Tag: 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!

 

 

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).

 

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

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

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

The Power of Lyrics: Resilience and Identity

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

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

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

The Music Video: A Visual Protest in Motion

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

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

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

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

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

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

Why Pa’l Norte Still Matters

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

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

 

References

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

Online Inclusivity for Senior Citizens and Disabled Adults

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Source: Pixabay

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

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

So which tips did the webinar offer?

Accessing Support Services and Resources

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

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

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

Tips to Stay Safe Online

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

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

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

Staying Connected and Entertained Online

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

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

The importance of education and patience 

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

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

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

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

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

Protest Music: Amplifying Activism in the Digital Age

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The World of Protest Music: Amplifying Political Messages in the Digital Age

Think about this: when do you typically listen to music? At home, bars, restaurants and nightclubs, at concerts, on TV? All these might seem like the obvious answers. However, music has historically been more than just entertainment; it has also been a powerful tool for social and political resistance. Protest music has accompanied movements, bringing people together through a common voice. From the anthems of the 1960s civil rights movement to today’s digital activism, music continues to play a powerful role in driving and amplifying social change. In the digital age, where much activism occurs both online and in physical spaces, protest music has evolved to meet new technological and social realities. In this post, we are going to explore the history of protest music, its transformation in the digital age and its role in hybrid activism, where it transcends both online platforms and street demonstrations.

Protest Music along time…

Throughout history, music has been a core element of social movements, as we all seem to find a really special connection with rhythms and lyrics that allow us to connect in much deeper levels. Whether through union songs, spiritual music, or anti-war ballads, music has conveyed messages that are often more effective than speeches or pamphlets. According to Eyerman and Jamison (1998), music plays an important role in the collective identity formation of social movements, providing a cultural space for participants to express shared values and grievances. Songs like “We Shall Overcome,” which became a central anthem during the U.S. civil rights movement, becoming a great example of the power of music to unify protesters by allowing them to express their demands for justice (Dunaway, 2008).

What makes protest music such a force for change? Perhaps it’s the fact that it’s connected to our own history and brings people together because of shared emotions. Music allows us to connect with others and find common ground on values, struggles and needs. The complexity yet simplicity of music makes it accessible to people all over the world, across language barriers and cultures. Think back to your childhood when you hummed a song in a language you didn’t even understand, but you felt the power and beauty of the melody.

So, what’s the role of music in the Digital Age?

Digital platforms, social media, the internet in general have changed us all and become an important part of society, social movements have also adapted to the new ways in which we communicate and interact with one another. This has meant that the reach and potential influence of protest music has expanded in many ways. Thanks to the democratization of music production and distribution, it has become easier for anyone to produce and distribute music online. According to Serrano (2021), digital platforms have turned music into a global language of protest, with songs frequently going viral and inspiring movements across borders.

Many impactful example have been present in the past years, one of them was during the #BlackLivesMatter protests in 2020, where Kendrick Lamar’s song “Alright” was frequently sung at rallies and widely shared on social media as an unofficial anthem of resistance against systemic racism (Brown & Volpe, 2020). The power to viralize moments, is a very powerful tool for citizens and a way to ask for social change, something that before could not even be imaged. It’s crazy then to think that the normalized reality we have today didn’t exist just a few decades ago; today it’s easy to make a viral event on the other side of the world, making the globe much smaller and the causes we fight for much more connected.

Music has always been an important instrument of digital activism and will remain so. Songs serve as anthems for movements, rallying cries that capture the emotional intensity of a protest while conveying its political message. Social media platforms in particular enable the wide distribution of protest songs, which can be remixed and adapted by different movements around the world. According to Nayar (2018), digital platforms have democratized the production and dissemination of protest music, allowing new and diverse voices to emerge in the space of political expression.

For instance, feminist movements have effectively used music to spread their message online. The Chilean feminist collective Las Tesis created the viral song and performance piece “Un Violador en Tu Camino” (A Rapist in Your Path) in 2019, which quickly spread across Latin America and Europe, being performed and remixed by women protesting gender violence (Fischer, 2020). This example shows how digital platforms enable protest music to transcend geographical borders and create a common language of resistance across different countries and movements.

Additionally, the accessibility of digital music production tools has allowed for greater collaboration among artists and activists from different parts of the world. Artists can now create and share protest music in real time, contributing to a global conversation about justice and equity. This global network of protest music has reinforced the notion that social movements are interconnected, regardless of geography, as artists build on each other’s work to address universal struggles such as racism, gender violence, and climate change (Nayak, 2021).

Let us know what you think and stay tuned for the next blog post about music and other relevant topics related to digital activism.

References

  • Beer, D. (2013). Popular culture and new media: The politics of circulation. Palgrave Macmillan.
  • Brown, M., & Volpe, M. (2020). Music and the Movement: Protest, Intervention, and Political Music During Black Lives Matter. Journal of African American Studies, 24 (4), 402-417.
  • Bunaway, D. K. (2008). How can you keep on moving? Labor, music, and migration. In R. D. Cohen (Ed.), Songs about work: Essays in occupational culture for Richard A. Reuss (pp. 40–56). Indiana University Press.
  • Eyerman, R., & Jamison, A. (1998). Music and social movements: Mobilizing traditions in the twentieth century. Cambridge University Press.
  • Fischer, E. (2020). “Un Violador en Tu Camino”: The Anthem of Feminist Resistance in Chile and Beyond. Gender, Place & Culture, 27 (5), 717-719.
  • Nayar, P. (2018). Digital world: A critical introduction. Polity.
  • Nayak, A. (2021). Protest Music in the Digital Age: The Intersection of Music and Social Movements. *Cultural Sociology, 15 (3), 346-358.
  • Rosenstone, R. A. (2013). The historical film as real history. Routledge.
  • Serrano, F. (2021). The Soundtrack of Resistance: Music and Protest in the Digital Age. Journal of Media and Cultural Studies, 35 (4), 565-580.
  • Tufekci, Z. (2017). Twitter and tear gas: The power and fragility of network

Digital Technologies and Social Mobilisation

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Source: Freepik.

Hi, I’m Tábata, a Communication for Development student at Malmö University with a keen interest in social equity and technology.

In this section, we’ll be exploring the history of the internet and the inequalities that accompany it, from the digital divide to disparities in access and digital literacy. We’ll delve into how these issues affect various communities and examine the broader implications for development and social change. Join me as we uncover the challenges and potential solutions to creating a more equitable digital landscape for everyone! 👩🏻‍💻

Today, I am going to introduce you very briefly to the history of the internet, the relationship between digital technologies and social mobilisation and the discourse around digital inequalities during each stage.

In recent decades, both the internet and digital technologies have become easily accessible and an essential tools in our daily lives. Think about it; could you go a day without texting on your phone, looking something up online or using navigation apps such as Google Maps to find a place? You couldn’t, could you? These innovations have transformed how we work, communicate and navigate society. Because of their accessibility, many people think that digital organising is easy and free, and that the Internet increases participation in our society and reduces inequality. However, the so-called ‘great equaliser’ is not as universally accessible or empowering as it is often thought to be. The assumption that the digital space offers everyone an equal voice hides another reality: that digital inequality continues to reproduce broader societal inequalities—particularly those rooted in class power.

But, before we have a deeper look into specific examples of digital inequality (and its consequences), it’s important to have a look at the two main stages of the relationship between digital communication and social mobilisation. 

WEB 0.1 

In the 1990s, during the phase often referred to as Web 0.1, the internet was characterised by one-way communication. Information was published by a few and consumed by the many. Users mostly read and accessed content, rather than contributing to it. Additionally, user interaction was very limited and features like comments, forums, and social networking were very basic. Websites acted more like digital brochures, focusing on information dissemination without significant user engagement.

Despite these limitations, there was a significant connection between social movements and digital platforms. This era brought about the emergence of ‘activist networks’ and the concept of ‘connected multitudes,’ where collective identities were formed through shared struggles. Social movements benefitted from the growing viral communication flows, and prioritised autonomous development in reaction to the increasing commercialisation of the Internet. Free software models inspired these movements by showing that cooperation could be an effective strategy to follow.

WEB 0.2

In the 2000s, Web 2.0 transformed the internet into a more interactive, participatory space, characterised by user-generated content, dynamic websites, and rich multimedia integration. Knowledge-sharing became more accessible since platforms allowed users to create content and share it. Social networking sites like MySpace, Facebook, and Twitter gained immense popularity, facilitating many-to-many conversations and building online communities. These platforms gradually displaced older communication tools like email and blogs.

During this time, social movements we all saw on TV such as the Arab Spring and #MeToo used social media to spread their messages. Nonetheless, relying on these platforms meant giving up some control over how their content was managed because of the way such platforms operate.

Digital inequalities

To understand digital inequality a bit better, there are two key concepts we need to consider. The first one is affordance. So, what’s an affordance? It’s something that hints at or allows a specific action. In the digital world, affordances are tied to how tools and platforms are designed. For example, when a button looks clickable, people are likely to click it. Likewise, a user-friendly design can encourage people to get more involved and interact more actively. So far, so good. But the problem at hand is that affordances are not neutral. They can benefit certain actions, groups, or viewpoints over others and they often privilege users with specific skills, digital literacy or resources. Thus, individuals or groups who are better equipped to navigate these platforms are more likely to succeed in digital activism.

On the other hand, there is the question of affordability. This concept is more straight-forward. It simply refers to what you can afford to buy. Here, we are talking about the cost of devices, internet services, etc., all of which can limit participation in the digital sphere. This often means that wealthier individuals or communities have a clear advantage when it comes to using digital platforms for activism and other types of participation.

During the early days of the internet, these inequalities were already visible, leading to the widespread use of the term ‘digital divide’, whose main focus was on access to technology and the internet, particularly in educational settings, and prompted efforts to reduce it. As internet usage expanded, research on digital inequality evolved, moving beyond simple access to address a broader range of factors—including the ability to create, produce and effectively use digital content.

The shift from the ‘digital divide’ to ‘digital inequality’ during the Web 2.0 era raised new questions about not just who had access to online content, but also who was shaping it. These ongoing disparities, which we will explore further in future posts, highlight the fact that, in practice, becoming part of the media landscape today demands a significant amount of organisational effort, resources, and digital literacy. All of these are skills and opportunities which are far from universally accessible or low-cost.

Let us know!

We’d love to hear from you: have you or anyone in your community experienced unequal access to digital tools? How has it impacted your ability to participate in activism?

In our next blog post, we’ll take a closer look at digital inequalities by providing examples from existing literature, focusing on how these disparities continue to shape emerging social movements. Stay tuned!

Also, follow us on Instagram for more insights: @ida_insidedigitalactivism 📲

References:

Welcome to IDA

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#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?