Category: IDA

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.

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

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.>>

Tried and Tested: The Active Interview Experience

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The study of Communication for Development (C4D) has certainly brought me out of the spectator seat and allowed me to see beyond the surface of social issues. I am particularly drawn to the exercise on interviewing techniques, where I could engage hands-on with the process. This post reflects on my experiences throughout the assignment. Additionally, coming from a journalism background and a lengthy career in marketing communications, I realise that interviews in both fields focus on informing targeted audiences or seeking insights for commercial purposes, whereas the objectives of academic research interviews are more varied and broader in scope.

Developing questions

After reviewing the recommended chapters from The Active Interview, I decided to shape the interview around Digital Artivism.  I have always been interested in how art and advocacy come together, so I created the following three open-ended questions:

  • What picture comes to mind when you think about art and activism? 
  • Is there any artwork or artist that pops up when you think of a strong and impactful visual for the social cause?
  • What would be your motivation to get involved in a movement – join a protest or campaign for something?

As suggested in the chapter “Rethinking Interview Procedures” (Holstein & Gubrium, 1995, p. 77), the questions serve as a guide that I would introduce only when the timing feels right. I also reviewed the key points from the handout “Strategies for Qualitative Interviews” and tested the questions with a few people in my close circle to ensure they were easy to understand. In marketing research, there’s a saying that if ‘grandma’ gets the idea, then we’re all set. This principle equally applies in an academic setting and is a key aspect of being “a successful interviewer”.

Furthermore, without mentioning digital as a medium, I left it open to see if my respondents would naturally connect to the subject and how the narratives may shift from there. I also wanted to discuss digital artivism, but I kept it as an improvisational element in the conversation.

The Search for the Random Interlocutors

“Active Interviewing capitalizes on the ways that respondents both develop and use horizons to establish and organise subjective meanings” (Holstein & Gubrium, 1995, p. 57). This led me to consider how cultural and linguistic backgrounds shaped individuals’ interpretations of Digital Artivism. I explored conducting the interviews in two different languages: one in English and the other in Mandarin, which is my mother tongue. I preferred to locate someone who uses English as a second language.

My first respondent was introduced to me by my daughter, who started a local youth initiative during her university years to create social activities and promote engagement for young people aged 16 to 29 in our city, which otherwise lacks relevant opportunities. My respondent is her co-partner and, as I understand, has always been interested in visual arts and speaks fluent English as a second language. We have met a few times before but I am mostly known as the mother of his friend. We agreed to interview in person.

For the second respondent, I created a “wanted” post in a private Facebook group with over 3,500 members, administered by a Taiwanese individual residing in Sweden. Within 24 hours, I received five applications. Without knowing any of the applicants, I selected one who offered to be interviewed through Zoom at the earliest opportunity.

Image of my “wanted” post:

It is translated to:

Hello everyone! I am currently studying for a master’s degree at Malmö University in Sweden. I need to complete an assignment. I need a volunteer to conduct a Zoom interview for about half an hour, and it will be conducted in Mandarin. Your personal information will never be published. Since family or friends are not allowed to participate, I’m hoping to find someone in this group who is willing to help! If you are interested, please send me a private message! Thank you🙏☺️

One of the commenters inquired about the topic, and after some consideration, I decided not to disclose any details about my interview questions. I wanted the interviews to remain fresh and unprepared for the interviewees. I responded by stating that I would write a report on my experience conducting the interviews using academic research methods. I am unsure whether my daughter provided the first respondent with more details about the interview, come to think of it.

Two Settings in Two Languages

 

In Person with AK

I met AK, my first respondent, at our local library while he took a break from a Halloween activity organised by the youth group at the same location.  I assured him that the interview would take no more than 30 minutes. I felt that having a clear timeline would help him feel less stressed and more relaxed, allowing him to focus on our session amid his duties at the event.

After a light-hearted conversation about the ongoing pumpkin carving at the Halloween activity, as well as AK’s current studies in media and his interest in visual arts, I sensed it was the right moment to begin the actual interview. I asked for permission to voice-record our session, and he gave me the green light.

The list of cons from the handout “Strategies for Qualitative Interviews,” states that recording and transcribing interviews can introduce a different dynamic into the social encounter (n.d.). This was true in my earlier experiences back a couple of decades ago when an actual recorder was present. However, I noticed that using a phone to record the interview made both the respondent and me forget about it after a while. Perhaps we had simply grown accustomed to seeing the phone lying on the table. It wasn’t until I was leaving that I realised the voice recording was still on.

In this interview, English was the operating language, and for both of us, it was a second language. I would describe the entire session felt casual. It was certainly a “give-and-take” around topics (Holstein & Gubrium, 1995, p. 76), and I found that the respondent felt comfortable and elaborated more during this interaction. The rapport was great and it could have easily gone over time. Being mindful of this, I made an effort to balance the conversation focused on my topic but also allowing flexibility to explore his narratives. Additionally, having paper and a pen was helpful, as visually oriented individuals often find it easier to express their ideas through drawing rather than finding the right words.

Zoom Call with AC

The Zoom call was scheduled for 10 PM. AC suggested this later evening session since she would be home by around 9 PM and was concerned about my assignment deadline. She was eager to help me complete it as soon as possible. I was impressed by her enthusiasm and didn’t want to dampen her passion. Although this is usually my wind-down hour, I confirmed the schedule. I also learned a valuable lesson from this experience, which I will note down later.

Our initial correspondence took place via Facebook Messenger. Once the time was confirmed, I shared a Zoom link. At the agreed time, we connected, but there was a slight disturbance in our connection that distracted us during our first contact. I felt awkward asking her to quiet down another person who was talking loudly in her space. I also made the incorrect assumption that her mother tongue was Mandarin. Although her Mandarin was quite proficient, she was not a native speaker, even though she highlighted her frequent engagements with Mandarin speakers from Taiwan.

Although I had prepared my questions in Mandarin, some of the phrases I used may not have reflected current common usage because I had been living abroad for several years. This led my respondent to seek further clarification and suggest terms that I realised were more suitable.  I also decided not to rely on English for support, even though we did use it very sparingly. 

Since much of the information required active interpretation, we both adopted a collaborative approach to constructing the interview. This is generally considered a big no-no in marketing research where it is crucial to communicate precisely to ensure that target audiences receive the right message and that there is no misalignment from a branding perspective. However, the collaborative approach fits well within the principles of active interviewing in a research context which focuses on mutual understanding and co-construction of meaning(Holstein & Gubrium, 1995, p. 57).  Moreover, it is not just about giving the right message but about getting the message right. 

AC was a gracious and patient respondent, and recording the meeting was not an issue. We developed a fascinating conversation, particularly since she is a master’s student deeply concerned with issues of injustice and de-colonialism. I realised there were additional narratives I could have explored if it had not been past my bedtime and my fatigue had not been so apparent. “You look tired,” AC pointed out, It brought me some embarrassment, especially since I was the one requesting her assistance for this assignment. This certainly highlighted the importance of scheduling interviews at an appropriate time – a valuable lesson I have learned.

“Schedule needs sufficient flexibility to be substantively built up and altered the course of the interview.”  (Holstein & Gubrium, 1995, pp. 54-55)

Conclusion 

Perhaps it’s a sign of the times: Zoom meetings seem to be much more convenient than in-person meetings. They are also easier to set up. Within 48 hours of my initial Facebook post, the second interview was completed, which was more efficient than I had expected. It was not challenging to build rapport in either setting. Regarding the languages used in the interviews, speaking Mandarin facilitated a deeper connection to the conversation than English.

Additionally, the Mandarin language reflects various contexts in art and activism, prompting different emotional responses. The process of coding and conveying these ideas in both Mandarin and English is an engaging challenge but not an obstacle. Moreover, the interaction allows both respondents to reveal their unique insights and interpretations (Holstein & Gubrium, 1995, p. 58).

The lecture and text on interview techniques offered me new perspectives I had not previously considered, and this exercise has deepened my understanding of the dynamics and meanings involved in research-based interviews, which I find truly empowering. While writing the reflection on my experiences and learning with this post, I plan to adopt a habit of reflective practice in my future work. I see the benefit of approaching my interviews as being an ‘ethnographer of the interview,’ and paying close attention to the interactions during the conversations, as well as the dialogues as was discussed in The Active Interview (Holstein & Gubrium, 1995, p. 74).

Additionally, I have gained insights from the interviews on digital artivism that I will apply to my next blog post assignment. So stay tuned!

 

References:
  • Holstein, J. A., & Gubrium, J. F. (1995). The active interview. SAGE Publications, Inc. https://doi.org/10.4135/9781452231640
  • Strategies for Qualitative Interviews(n.d.). Interview_strategies.pdf

Insights from Two Interviews – Job Transitioning Corporate vs NGO

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This time the blog is all about interviews! A very important skill to have and an easy way to understand and be inspired by others. Due to my personal interest and current life-career questions, I wanted to focus on the experience of moving from the corporate world to an NGO and vice versa. For this, I chose two people who had the opportunity to do this and who could share their experiences of transition with me.

During the interviews, I found it fascinating how a change can bring so many benefits, as skills can be transferred and used in areas that sometimes seem so contradictory.

So, how did the interviews happen? I choose two people that went through a transition in the past years and made sure I reached out with enough time and making sure I clearly stated the purpose of my request. Once both accepted, it was time to set up all the details.

The first interview would be conducted over Zoom and the second in person over coffee. One of the people I interviewed, had left the corporate sector to bring her skills to an NGO, the other had done the exact opposite. Both had to adapt their expertise in storytelling and strategic messaging to their organizations. But I will go now into more details about the set up and content of the interviews. 

 

The Interview Questions 

I asked each interviewee the same three open-ended questions to guide our discussion:

1. What motivated you to leave corporate work for an NGO role (or the opposite)?
2. How do you use your communication skills in your current role?
3. What challenges have you faced in adjusting to an NGO/corporate environment?

These questions led to interesting insights, some of which were very similar but viewed from two different angles, which enriched my learning. The physical and virtual aspects of the conversation also had a lot to do with the experience, but they did not stop me from getting information that was worth listening to.

Interview 1 – A virtual experience

We got started right away with an opening introduction from both sides and some small talk to make sure we both felt comfortable. Once the ice had broken, I started with the topic questions – at this point quick check-ins, a few head nods and lots of “aha’s” and “I get it” were necessary to show engagement in the conversation. While remote interviews are convenient, non-verbal cues such as eye contact and subtle gestures are limited and this made verbal communication more important than ever. However, Trier-Bieniek (2012), notes that virtual interviews sometimes encourage more honesty as participants can speak from the comfort of their chosen space and this was something very noticeable in my experience. The “safe distance” of the virtual environment, did help both of us to open up about sensitive topics and almost created a nice connection and desire to keep the conversation rolling after the planned time was over.

The conversation was focused and productive, but I had to work harder to keep the interviewer on task by actively nodding and verbally responding to show that I was present. Due to the virtual barrier, it was important to ask clear, specific follow-up questions and give regular verbal acknowledgements to keep the dialog going. Research by Irvine (2012) shows that virtual interviews require more verbal acknowledgements to convey attention as non-verbal cues are limited in this environment. Still, the screen provided a buffer that could help us feel less vulnerable, and my interviewee was willing to share insights about the shift from corporate to non-governmental organizations without hesitation.

Interview 2 – A coffee break in the office

For the second interview, I choose a colleague who I had seen a few times before, but with whom I had not yet built up a relationship. When I emailed her to ask if she would agree to an interview, she seemed pleasantly surprised, which made me feel like we were on the right track. At the arranged appointment, we had a coffee together and chatted.

As Holstein and Gubrium (1995) argue, face-to-face conversations benefit from this “interactive richness” that makes it easier to build a genuine relationship through shared context. And so it was. There was something about the familiar activity of drinking coffee that put us at ease, and this setting encouraged a relaxed, open conversation right from the start. The physical aspect allowed for more spontaneity as each of us paid attention to small non-verbal cues such as a slight tilt or raised eyebrow.

Since we were in the same room during the face-to-face conversation, we were able to respond naturally to each other’s body language, which made clarification easier and faster. For example, if my colleague seemed unsure about a question, I could simply rephrase or adjust my approach based on her expression or posture. This echoes the findings of Trier-Bieniek (2012), who notes that collaborative activities (such as coffee breaks) can create a supportive environment for sharing more detailed, nuanced insights.

I also found it fascinating how important eye contact is and how, even if I would break eye contact for a few seconds, I can feel the conversation slowing down because I might be signaling distraction or lack of interest.

Key Insights from Each Interview Mode

Building Empathy and Comfort: The coffee chat in person created an easy-going atmosphere that helped establish a strong connection early on. In contrast, the Zoom interview required more verbal encouragement and attention to active listening cues to build that same level of rapport. Each setting demanded different tactics to make the interviewee feel comfortable sharing their story. Trier-Bieniek (2012) notes that virtual interviews are increasingly familiar to most people, making them a valuable tool, especially when in-person meetings are not feasible.’

Clarifying and Responding in Real-Time: The in-person setting naturally supported clarity and understanding since non-verbal cues could be picked up instantly. This allowed for a smoother, more unfiltered exchange. In virtual settings, however, questions need to be structured thoughtfully to compensate for limited non-verbal communication (Holstein & Gubrium, 2011).

Talking to both participants highlighted just how different these two interview modes can feel. In-person interviews have an undeniable advantage in fostering natural conversation, while Zoom offers practicality and can sometimes make people feel more at ease discussing personal topics. Adjusting to each mode’s strengths—using verbal affirmations and specific follow-up questions on Zoom, for example—helped keep both conversations flowing.

Understanding the interplay between interview mode and rapport-building strategies is key in communication research. Ultimately, this experience highlighted the importance of flexibility in interviewing, helping me refine techniques that keep the conversation meaningful and insightful, regardless of the setting.

 

References
  • Holstein, J. A., & Gubrium, J. F. (1995). The active interview. SAGE Publications.
  • Irvine, A., Drew, P., & Sainsbury, R. (2012). ‘Am I not answering your questions properly?’ Clarification, adequacy and responsiveness in semi-structured telephone and face-to-face interviews. *Qualitative Research, 13 (1), 87-106. https://doi.org/10.1177/1468794112439086
  • 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

Unpacking Digital Artivism: A First Look

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Image by NoName_13 from Pixabay. Modified by Percy Chang. The note in the fortune cookies read  “Your art can light the path to a better world; let it shine online.”

Same Spirit, New Outlets

Back in the mid-’90s, I had a brief stint as a fiery college student in Taiwan, where democracy was flourishing. I joined my fellow students, armed with poster pens and cardboard, to advocate for human rights and against the tensions coming from across the strait. Yep, I’ve just given away my age! But those were the good times when we physically took to the streets, facing the authorities and telling them face-to-face what we stood for. Telling isn’t always the best strategy, but our art, street acts, acoustic guitar sessions with spontaneous lyric writing, and memorable protest symbols captured the attention and built a strong sense of solidarity within a community dedicated to freedom of speech. Today, that same spirit thrives online. Digital artivism is highly accessible, allowing artists to explore diverse forms of expression, from digital illustrations and interactive design to video art. For activists without a graphical background, could use AI tools to generate creative visuals. Once combined forces with compelling social media campaigns, global audiences can be reached for meaningful social change! At the same time, they can receive instant feedback and perhaps adjust strategies efficiently in real-time. For this introductory post, I’d like to briefly present three examples that give a practical view of digital artivism in action. While this is just a quick overview, it might pique your interest and encourage you to explore the links to the creative movement in activism and learn more!

  1. Self Help Graphics & Art: Since the 1970s, this minority-led organisation rooted in community has fostered local artists to create visuals that inspire action and teach activists about the power of visual art. In recent years, they’ve expanded their impact by embracing digital platforms. This allows their initiatives to empower artists and activists worldwide, all from their vibrant neighbourhood in Boyle Heights, Los Angeles, California.
  2. Terra Movement Platform:  Founded in 2020 by Sofia Hadjisof during the pandemic lockdown, Terra Movement began as a one-woman effort from her studio. She invites artists worldwide to collaborate, using their creativity to tackle climate change. It shows that with a cause based on passion and the use of digital tools, anyone can start a movement and start making an impact.

Image source from Terra Movement.

 3. #AllEyesOnRafah: During the Israel-Hamas conflict in early May 2024, an Instagram post with an AI-generated image and the slogan ‘All eyes on Rafa’ was shared over 47 million times within only two days. All around the world, activists, influencers, and celebrities post it on their accounts to draw attention to the humanitarian crisis in Rafah. I will not go into it but here is a good article about how the post was created. This marks a breakthrough in digital artivism, as with the help of AI, artists and activists could create ‘sanitised’ images to address critical issues without getting blocked or taken down by AI algorithms and human moderators. Screenshot Caption: “AI-generated image from the ‘All Eyes on Rafah’ campaign, which went viral during the Israel-Hamas conflict in May 2024.” Source: Image and information sourced from NPR article, “All Eyes on Rafah: The Most Viral AI Meme, Malaysia Artists Claim Credit”. Link to the article

Future Envision

Imagine stepping into a VR world where you become a clownfish swimming in a suffocated ocean, navigating through polluted waters. Feeling the struggle and urgency firsthand could make us more empathetic and driven to advocate for ocean conservation. If these experiences were made available to everyone—from policymakers and leaders to youngsters and everyone in between—they could transform how we understand and engage with environmental issues. I am excited about emerging technologies such as virtual reality (VR) and augmented reality (AR) that are set to revolutionise how art is created and experienced after reading this published report from the Pew Research Center on The best and most beneficial changes in digital life that are likely by 2035 (Chavda & Chavda, 2024), These immersive environments can engage us emotionally and intellectually, bringing art and activism to a deeper level. Jonathan Kolber, author of “A Celebration Society,” stated, “I believe that we will see multiple significant and positive developments in the digital realm by 2035. The widespread availability of immersive VR (sight, sound, touch, and even limited smell and taste) at a low cost… will offer experiences of wonder, learning and play.” Of course, everything has two sides. My focus is on how we can develop and improve, seeing possibilities and working through obstacles. 

Exploring Digital Artivism Together

As a working artist beginning my journey in Communication for Development studies, this project opens the door for me to examine how artists use digital platforms to address social issues and engage communities. In my world, where freedom of speech feels like a playground, I’m curious about those who face greater restrictions. How do they navigate their platforms and convey their messages despite these challenges? My name is Percy Chang and I invite you to join me on this journey as we explore these important questions together. I’d love to hear your thoughts and experiences. Feel free to follow us on Instagram @ida_insidedigitalactivism and interact!

For a deeper dive into digital artivism

Check out Digital Artivism: Pictures Worth Thousands of Words by Ana Filipa Maceira, with illustrations by Irem Kurt. It offers an enlightening perspective on how digital platforms amplify activist voices.  Another insightful source is the academic journal Dissent Art in the Digital Age: Insights into the Culture of Artivism on Instagram in India by Bhawna Parmar. This work delves into how artivists use Instagram to express dissent and drive social change, particularly in response to significant political events. 

Bounce a Thought Our Way!  

Can you share a few examples of digital or traditional artists who have inspired you with their activism on online platforms? Please comment with their names, the messages they conveyed, and how you first came across those messages (which platform did you use?)