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The Art of Storytelling
Paul Ricoeur (1991b) states that “‘A life narrated’ can be ‘a life examined’” (qtd. in Meretoja, 2018)
It has been said that at the heart of effective communication is good storytelling. Whether or not this is true, great stories do seem to have the ability to win the hearts of many. Not only are they used to inspire us but they are also used to convey meaning, to shed new light on old paradigms, to create unity, to share value and even to persuade audiences. As humanitarian aid communicators set out to engage with various actors and participants across numerous platforms and many regions, digital technology has become a key driver in their mission to inform and amplify important and meaningful narratives across the globe. Along with the creation of platforms that allow communicators to share events and festivals from various part of the world, ICT has also allowed communicators to share issues and crisis situations with audiences in real time. Together with illuminating tragic tales across digital platforms, communicators are also able to achieve numerous goals. These include goals of connecting and uniting peoples and communities that may otherwise be isolated from each another, goals of sharing stories with purpose alongside goals with the main aim of gaining beneficial and financial credibility.
Image1: from Pixabay
The art of storytelling allows communicators to bring humane issues and experiences to life. Aid communicators not only hold the ability to tell inspiring stories, but through their art they are able to construct storytelling cultures whereby they can help establish, restore and create societal changes within many communities. As communicators share stories that reach agencies around the world, developmental programs can be expanded and hence yield important benefits within areas such as the educational and healthcare systems.
Image 2: from Pixabay
The art of great storytelling allows communicators to lead with value. As storytellers present their subjects, it is also worth noting that aspects of not only themselves are being revealed, but also the approach they choose to use in relaying the stories they are presenting (Moore p. 57). Together with adopting a credible and coherent approach, it is important that the aid communicator crafts an effective narrative that bridges the gap that separates the victims from the saviors. As numerous flawed characters paint the pages of many humanitarian narratives, it is important for the communicator to fully take into account the importance of the ethical dimensions behind their storylines. Not only does communicator’s narratives become the link between individuals in anguish, and policymakers and donors, but their stories have the ability to potential generate awareness and shared understanding among people and organizations around the world.
Moreover, even though the constant relay of crisis situations around the world appears to be the new normal in recent years, communicators, however, do hold an incredible power whereby they are able to extinguish sparks or fan flames into raging fires when it comes to the way in which they choose to illustrate and present stories. Regardless of whether they are relaying local crisis situations or intense global issues, communicators do have the ability to make difficult plots digestible and distant or remote narratives impactful and at the same time relatable to both audiences and stakeholders alike.
Whilst good communication is the key to changing attitudes, beliefs and practices (HumanitarianPuls), great storytelling allows the communicator to share narratives that can uplift the voices and concerns of all participants. The art of great storytelling allows the communicator to lead with storylines that emphasize the value of equality and diversity, whilst still touching upon relevant topics such as poverty, catastrophes, gender, cultural and social disadvantages.
The Science of Storytelling
Stories are often meant to influence and inspire and with the ability to construct narratives that are persuasive, the aid communicators hold the power to change minds. Through their stories aid communicators can brings awareness of the negative effects of imbalanced policies and issues faced by many when it comes to decision-making and access to economic and social resources. The science of storytelling, however, teaches us how to share and how to listen to each other’s stories. It acknowledges that storytelling creates a coupled system between the narrator and the audience. This two-way interactive portal created by the communicator can also lead to an emotionally receptive reaction from the audience which in return can lead to a response or an action.
Furthermore, even though we may be wired to be fascinated by the stories of others, it is worth remembering that narratives of misery, pain and suffering can be one of the principal currency earners for aid agencies. Alongside this, the science of storytelling also teaches us to be wary of storylines that trigger emotions, help create resistance, or even deceive the reader for the single purpose of serving the self-centered deceptor. Contrary to all of this, however, Moore (2012) argues that it is paramount that humanitarian communicators tell truthful narratives because trust is the main currency of non-fiction storytelling. Moore claims that this is integral, especially in trauma stories for both the subjects and the audience who are placing their trust in the storyline (p.73-74). It is worth remembering that there is an additive layer of responsibility that comes with stories about real human suffering. The responsibility of the humanitarian aid communicator should never be to inflict, enable or add injury to the victims of the stories they are relaying.
Additionally, Ghaoui (2016) says that telling stories responsibly is remembering that the people behind your stories are more than just case studies used to bring in fundings. Ghaoui further implied that ‘communicating disasters has become a moral minefield’ and as humanitarian communicators mercilessly struggle to advocate for aid it is honestly worth considering questions such as, ‘how would you feel if someone posted your child’s picture without asking your permission?’ Ghaoui insists that it is worth remembering that when individuals share their real-life stories, they are genuinely sharing a part of themselves, a part of what makes them who they are.
As communicators consciously take the time to understand the nature of ethical storytelling, it is important that they remember as conduits of information that they should not just interpret and utter information over a megaphone, but instead ensure that the information they are putting out remains relevant and effective to discerning audiences without altering the truth. Furthermore, Ghaoui (2016) also suggests that information should be used for the purpose it was initially intended for. By this, Ghaoui means that questions regarding whether or not the information given was provided for raising awareness, raising funds, or influencing decision makers should all be taken into account. Ghaoui argues that it is not only the communicator’s duty to inform participants on how their stories will be used, but it is also their duty to use the stories accordingly.
Image 3: by Pixaline from Pixabay
Another suggestion that is equally important and is of utmost relevance when it comes to conveying narratives is the ability to ensure that they are always accurately quoted. Ensuring accuracy allows the narrator to maintain authenticity and gives the reader an immediate connection to the involved participants. Ghaoui further reminds communicators that “Putting words into their mouths – and therefore emotions into their hearts – is tantamount to falsifying facts” (Ghaoui 2016). With this said, it is also important that the communicator refrain from leaving out facts, as telling a story purely from an emotional angle can lead to the risk of blurring reality and misleading the reader.
Depictions Through Stories
“Each Of Us constructs and lives a ‘narrative’” that is us. (qtd. in Strawson).
In an attempt to help the most vulnerable around the world communicators are presented with numerous challenges. Challenges such as language barriers which can lead to responses that only become incomprehensible and useless to those most in need. Alongside this they are also faced with the challenge of the depiction and interpretation of images placed alongside narratives in an attempt to capture the audience’s attention. Images that negatively narrate developing countries cultures, gender and religious practices. In conjunction with this, they often face the critical analyst who rightfully questions the way communicators acquire and distribute the personal information of destitute individuals across digital platforms.
http://livingunderhighvoltage.blogspot.com/2013/03/whats-in-word.html
Moreover, as the perspective of the humanitarian aid communicator is transmitted through views of saviorism, assumptions and stereotypical depiction, their narratives contribute to the creation of gaps, which result in the manifestation of disunity among agencies and participants. Whilst a solution to this may be to establish joint collaboration among all parties by actively attempting to correct the power imbalances presented in narratives. Another alternative which can be taken into consideration is for communicators to be consciously aware of the harm misleading content can create as they promote savior/victim storylines.
The representation of social suffering as an attention grabber not only leads to unethical storytelling, but the communicator him/herself becomes a manipulator who tethers the storyline in their own favor. Moore (2012) states that one of the “primary obligation of a storyteller trying to convey others’ suffering is to not reinforce that betrayal or that powerlessness” (p. 73) that they have already endured, but instead it should be to uplift and encourage the downtrodden. Many times, however, communicators storylines become reflective narrative of themselves. Narratives that harbor negative conceptions and attitudes. Narratives that continuously allow empowered voices to be heard and disempowered voices to be muffled. Narratives expressed by blaringly intellectual voices that are, however, unable to create changes that can shift negatively taught beliefs and norms.
Alongside communicators whose narratives carry stereotypical beliefs and assumptions are stakeholders who believe that they hold the ability to control the cultures, behaviors and languages of those who are in debt to them. As imperialist views and values continue to play a major role in the life of many, a new era of colonialism referred to as digital colonialism has now risen. This type of colonialism described by Kwet (2021) is the use of digital technology for political, economic and social domination of nations and territories. As global technologies around the world pump life into tech ecosystems, colonialism appears to be on an awakened journey weaving its way across social and media platforms. Regardless of this, however, today’s humanitarian aid communicators are not only able to sever the ties around propagandistic and manipulative stories, but they are also able to highlight the numerous ways digital colonialism affects countries across the Global South that are being exploited both for menial labor and for the continuous misrepresentation across digital platforms.
A New Narrative
As communicators attempt to create new narratives the importance of eliminating imaginary hierarchies and unfair power structures must be taken seriously. The toxic power structures which have been deeply woven into the fabric of many societies does not only appear among the political and economic institutions, but in the jargon and acronyms used by aid communicators who in return only disempower the said individuals they are attempting to help. As the bourgeois try to help those in need and ignore aspects of reality that does not fit the narrative of the hero aid coming to the rescue, barriers in the form of stories that diminishes the fact that partnership between all participants can ensure successful development and solutions are constructed.
When it comes to personal narratives it is worth remembering that the timeline of a story matter as much as the storyline itself. Moore (2012) states that the timeline of a story matter because stories do change over time and may no longer be present facts. Moore further claims that the timeline matters because dateless footage can reinforce media stereotypes of unending violence, static and senselessness. Even though over the centuries the world has seen distinct changes, from wars, natural catastrophes, conflicts and pandemics. The constant recycling of these stories, however, can undermine the reality of what is currently taking place by disregarding how far we’ve actually come (or not come). The constant recycling of old stories is not only dangerous for the credibility of the communicator and the entire organization, but it can also deter donors and affect much needed support projects.
In New Narratives: A Seat at the Table, Bertrand and Do Phan suggest that it is in the interest of all who seek to protect and advance human rights to reflect on the stories they are projecting and the different ways they can make them more effective in motivating positive change. Do Phan says that “There is growing evidence that hope-based and values-led narratives are most effective in changing people’s hearts and minds and motivating action”. Whilst numerous humanitarian communicator’s storylines are written with the intent to inspire, change minds and win support, these storylines should foremost foster empathy for the individuals whose stories are being told.
In an attempt to help shift narratives that perpetuate stereotypes and false assumptions Bertrand and Do Phan recommend narratives that focus on motivations, achievements and objectives, rather than solely focusing on dangers and risks. Whilst many face a grim and even dangerous reality, communicators must not lose sight of the desired outcome. As people who promote and protect human rights, communicators must make sure violations don’t overshadow the inspiring stories about successful and positive visions and ideas for creating a better future.
Personal Reflections
As we look towards the future and towards further developmental approaches that focus on building relationships between actors and participants, finding sustainable communication solutions is not only the responsibility of aid communicators, but the responsibility of everyone who is willing to advocate for the promotion and welfare of all. As communicators become more aware of the ethical duty they have to the people they serve, the easier it may become for them to be entrusted with stories which can be used to educate and influence those who are willing to invest, help and share.
Although humanitarian stories appear to be profoundly entwined with disasters and catastrophes and communicators ceaselessly attempt to motivate societal change and action through images and stories of suffering, it is also worth remembering that hope-based and values-led narratives can also be drivers for change and development. And, while it may be optimistic to think that change is certain to happen within the humanitarian communication field, the road to this is one which is still paved with narratives that are bounded up in false assumptions, stereotypical beliefs and negative storylines.
Even though there appear to be no rock-hard solutions or set instructions for humanitarian aid communicators to follow, ethical and accurate storytelling, however, is important in gaining both the subject and the audience’s trusts. Furthermore, and most important, ethical humanitarian storytellers hold the ability to change attitudes, beliefs, norms and practices and are extremely important players in the fight for social change and global development.
References
Image1: https://pixabay.com/illustrations/network-business-growth-4478141/
Image 2: https://pixabay.com/illustrations/businessman-newspaper-read-world-4929680/
Image 3: https://pixabay.com/vectors/news-message-info-newsletter-1644686/
Ghaoui, Lara. (2016), How to tell humanitarian disaster stories responsibly.
The Guardian, retrieved from: https://www.theguardian.com/global-development-professionals-network/2016/aug/04/rules-responsible-report-disaster-humanitarian-comms
HumanitarianPuls, (2019), The Power of Storytelling for Advocacy - Opinion Piece. Affairs, Institute of International Humanitarian, https://medium.com/humanitarianpulse/the-power-of-storytelling-for-advocacy-opinion-piece-727dad05d49f.
Kwet, M. (2021), Digital Colonialism:The Evolution of American Empire, retrieved from: http://https://roarmag.org/essays/digital-colonialism-the-evolution-of-american-empire/
Meretoja Hanna. (2018), Meretoja The Ethics of Storytelling: Narrative Hermeneutics, History, and the Possible. Oxford University Press.
Moore, Jina. (2012). Ethical or Exploitative?: Stories, Advocacy and Suffering. Taub, A. 2012: Beyond #Kony 2012: Atrocity, Awareness+Activism in the Internet Age, Leanpub ebook.
Strawson, Galen. (2015), I am Not A Story, Act II The Performing Self. retrieved from: https://www.mediastudies.press/pub/strawson-story/release/2