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

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).

 

Vernissage at Orkanen Library – Students’ Art Exhibition #36

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

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

Unpacking Digital Artivism: A First Look

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?)

 

Welcome to IDA

#BlackLivesMatter, #MeToo, and #ClimateStrike are a few examples of global and well-known movements from recent years – and they all gain their power from the digital world. These examples reached massive popularity. In the year 2020 hashtag #BlackLivesMatter was used roughly 47.8 million times on Twitter only in a few weeks. The movement was activated after the death of George Floyd. Fridays for Future and the #ClimateStrike movement went viral in 2018 as students and activists worldwide organized online to protest government inaction on climate change. Digital activism played a crucial role in coordinating climate strikes in hundreds of cities.

These are some well-known success stories of digital activism, but not the whole picture. Digital activism can also be local, unsuccessful, artistic, or even fake. IDA – Inside Digital Activism -blog dives into the digital world and takes a close look at different phenomena of digital activism.

Digital activism might look like an easy and cheap way of mobilizing people and pushing social change, all you need is a group of people with mobile phones. NGOs, political parties, and activists are all searching for the killer hashtag that would be the next viral hit and reach the audience they want. Even if you’re not targeting a global audience, activism in a digitalized world cannot exist without a digital dimension.

We, the writers of the blog, are Ana, Noora, Percy, and Tábata, a group of Communication for Development master’s students passionate about exploring how communication can drive positive change in the world. Through this blog, we aim to share our insights, experiences, and reflections as we dive into the complexities of development communication. Whether you’re a fellow student, a development professional, or just curious about the field, we hope you’ll find our posts thought-provoking and inspiring.

This blog will look into the limitations and risks of digital activism such as inequality in online activism and the rise of fake content in digital channels. Tábata will investigate disparities in access to technology, participation in digital activism, and the inclusion and exclusion within online movements, examining how activists are addressing these challenges.

IDA-blog will also take a closer look at different formats of digital activism. Percy is going to explore how digital activism meets creativity – ‘Digital Artivism’? How do artists measure the impact of digital formats and available data collection tools? What are the recent projects and discussions of the challenges that artists face? Ana will dive into the world of protest music – and music with political messages. Music has long traditions as a tool in social movements – what is its role in the digital era? Many movements and protests live both in real and digital life. Noora will explore how real-life protests, street demonstrations and occupations are connected to digital activism.

Stay tuned for the following posts! It would be great if you would drop a comment or question: what is the phenomenon that we should explore or a theory that you would like to know more about?