address hate speech, child exploitation, suicide, self-harm, and other potentially harmful content on the platform. Musk’s controversial update to the block feature, allowing blocked users to view posts from those who blocked them, is presented as increasing transparency but may leave some users feeling more vulnerable to harassment.

So, who is currently benefiting from digital activism and an active digital presence? 

Schradie (2019:  28–29) found that working-class organisations faced important challenges with digital activism. Their overall online engagement was two to three times lower than that of middle- and upper-class groups. Even when these working-class groups managed to establish an online presence, their community interaction—measured through likes, comments, retweets, and followers—remained limited. 

The digitisation of news, along with a growing conservative media ecosystem of right-wing outlets (see Dori’s post for a different take on this issue) favours conservative activists (Schradie 2019: 20-21). In her analysis, Schradie (2019: 146–147) found that right-wing groups consistently outperform their left-wing counterparts in digital activism. Conservative groups were more hierarchical in their decision-making, more active online, and had more sophisticated websites that were updated more frequently and a stronger presence on platforms like Twitter. They not only had higher engagement, but also a larger share of social media activity overall. 

Men, able-bodied, and neurotypical individuals typically face fewer barriers to digital access, allowing them to engage in online spaces more easily. In contrast, women, people with disabilities, people of colour (PoC) and LGBT+ communities encounter additional challenges, including harassment and discrimination. To this, it is important to add that the design of the internet is not always inclusive. Inaccessible websites, incompatible screen readers, and poor navigation create significant obstacles for people with disabilities. All these barriers can limit or discourage their participation in digital activism.

 

References: 

Jaeger, T. P. (2012) Disability and the Internet: Confronting a Digital Divide. London: Lynne Rienner Publishers.

Pierri, P. (2022) ‘Who Can Still Afford to Do Digital Activism? Exploring the material conditions of online mobilisation’ Weizenbaum Journal of the Digital Society 2, (2) 1–23.

Schradie, J. (2019) The Revolution That Wasn’t: How Digital Activism Favors Conservatives. Massachusetts: Harvard University Press.

https://www.nytimes.com/2022/10/27/technology/elon-musk-twitter-deal-complete.html 

https://www.theguardian.com/technology/2022/dec/12/twitter-safety-council-dissolved-before-meeting 

https://www.forbes.com/sites/antoniopequenoiv/2024/10/17/x-will-soon-let-users-see-tweets-from-people-who-block-them-the-controversial-change-explained/#:~:text=Musk%20has%20stopped%20short%20of,receiving%20further%20criticism%20from%20users.

Banksy’s Art, Activism, and the Paradox of Digital Engagement

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Book Cover from Banksy, The Early Shows 1997-2005

Image Source: Follow the link to download the book.

Banksy and Activism

Mention art and activism, and Banksy’s name is bound to come up at the top of the conversation. In my view, the Walled Off Hotel in Bethlehem stands out as his most astonishing piece of artivism. Known for having “the worst view in the world,” the hotel opened in March 2017 as a temporary exhibition but continues to operate on the West Bank of Bethlehem(Banksy’s Art in West Bank Hotel With World’s “worst View” | AP News, 2017). This project exemplifies inter-subjectivity by redefining the concepts of ‘place’ and ‘space,’ as outlined by de Certeau (1984, pp. 117-118). The hotel’s physical location represents a ‘place’ with stable material conditions and specific uses. However, Banksy’s art installations transform this ‘place’ into a ‘space’ shaped by the interactions and movements of visitors.

https://walledoffhotel.com/rooms.html

Images source – 

https://walledoffhotel.com/rooms.html

A View from the Walled Off Hotel

The hotel’s installations turn the static ‘place’ into an ‘anthropological space’ where historical and social dynamics are continually reinterpreted. This encourages visitors to interact with the dynamic engagement related to the Israeli-Palestinian conflict. As Turner (2004) discusses in “Palimpsest or Potential Space? Finding a Vocabulary for Site-Specific Performance,”  this layered approach allows for a reinterpretation of history and social commentary. Moreover, this transformation reflects the inter-subjectivity concept and the palimpsest nature of site-specific performance. It creates a vibrant space for ongoing dialogue and interactions between visitors and the local community.

From Street to Screen

I feel a strong connection to fellow creators as an artist. I’m a huge fan of Banksy—whether it’s visiting his exhibition at the Moco Museum in Amsterdam or mural hunting in London. While Banksy’s street art may originate in physical locations, he has engaged in the digital landscape effectively through his online presence. I am just one of over 13 million followers on his sparsely updated Instagram account. Each post featuring his murals or special projects instantly receives thousands of comments in various languages, including Japanese, English, and Russian. Most of these posts have gained over a million likes, and have been reposted and shared tens of thousands of times across various platforms (The Power of Banksy’s Art and Activism, 2021).

To explore this, I will first look into how Banksy’s art connects with digital activism, which refers to employing digital tools and platforms to promote social change, and how social media helps spread his creative expression.

Noora, one of our group writers, highlighted relevant insights from Mutsvairo’s “Digital Activism in the Social Media Era” (2016) in her first post, emphasising that the effectiveness of online activism relies heavily on coordination with offline efforts(Noora, 2024). Banksy demonstrates this balance by using digital platforms to amplify his messages while ensuring that his street art continues to make a tangible impact in the offline world.

Photo by Nicolas J Leclercq on Unsplash

Satire and Representation

Banksy’s art is centred around satirical commentary on societal issues. As explained by Stuart Hall that meaning is not inherent in objects, people, or events; rather, it is constructed through cultural and societal contexts. In “The Work of Representation,“ Hall (1997) argues that meaning is created through language, signs, and images that people within a culture use to make sense of the world. This perspective offers me a different view of Banksy’s striking visuals, which are meant to tackle complex social issues and challenge viewers to confront uncomfortable truths. While his work challenges viewers to confront uncomfortable truths, it also raises questions about representation and agency. 

My professor, Tobias Denskus, in his blog Aidnography, also reflects on the importance of engaging audiences and stakeholders in the Global North in development discussions. He uses the example of Angelina Jolie’s visit to Chad, documented in her piece for Time, and contrasts it with MrBeast’s loud, cash-in-hand videos. This raises questions about the intended audience and the impact these communications have on humanitarian efforts. One cannot help but agree with Denskus’s reflection: “…but who is the audience and how does it help…?” This also reminded me of Rhodri Davies’ article, “Good Intent, or Just Good Content? Assessing MrBeast’s Philanthropy,” where he notes, “If MrBeast wasn’t making videos about giving, what would he be doing instead?”

I wonder are we, Banksy’s fans, truly empowered by his work, or are they simply being used as emotional sensations?

The Commodity Paradox

This leads to an obvious irony in Banksy’s work. While he critiques capitalism and the commodification of art, his creations have become highly sought-after items rather than accessible forms of expression for the public. During another assignment for this blog to explore interview techniques, an anonymous student shared their enthusiasm for viewing Banksy’s artwork in person, highlighting that the cost of admission to the Moco Museum in Amsterdam, which is €21.95, poses a significant barrier for students. In some extreme cases, people have even vandalised walls and public property to acquire a piece of Banksy’s art(Simpson, 2022). The excitement surrounding his art on digital platforms has helped market his work to the masses, inflating prices and encouraging other street artists to pursue the “Banksy effect” (The Banksy Effect – a Look at Banksy’s Impact on Society & How He Legitimised Street Art, n.d.)

Additionally, Banksy’s decision to remain anonymous adds to his mystique. Viral videos attempting to reveal his identity create such a buzz that draws even more attention to his art and raises questions about the role of identity in activism. As a result, his art has become part of the very consumer culture he seeks to criticise. My brain is spinning with questions: What does this mean for the future of art as a tool for genuine social change? When artivists’ work becomes commercialised, what happens to their original message and intent? Does commercial success change the true meaning of their art, or help spread it? How do digital platforms affect this process? I could go on and on.

Commercialisation and Community Impact

Consider Banksy’s famous shredded piece, Girl with Balloon. The act of shredding it during an auction was intended as a critique of the art market, yet the artwork’s value unexpectedly skyrocketed, and the partially destroyed piece ultimately sold for £18.5 million(Badshah, 2021). This sale further underscores the growing demand for Banksy’s work. In the wake of these events, public reactions have ranged from outrage to admiration, igniting discussions about the value of art and its role in society.

Moreover, there have been instances where Banksy’s art has led to concerns about rising rents. For example, this March when Banksy created a mural on a block of flats in Finsbury Park, London, residents feared their rents would skyrocket due to the increased property value (Skinner, 2024). The building owner reassured tenants he wouldn’t raise the rent, but did mention the possibility of selling the property to Banksy enthusiasts willing to pay a premium. This situation highlights the unintended economic impact of his art on local communities.

Finally, while Banksy has occasionally sold his art on the streets over the years, unauthorised reproductions frequently appear on platforms like eBay and Etsy. His official website, managed by the Pest Control Office, warns against the commercial use of his images.

https://pestcontroloffice.com/use.asp

The screenshot from the Pest Control Office website regarding the Use of Images.

Despite this, some individuals have been arrested for selling fake Banksy art. This rise in popularity risks shifting his work from a form of activism to a trendy aesthetic, lifting him to celebrity status. As his fame grows, the way audiences interpret Banksy’s work can vary greatly, largely influenced by the art market, digital hype, and his mysterious identity. This complexity leaves me pondering the dynamics at play.

Viral and Value

Thanks to digital media, Banksy’s artwork has become a highly sought-after commodity, often fetching astonishing prices at auction. Social media allows his work to reach a global audience, generating excitement that drives collectors and celebrities into fierce bidding wars. This increased visibility creates a sense of urgency around his pieces, while the limited editions he produces add an air of exclusivity that further inflates their market value. Exhibitions like Dismaland, the Walled Off Hotel, and the ongoing pop-up showcases of The Art of Banksy consistently break visitor records, highlighting the public’s eagerness to experience his art in person. This paradox underscores the complexity of Banksy’s work: while it critiques consumerism and capitalism, it simultaneously becomes an asset within the very system he challenges.

Your Thoughts?

I find myself split between the tension of art as a commodity and art as a form of resistance. The relationship between art, representation, and activism raises important questions about the responsibilities of artists in our digital age. Given this context, which piece of Banksy’s art, aside from raising awareness, has inspired or motivated individuals and groups to take concrete actions in response to the social and political issues he highlights? I’d love to know!

 

References

Badshah, N. (2021, October 14). Banksy sets auction record with £18.5m sale of shredded painting. The Guardian. https://www.theguardian.com/artanddesign/2021/oct/14/banksy-auction-record-shredded-painting-love-is-in-the-bin

Banksy. (n.d.). https://banksy.co.uk/licensing.html

Banksy’s art in West Bank hotel with world’s “worst view” | AP News. (2017, March 3). AP News. https://apnews.com/article/b19763edb0a44037adb0cafcc3e0b223

Banksy Explained. (2023, August 18). Home – Banksy explained. Banksy Explained -. https://banksyexplained.com/

Blanché, U. (Ed.). (2023). Banksy – The Early Shows. 1997-2005. https://books.ub.uni-heidelberg.de/arthistoricum/catalog/view/1201/2062/108482

Certeau, M. de. (1984). The practice of everyday life (S. Rendall, Trans.). University of California Press. https://chisineu.wordpress.com/wp-content/uploads/2012/10/certeau-michel-de-the-practice-of-everyday-life.pdf

Denskus, T. (2024, October 6). What if MrBeast really is one of the futures of philanthropy—and what does that mean for communicating development? Aidnography. Retrieved from https://aidnography.blogspot.com/2024/10/mrbeast-givedirectly-future-philanthropy-communicating-development-aid.html

Davies, R. (n.d.). Good intent, or just good content? Assessing MrBeast’s philanthropy. Retrieved from https://onlinelibrary.wiley.com/doi/full/10.1002/nvsm.1858

Hall, S. (1997). The work of representation. In Representation: Cultural representations and signifying practices (pp. 15-30). Sage Publications.

Mutsvairo, B. (2016). Digital activism in the social media era. Palgrave Macmillan.

Noora.  (2024, November 5). Protests online and offline – IDA. IDA. https://wpmu.mau.se/msm24group4/2024/10/21/protests-online-and-offline/

Simpson, D. (2022, October 19). Crowds, vandals, chaos: what happens when Banksy sprays your wall? The Guardian. https://www.theguardian.com/artanddesign/2019/jan/16/help-ive-been-banksied-how-we-coped-with-banksy-street-art-fame

Skinner, T. (2024, March 20). Owner of Banksy mural flats says he won’t put up rent – but could be tempted to sell. NME. https://www.nme.com/news/music/owner-of-banksy-mural-flats-says-he-wont-to-put-up-rent-but-could-be-tempted-to-sell-3603281

The Banksy Effect – A look at Banksy’s impact on society & how he legitimised street art. (n.d.). Maddox Gallery. https://maddoxgallery.com/news/97-the-banksy-effect-how-banksy-legitimised-street-art/

The power of Banksy’s art and activism. (2021, May 7). Sothebys.com. https://www.sothebys.com/en/articles/the-power-of-banksys-art-and-activism

Turner, C. (2004). Palimpsest or potential space? Finding a vocabulary for site-specific performance. In Theatre and Performance Design (pp. 77-89).

 

Shrinking civic space and other threats in the digital environment

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In my previous blogposts Social media influencers and content creators as inspiration for digital protests – IDA and Protests online and offline – IDA I have been searching for the connection between digital and offline activism. My posts have particularly intertwined with themes like participation, feeling of belonging, activism as a community, and the role of influencers and forerunners in activism. In my final post, I will conclude the themes and also focus on the challenges and possibilities that digital activism is facing these days.

Wars, crises, and pandemics have followed one after another in recent years. Times are difficult for many, including civil society. A state of emergency has offered regimes the possibility of shaping (in other words, restricting) civil society to better serve their own purposes. How is civil society doing in a crisis-filled world?

Civic space and civil society

Notions civic space and civil society are sometimes used interchangeably (Biekart et. Al, 2023, p. 4). To understand better the challenges, threats, and possibilities of modern, and digital activism it is important to see the difference between these notions. The notion of civic space comes from the human rights discourses and is defined based on the realization of civic freedoms such as the right of assembly and expression, in the same time civic space is the enabling environment for civil society (Biekart et. Al, 2023, p. 4). The civic space is the working environment for civil society, including activism.

It is difficult to measure how effective, and strong or weak civil society is. In terms of research civic space is easier to explore. As Biekart and Fowler say: Civic space has all the attractions that civil society lacks: it can be “visualized” as bounded, dynamic – a space that can grow or shrink. (2023, p. 28). Civic space is an ever-changing environment and the changes can happen fast. Biekart and Fowler note that in countries in which civic space became more restricted, it was largely due to conservative and/or neo-populist forces gaining presence and space (2023, p.41).

Unpleasant development for civic space happened in many countries during the COVID-19 pandemic. Restrictions made to mitigate the spread of the virus also limited the civic space. This development happened for example in Sri Lanka. During COVID the warnings issued by the authorities such as the curfews, travel restrictions, and restrictions of gatherings made a negative impact on civic space (Fernando, 2023, p. 109). When public events and meetings are halted the space for civil society is effectively restricted.

Threats and posibilities in digital world

Civic space is shrinking in many countries due to restrictions from the government and its officials. Digital activism doesn´t solve the problem because the restrictions extend to the digital world too, many social media services are banned, for example, in Russia. In the digital environment, civic space faces other threats and risks in addition to those that are shrinking the space. Roberts and Karekwaivanane argue that digital disinformation is a direct threat to democracy and to fundamental human rights in Africa, disinformation is deployed by governments as well  (2024, p.1).  Disinformation is playing an increasing role in distorting elections, inflaming  conflict  and  disrupting  crucial  policy  debates  across  the  continent  on  issues  including  vaccinations,  immigration,  gender  and  reproductive  rights (Roberts and Karekwaivanane, 2024, p.1). 

The problem is not limited to Africa, as written previously in IDA-blog in the recent election in the US the flood of misinformation kept pouring in from every direction. Also in this case the misinformation and deceitful messages are often shared by politicians and important figures themselves.

One of the great challenges in the digital civic space is accessibility. If civic space is considered to be the realization of the right of an expression the low accessibility makes it empty. In Mozambique, for example, internet use levels are low especially  in  rural  areas, only 21 percent have access to the internet (Tsandzana, 2024, p.66). People in the low-income countries are not the only ones who have access problems. These issues apply also to elderly citizens and persons with a disability.

For whom digital activism is an option?

As the (digital) civic space is shrinking, especially in countries with conservative regimes and digital accessibility is a problem, especially in low-income countries, it leaves us in a situation where digital activism is an equal option only mainly for the people in high-income countries who are educated enough to know how to pay attention for disinformation. But is it enough that we raise our voices in the digital space?

In my first post, I wrote about online and offline protests. I received a very thoughtful comment on that post, which encouraged us, the people in the Global North to do more than be active in digital channels, and defended the need to commit our physical bodies to the cause. The comment continued: we owe it to ourselves and to those we follow online to act in care and solidarity in the physical realm. After delving into the theme, realising the accessibility problems, challenges with the disinformation and restriction coming from the governments – I think it´s important to keep up the noise in all channels, also in the real world (not just in digital channels), and occupy streets and building while we still can.

Influencers and celebrities

In my post Social media influencers and content creators as inspiration for digital protests – IDA I introduced MrBeast, YouTube-content creator, who is doing global philanthropy through his platform. MrBeast´s focus is on fundraising and donating, but as he is a massively popular figure, we can compare his footprint from a larger perspective as well. Davies says that one thing to consider in assessing MrBeast’s philanthropy is the wider influence he might have on how others engage with giving (2024). Davies is suggesting that  MrBeast has a huge opportunity to influence his audience, other social media celebrities and other philanthropists. Social media influencers and anyone with large group of online followers have enormous power. It is easy, and also necessary, to criticize the phenomenon as MrBeast is criticized for the white saviorism. But as Davies argues: MrBeast has chosen to use his vast platform to talk about philanthropy and generosity, when there are many far less positive messages that young people could be getting through their engagement with the internet and social media.

Something inspirational on why to keep fighting!

In my first draft of this blog post I wrote in the end: Add here something inspirational on why to keep fighting! And here we are, in the end of my last post and I don´t know how to inspire us after writing mainly about the threats and challenges of our time. But I found from the book Civil Society Responses to Changing Civic Spaces the definition of civic space. In a world full of humanitarian crises, disinformation and war, the definition of civis space sound like an unreachable dreamland – but definitely something to fight for.

Civic space is the bedrock of any open and democratic society. When civic space is open, citizens and civil society organisations are able to organise, participate and communicate without hindrance. In doing so, they are able to claim their rights and influence the political and social structures around them. This can only happen when a state holds by its duty to protect its
citizens and respects and facilitates their fundamental rights to associate, assemble peacefully and freely express views and opinions. These are the three key rights that civil society depends upon.
Source: CIVICUS 2020

Sounds good, right? So keep up the fight!

Best,
Noora

References:

Biekart, Kees; Kontinen, Tiina; Millstein, Marianne (eds.) (2023): Civil Society Responses to Changing Civic Spaces. Cham: Palgrave Macmillan.

Davies, Rhodri (2024): Good intent, or just good content? Assessing MrBeast’s philanthropyLinks to an external site., Journal of Philanthropy & Marketing, 29(2), e1858.

Fernando, U. (2023) Sandwiched? Sri Lankan Civic Space Amidst a Repressive Regime and a Pandemic. In Biekart, Kees; Kontinen, Tiina; Millstein, Marianne (eds.) (2023): Civil Society Responses to Changing Civic SpacesLinks to an external site. Cham: Palgrave Macmillan.

Roberts, Tony; Karekwaivanane, George Hamandishe (eds.) (2024): Digital Disinformation in Africa-Hashtag Politics, Power and PropagandaLinks to an external site. London: Bloomsbury.

Tsandzana, D. (2024) Disinformation, social media networks and terrorism in Mozambique. In Roberts, T. & Karekwaivanane, G. (eds.) (2024): Digital Disinformation in Africa-Hashtag Politics, Power and PropagandaLinks to an external site. London: Bloomsbury.

“Pa’l Norte” a song about the hope in the North and its deadly path.

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Hi all, ready for another music story? In our last post, we saw some of the history and background of protest music, today I will dive deeper into one of my favorite songs: Pa’l Norte by Calle 13.
This song is an anthem of protest dedicated to the Latin community and all of those who have been forced along the years to cross their borders in direction to the USA. The song talks about the poor living conditions that southern countries offer to their people and how the North becomes a place of hope. However, the reality is one of struggle and discrimination. In that way, Pa’l Norte is a powerful piece of protest music that speaks to the struggles of migration, displacement and identity while highlighting the hope that drives people to keep going.

In the age of digital media, protest music has a new power: it can be shared instantly, spreads quickly and creates global conversations. Calle 13 has mastered this and connected Latin America from North to South with this and many other songs that speak about identity and the dream of a united region that can offer to their people conditions that stop them from leaving their families and that is known to them in the search of a more stable financial situation. So, Pa’l Norte in this way becomes a tool for protest and a call to action.

The Power of Lyrics: Resilience and Identity

From the first line of Pa’l Norte, it is clear that René Pérez (alias Residente) is not just fooling around. He is proclaiming a message – a strong message. The lyrics are about migration, survival and the relentless search for a better life. One of the most striking lines, “Con hambre, pero sigo caminando” (“Hungry, but I keep walking”), immediately conveys the unyielding spirit of those who are forced to leave their homes due to violence, poverty or political instability (Calle 13, 2007).

At its core, Pa’l Norte is not just about surviving—it is about thriving in the face of adversity. The song speaks to anyone who has been marginalized or forced to fight for a better life. And in the world of protest music, this is essential as they focus on resistance, but also celebrate the strength of communities who keep moving forward, no matter the odds (Kallio et al., 2020). The song’s lyrics touch on universal themes of survival and identity, making it a protest anthem not just for Latin Americans, but for anyone fighting systemic oppression or inequality.

What is especially powerful about the lyrics is that they do not shy away from the complexities of migration. Calle 13 acknowledges the hardship and pain of leaving home. The resilience they sing about isn’t just a survival tactic—it’s a statement of power. It is a refusal to be beaten down by a system that offers few opportunities for the most vulnerable and denies dignity to those forced to migrate.

The Music Video: A Visual Protest in Motion

To accompany this powerful song, Calle 13 created a captivating music video, which is visually stunning and shows scenes of the journey to reach the North. The video paints a vivid picture of migration and the many dangers that are

found on the way. Set against a backdrop of barren desert landscapes, it shows people on the move – families trekking through rough terrain with their belongings, facing the unknown with nothing but hope. Something important to consider, is that many of the people who decide to take over this path, do not make it alive – the crossing is highly illegal and monitored and people need to trust the dealer, who promises to guide them to the other side.

The decision to shoot in an environment that coincides with the actual path traveled makes the images impressive and accompanies the texts and their message. It conveys a sense of isolation, of being an outcast from society, but also the limitless potential of human endurance. The video turns against the dehumanizing narratives that often surround migration, turning migrants into statistics or stereotypes, and focuses on what they have left behind. This artwork is a powerful reminder that each person’s journey is a testament to their courage and a reflection of an unjust reality (Martinez, 2017).

Protest music in the digital era: reach, resonance and revolt
One of the coolest things about Pa’l Norte is how it epitomizes the power of digital media in protest music. Thanks to the proliferation of streaming platforms, the song could quickly spread across borders and have an impact for of those away from home, specially Latin American migrants. When Calle 13 released the song, they took advantage of the access to different digital platforms to convey they message and became an anthem for those that could identify with this reality.

The digital age has changed the way protest music works. It is no longer just about local or regional movements but solidarity and visibility become globally available. Pa’l Norte was able to reach many more people than it could have ever done before the digital area, is now able to connect people that are far away from each other but share a common story.

This accessibility was and is crucial for today’s movements. Social media allows activists to come together, share their struggles and amplify their voices in real time. And Pa’l Norte is a prime example of how music can serve as a bridge connecting people with common causes (Peddie, 2019).

Why Pa’l Norte Still Matters

So why is Pa’l Norte still relevant today, over a decade after its publication? Well, for one thing, the issues it addresses – migration, inequality and identity – are unfortunately, still relevant and far from being solved (if ever). But today they seem perhaps even more urgent than ever before with Governments that rely on hate speech and discrimination, finding tools to unite and feel a sense of belonging becomes extremely necessary.

Calle 13 has created something that goes beyond entertainment – it’s a tool for social change, a piece of music that not only entertains, but inspires thought and action – becoming a proud example of what protest music can and should do. So, go ahead and listen (or re-listen) to Pa’l Norte, remember that it’s not just a song, it is the summary of the voice of many that unfortunately continue to fight for their right to be treated as human.

 

References

  • Calle 13. (2007). Pa’l Norte [Song]. On Residente o Visitante. Sony BMG Latin.
  • Kallio, A. A., Karlsen, S., & Westerlund, H. (2020). Music, Education, and Religion: Intersections and Entanglements. Routledge.
  • Martinez, M. E. (2017). Borderlands and the Politics of Resistance in Music Videos: A Visual
  • Discourse Analysis of Calle 13’s “Pa’l Norte.” Journal of Latin American Cultural Studies, 26(2), 149-168.
  • Peddie, I. (2019). The Resisting Muse: Popular Music and Social Protest. Routledge.

Online Inclusivity for Senior Citizens and Disabled Adults

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Source: Pixabay

The main objective of this section is to challenge the belief of the internet as a ‘great-equaliser’. However, when used correctly, it can provide opportunities for people of all ages, allowing access to information, social connections, and important services. For senior citizens, the digital landscape can feel threatening and overwhelming. They might fall for online scams, phishing and other online threats. That’s why it is essential to teach them to navigate the online world safely.

The AbilityNet webinar on “Empowering Seniors: 5 Essential Tips for Online Safety and Support” hosted by Annie Manion with guest speaker Lucy Walsh took place on October 17. The aim of the event was to offer an opportunity for people and caregivers to learn more about improving the digital literacy of seniors to keep them safe in the digital age. It also brought attention to the intersection between age and disability, as, according to the data presented, 42% of seniors in the UK have some disability. The event focused on providing practical guidance and resources for seniors to make the most of the internet while protecting themselves from common online scams and other threats.

So which tips did the webinar offer?

Accessing Support Services and Resources

Lucy Walsh shared helpful tips on how seniors can use the internet to find important services and support. From looking up healthcare info and applying for benefits to joining online support groups, the internet has a lot to offer. AbilityNet introduced several user-friendly websites and apps that can help with everything from managing money to finding mental health support.

Thanks to these online resources, seniors can live more independently and access new, important services harder to reach before. The webinar also showed how easy it can be to download apps that are safe and accessible. For example, Seeing AI is an app that narrates the world around you, while Be My Eyes connects blind and low-vision people with volunteers who can help them see things in real time.

Making text bigger, adding captions to videos and using voice commands (with Siri, Google, or Alexa) are also features that can make interactions with technology more accessible for people who are visually impaired or struggle to use their phones with their fingers, for example. These  can make a big difference in their everyday lives.

Tips to Stay Safe Online

One of the biggest threats to seniors online is scams. Phishing attempts, fraudulent emails and suspicious pop-up ads are on the rise, so it’s very important that seniors learn how to identify red flags. During the webinar, they played Moira Stuart tips video, where she suggests setting up a group chat with family and friends, downloading trusted news apps, and reaching out to loved ones or trusted organisations when something feels off.

According to Lucy, it is also important to be careful with phone calls, SMS, WhatsApp messages or emails asking for personal or financial details, especially if they make urgent requests or offer deals that seem too good to be true. Further advice included keeping antivirus software up to date, avoiding suspicious links, and using tools like “Have I Been Pwned” to make sure personal information hasn’t been exposed in data breaches.

The need to protect privacy online by being careful about sharing personal information on social media was another important topic brought up. Contrary to popular belief, most information theft happens when people share their personal information (phone number, financial details) through fraudulent links. The webinar also emphasised the importance of online security for seniors, covering everything from creating strong and unique –but memorable– passwords to using two-factor authentication (2FA). Lucy recommended using Dashlane, a password manager app that helps to create, store, and manage passwords securely, along with saving payment details in an encrypted way.

Staying Connected and Entertained Online

While online safety is essential, the webinar also emphasised how the internet can help seniors combat social isolation by staying in touch with family, friends and communities. Social media, instant messaging apps like WhatsApp, video calls, and online gaming were all mentioned as great ways to build relationships.

Practical tips for using popular platforms like Zoom, Skype and WhatsApp were also provided. Such platforms make it easier for seniors to connect virtually. The session also covered how to access online entertainment like BBC, YouTube, and subscription TV services, showing how the internet can enhance social engagement and overall well-being.

The importance of education and patience 

In today’s digital world, it’s important for seniors to know how to navigate the internet safely. The AbilityNet webinar shared simple tips to help seniors stay safe online and make the most of what the internet offers. However, AbilityNet also offers free digital skills courses to people over 65 and adults with disabilities all over Britain. If you know someone who might benefit from such courses, do not hesitate to search for similar trainings in your area.

Although family members and caregivers are a good source of support, they might not always know how to approach a senior’s needs. Forgetfulness or a slow learning pace might make some lose their patience. For this reason, Lucy says it is important to stick to teaching what the person needs and wants, through consistent repetition and one step at a time. 

You can visit AbilityNet’s website for more helpful info on digital accessibility and assistance.

Social media influencers and content creators as inspiration for digital protests

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“You must unite behind the science. You must take action. You must do the impossible. Because giving up can never ever be an option.”

Greta Thunberg in the US Congress, Washington DC, 17 September 2019

How can we reach as many people as possible? Content that goes viral is not often from the accounts of companies or NGOs but from personal accounts. To gain maximum volume on social media, one way (not maybe the cheapest) is to collaborate with social media influencers and, in a way, buy their audience.

What is the role of influencers and content creators in social movements? Charismatic leaders have always been meaningful in moving the social movement forward, but how does it work in the digital era? How are social media influencers, activists, NGO´s, and development actors intertwined?

Greta Thunberg is one of the most famous activists of our time. She became well known for her street protests, and Fridays for Future –movement. The movement grew to become also a huge digital protest and digital movement. Greta Thunberg is nowadays a famous figure and, you could say, a social media influencer and digital activist.

Motaz Azaiza is a photojournalist from Gaza, who has become familiar to the Western audience during the last year.  Motaz Azaiza documented the war in Gaza and its impact on civilian daily life. He is now abroad from his homeland, traveling around the world, meeting people giving interviews, and raising his voice for the Palestinians.

I watched a videocast in Zeteo where Greta Thunberg and Motaz Azaiza talked about Gaza and activism. The setup itself is very interesting. Two famous activists of our time delved into the feelings and motives of activism. Greta Thunberg became known as a climate activist but has been also active in standing up for Palestinians. Her choice has been criticized, but in this article, she explains that the main driver for her activism is always to defend human rights in climate issues and conflict zones.

Movements need forerunners

In the interview, Motaz Azaiza says that there are a lot of good people in the world and that his intention now is to gather those people together. Greta Thunberg praises him for being an invaluable voice in articulating how everyone needs to step up and take action to call out Israel’s actions and the complicity of the West. With his platform, pictures, and footage, he has made sure that no one can remain unaffected by this live broadcast of genocide and apartheid.

Why Thunberg decided to speak up and to interview Azaiza, she explains that: We need a media that challenges the status quo, holds people in power accountable, and communicates the stories of real hope that make us want to step out of our comfort zones and actually make a difference.

Digital activists and digital forerunners are essential for movements to grow and gain an audience. We need forerunners like Azaiza to use their persona and platform to gather people together. And we need a new kind of storytelling and narrative, that contests the mainstream media, as Thunberg suggests, and for that, we need digital activists and content creators.

The motive behind the action

Motaz Azaiza explains that his motive for standing up for the rights of Palestinians is different from those who are not Palestinians. In the interview, he describes that activism is part of his responsibility towards his home and land. It´s a way to serve his homeland.

In his case, the motive behind activism is very personal. For many Westerners choosing activism is supporting what they believe in, and their own right to live is not in danger. As Thunberg says: “People like me, who have privileges, we have to use them.”

Social media influencers using their platform

But what happens when social media influencers use their privileges and platforms? Social media influencers who already have a big audience are often asked to use their platform to make noise about social issues. The world’s most successful YouTube content creator MrBeast (aka Jimmy Donaldson) is using his success for a good cause by donating his money. 

When someone is profiling himself as a good doer (white savior) the question of doing good or looking good is always there. If you are a social media influencer, how much good do you need to do, or how well do you need to know the topic, to be able to post about it – and not get criticized?

In the aidnography blog, Tobias Denskus reflects on MrBeast´s footprint in the aid industry, and pops up an interesting question “We also have to ask ourselves what better ways of communication we have in the third decade of the 21st century”. It is undeniable that social media influencers and other celebrities have the channels and means to reach a wide audience. Last spring during the Super Bowl, social media memes hoped that pop star Taylor Swift was in love with a climate scientist. Swift rushing to the Super Bowl to cheer on her boyfriend Travis Kelce got so much media attention that climate activists can only dream of something similar.

Do you know any good examples of activists on social media? I will come back to this topic in my last post.

Best,

Noora

Interview as research method: discussions on digital activism and participation

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How to do research on digital activism and digital protests? How to gain knowledge on the connection between online and offline activism? In this blog post, I´ll reflect on two interviews that I conducted recently. I aim to explore interviews as a research method on digital activism.

To understand the digital activism phenomenon and how activists themselves see the correlation between their actions online/offline I considered the semi-structured interview to be a good method. In semi-structured interviews, questions are specified, but the interviewer is free to ask beyond the planned questions. In semi-structured interviews, the participant can answer on their own terms. (Wessels, 2024)

In-person or online?

For the assignment, I conducted two interviews, one in person and the other online. Below, I briefly explain who I interviewed and offer some reflections on the interview itself.

The first interviewee is a person that I briefly met in a demonstration. In the interview, I asked questions like:

  • How often do they take part in offline protests?
  • How often do they share material online, that could be defined as digital activism?
  • How do they feel when taking part in online/offline protests?

We discussed online, but nevertheless, the interview had a good rapport. The interviewee was interested in the topic and was happy to participate.

Perhaps the atmosphere was even too familiar. I noted that I should practice my own researcher role for the next interview.

The interviewee’s answers corresponded to my hypothesis and also my own experiences. I noted that it would be important to have a rich variety of interviewees from different backgrounds, to have diversity in the answers.

In the interview, we discussed participation, how often they participate, and how. In addition to open answers, real data on the topic would have been useful, for example in the form of a survey or by tracking how often a group of people participate in protests or share content on social media.

The second interview was conducted in person. I interviewed a teacher, who works in an NGO that prepares materials for schools on human rights, global citizenship, and participation.

The interviewee mentioned that the introduction to the interview was good and that they felt interested in participating. It was easy to build rapport with the participant. The insights from the interview were an interesting counterpart to an interview I had done before, but the research question and therefore the content of the interview could have been clearer for me.

In my interviews, I didn´t find a difference in the rapport of the interviews depending on online/in-person interviews. Irvine et al. discuss in the article ‘Am I not answering your questions properly?’ the assumption that lack of face-to-face contact restricts the development of rapport and “natural” encounters (2012). New technologies allow also remotely done interviews to have face-to-face contact, and as Trier-Bieniek says there is never a guarantee of a rapport between the researcher and a participant in an in-person interview (2012).

I didn´t experience a problem with the rapport, but what I thought about after conducting both interviews is that it might be better to interview people in their own environment. I could have asked the first interviewee to give concrete examples of their own behavior in social media and show their social media accounts and the content they share. In the second interview, I could have asked to see the materials or even take part in one of the lessons they organize in school. This small ethnographic point of view would have given a lot more background information.

The power of the researcher

I was quite surprised at how easy it was to find a suitable participant for my interviews. Even though this was a school assignment I felt that the participants took it seriously and were eager to share their experiences. That reminded me about the role and power that the researchers/interviewers have.

Holstein & Gubrium argue that both participant and interviewer are active in the interview (1995).

Each is involved in meaning-making work. Meaning is not merely elicited by apt questioning nor simply transported through respondent replies; it is actively and communicatively assembled in the interview encounter. Respondents are not so much repositories of knowledge—treasuries of information awaiting excavation—as they are constructors of knowledge in collaboration with interviewers. (Holstein & Gubrium,1995)

If we consider the interview to be a collaborative process, and the result depends on the meaning-making done together it is highly important as a research interviewer to understand your role, biases, and hypotheses and see that those don´t intervene with the result.

There is always a complex power and dependency dynamic in the relationship between the researcher and the research participants (Wessels, 2024). In this case, I was interviewing my peers and by that, I mean that we share the same ethnic background and same status in a society. But even in this setting, I noticed that in the interview context, I had the power to lead the situation, I was the one asking questions, and also all my questions were answered. It is important to understand the power dynamic and reflect on how it is affecting the answers/results.

I think this was the main takeaway for me from this assignment; to practice my researcher role.

 How to use an interview as a research method efficiently?

To conclude my insights, I made these notes for myself for the future.

  • Sharp research questions and interview questions based on that.
  • Ask yourself; what kind of data do you need to gain from the interview? Do you need some data before as background information?
  • Consider carefully the place where you do the interview, is it better to meet in an official office setting or in a place that is related to the topic, or something between?
  • Do you need more than just the answers, or would you like to see the participant’s home/workplace/something else?
  • Remember to be mindful of your researcher role and use your power right.
  • Be open. Participants have the right to know what you are doing and why, also sharing something about your own (professional) background can help in building up the rapport.

Reflection on Interviewing Methods for Communication for Development (C4D)

Image

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Rome, Italy. La Città dell’Utopia from above.

The participants

As someone currently involved in a journalistic project, when I set out to complete this task, I already knew how difficult, potentially burdensome, even, the whole process could become, especially when you try to make contact with a complete stranger. So, to make things a bit easier for myself, I thought that asking several people I already knew to some extent would maximise my chances of getting the interviews done as quickly and efficiently as possible. Originally, I had contacted four or five potential participants. I finally managed to interview two of them, David and Fabrizio. 

My first interview was a phone interview on October 27th with David, who runs his own company and develops social intervention projects in socioeconomically marginalised communities in Madrid. His work includes educational programs to facilitate Spanish language acquisition for migrant and refugee communities in collaboration with major NGOs in the country, such as CEAR, and initiatives promoting active citizenship. I had originally connected with David while looking for job opportunities in the migration field, so when it came time to reach out for the interview, we already had an established rapport. 

Fabrizio, on the other hand, is the main coordinator of the Rome branch of Service Civil International Italy. Service Civil International is a volunteer organisation that promotes a culture of peace and focuses on climate issues, refugees and migrants, women’s rights, culture, and antimilitarism. They achieve this through work camps, events, training courses, and long-term volunteering programmes, including exchanges across Europe via the European Solidarity Corps and worldwide. In Rome, their main project, La Città dell’Utopia, provides a space for local collectives and NGOs to organise, host events and share ideas. Fabrizio and I met when I was volunteering at La Città dell’Utopia, where our interview took place on November 2. 

The Interviews 

I chose a semi-structured interview format with open-ended questions that allowed space for follow-up. I wanted to create an open dialogue where both participants could express themselves freely and share their perspectives on their jobs. This idea matches Holstein and Gubrium’s argument in The Active Interview (1995), where they see interviews as joint efforts to create meaning instead of just collecting data. 

This approach meant that my conversations with David and Fabrizio felt less like a formal Q&A session and more like a dynamic dialogue. My first question was designed to encourage them to talk about their backgrounds and their connections to their work, which helped to break the ice and create a comfortable atmosphere. Later questions went deeper into the specifics: their roles, the nature of their work, challenges, etc. The questions asked were as followed:

For David:

  • Tell me a bit about yourself and what drew you to this type of work.
  • What are some of the current projects your are working on or involved with?
  • What are some of the biggest challenges you faced? And your biggest achievements?
  • Follow-up question: In your experience, what are some of the most problematic aspects in the field?

For Fabrizio:

  • What inspired you to join Service Civil International, and what drew you to this type of work?
  • Can you share a memorable experience or project that has had a significant impact on you personally?
  • Can you tell me a bit about the main mission and goals of Service Civil International?
  • Follow-up question: How can individuals or communities get involved with SCI, and what impact can they have by supporting your mission?

Establishing Rapport and the Interview Tone with David and Fabrizio

As I mentioned before, I first contacted David while looking for a job. The first contact was made through a family member. Having a previous connection probably helped reduce some initial awkwardness, and made our interaction quite friendly from the beginning. The interview felt positive and conversational. David was open to my questions and felt comfortable talking about his work on projects like educational programs for migrants and citizenship initiatives. This created a space for an honest conversation.

La Città dell’Utopia’s loggia, connecting to the garden and outdoor spaces.

My connection with Fabrizio, on the other hand, had been limited to the workplace. We didn’t work closely or socialise outside of work, which is why I thought of him as a suitable participant. However, he was still familiar to me. I found that this initial familiarity helped establish a rapport similar to my experience with David.  

Our mutual connection helped build a fluid interaction, something that Holstein and Gubrium (1995) describe as essential for active engagement in an interview. The authors emphasise the construction of meaning between the interviewer and interviewee. I found this very helpful as I encouraged both David and Fabrizio to elaborate on their experiences and perspectives.

Anticipated Differences Between In-Person and Phone Interviews

I expected differences in rapport and dynamics between in-person and phone interviews. In-person allows one to read the participant’s body language and non-verbal cues and provides a sense of presence (Trier-Beniek 2012: 636). All this helps to build a positive relationship between the interviewer and the interviewees. It also allows for the collection of visual material, which often complements the final presentation.  

For the phone interview, I decided to prioritise the participant’s needs (ibid.: 641). Initially, I expected it to feel less personal and anticipated potential technical interruptions or challenges in maintaining engagement. Nonetheless, this was far from the truth in this case. As the interview consisted of only three main questions and a follow-up question, it turned out to be quick, convenient for both of us and flowed smoothly.  

Personal Learning and Professional Development

While setting up these interviews, I ran into some unexpected challenges that taught me a lot about recruiting participants and handling the interview process. To begin with, although I knew a few people in the field, finding suitable participants was harder than I originally thought, with many either not responding or unavailable, which made it uncomfortable to keep following up. I realised how much interviews rely on patience and the cooperation of others. On top of that, the Zoom interview with David, the first participant, had to be done over the phone at his request, since he didn’t have time for a video call. This last-minute change meant I had to adjust quickly to a different setup. Even though it turned out to be a very smooth, light-hearted interview, this might not always be the case. Delays and last-minute changes can be very stressful when you have to meet deadlines in a work or academic context, which might make it an unsuitable method in some situations.

Photography Exhibition at La Città dell’Utopia.

Another take from this experience is that interviewing is a skill that requires adaptability, patience, and sensitivity to participants’ availability and comfort. I’ve realised the importance of balancing persistence in securing interviews with respect for participants’ time and boundaries. It has also expanded my understanding of interviews as interactive and evolving processes, in line with Holstein and Gubrium (1995).

In the context of Communication for Development (C4D), these skills are very important. Interviews are useful for understanding community narratives, and knowing how to engage participants actively is essential to any research process. On the other hand, last-minute changes or delays can create pressure. Therefore,  it is essential to plan ahead and build in extra time to accommodate any issues that may arise. This ensures that the quality of the research does not suffer due to time constraints.

 

References:

Holstein, J. A., & Gubrium, J. F. (1995). The active interview. SAGE Publications.

Trier-Bieniek, A. (2012). ‘Framing the telephone interview as a participant-centred tool for qualitative research: A methodological discussion.’ Qualitative Research, 12 (6), 630-644. https://doi.org/10.1177/1468794112439005

Vernissage at Orkanen Library – Students’ Art Exhibition #36

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The Orkanen Library has to be one of my favourite places in Malmö. Its scenic views over the canal, offering a smorgasbord of some of the most impressive architectural buildings in the city, are simply breathtaking! On the evening of Oct. 17, this already inspirational place became even more vibrant when the clock hit 1600. It was the vernissage at the Students’ Art Gallery, exhibition #36. As one of the exhibitors displaying my cat sculptures, I felt the rush of excitement entering a space brimming with talents and artistic expressions. 

The exhibition was a collaboration between the library and the Student Union. Initially, I discovered the open call through a post on Malmö University’s website, and the application process was straightforward via email. Only ten artists would be selected, I was informed. When Sam Ian McCarthy, one of our peers who studies in the same program as me, texted the good news, I learned that we both got spots to display our artwork.

Having my sculptures displayed in such a beautiful venue was thrilling, but another highlight was seeing Sam’s stunning photography from his recent project in Makahanda, South Africa, titled Ten Minute Town / Place Text Place Moves.

Since my focus is on digital artivism in this group blog, his work is certainly worth featuring as it combines all the essential elements.  Moreover, his photographs help raise awareness to viewers on this side of the globe of important issues within the Makhanda community. I was particularly moved by his image of a person wrapped in plastic bags. During our phone text exchange, he explained that this performance, created by a local performer, Christelle, took place in front of the high court. “The bags represent a female queer footballer who was brutally killed and discarded by a group of men a few years ago in South Africa,” he shared.

 

Although Sam couldn’t make it to the pre-opening event, I had the chance to meet professors Mikael Rundberg and Anders Høg Hansen, who were also involved in the project and responsible for live streaming and video documentation. Watching Mikael and Anders browse the photographs from their research trip, I found myself caught up in their contemplation and forgot to ask more about their reflections. However, Mikael was quick to remind me that this art exhibition was perfect for an interaction post. Anders, on the other hand, was surprised that I hadn’t mentioned being one of the featured artists earlier. He even snapped a photo of me adjusting a piece of my sculpture that had come loose during transportation—it became the best capture of me from the event.

Finally, not only do I invite you to check out the exhibition, but I am giving a shout-out to all artists studying at the university—regardless of their program—to participate in future open calls. These opportunities are typically announced on the university’s official Instagram account or website. It’s truly a fantastic chance to expose your work to thoughtful audiences and connect with fellow creatives. 

Let’s Connect & Reflect!

Art has an unique way to engage with our thoughts, feeling and ideas. It can tell us stories without words and show us perspectives we might never have encountered otherwise. Exhibitions like this one at Orkanen Library let us step out of our routines and really consider what each piece is trying to say. As you explore the exhibition at Orkanen or at any other, we invite you to reflect on some of these questions that might help you connect more deeply with the art and the ideas behind it:

  • How does seeing artwork in person change your perception compared to viewing it online?
  • How does the environment of the exhibition space itself influence your experience of the artwork?
  • What messages or themes resonate with you the most?
  • In what ways (if even) can art from diverse backgrounds, (like the works at The Orkanen Library), challenge our understanding of global and local issues?
  • Can art influence or expand your views on social issues or personal beliefs? And if yes than in which ways?
  • What was your most impactful art experience? How did it make you feel?

–> We would love to hear your thoughts and opinions, so DO JOIN US in conversation and share your thoughts with us! 🙂

The exhibition at The Orkanen Library will continue throughout the fall semester and is open to everyone.

Follow the Orkanen Library on Instagram (@malmo_uni_lib)

Image Credits:  Top – Professor Mikael Rundberg in front of Sam Ian McCarthy’s photo display. Photo by Percy Chang.  Bottom – Percy Chang with her cat sculpture. Photo by Anders Høg Hansen.

<<The post was created in collaboration with all of the blog group members.>>