Author: admin

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BHUWAN TIMILSINA

Senior Producer, Milijuli Nepali

HELPING PEOPLE DO IT FOR THEMSELVES

Looking from the community perspective, this was not about the government – the biggest strength we had is how we helped each other. Our social collaboration in Nepal is so strong that the rest of the world could learn from this, we built each other’s toilets, reinstated each other’s water supplies. As a whole community we supported each other – we have very strong networks.

I’ve been doing this work since 2007 – I’m positive that the most important part is the planning and specifically that Lifeline programming is not like journalism. It’s not about grabbing attention for news. Understanding about this kind of programming is crucial to us and how to communicate with the community and thinking from their needs is essential. Anyone doing this kind of production must be very clear about this.

We had to train the other media houses and producers, and pilot programming is very important. The training needs to be long – it should happen at district level, and radio stations need to be ready. Co-ordination with the humanitarian sector outside of any crisis is very crucial. Liaison with these actors is needed, so that if it’s needed you can connect quickly and in good time. Lifeline programming is quite different from News and Current Affairs programming – it’s connected, but different.

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COLIN SPURWAY

Country Director, Tanzania

USING OUR RESEARCH

The Nyakati Zinabadilika radio show was a different form from our normal portfolio as it was more local. It was climate-change orientated and focused on the possible, achievable agricultural responses. It was about crops and related social issues. We helped to set up and start the radio programme with three radio partners. Different versions were made – sometimes on the same topic but not always.

31% of the audience said they’d changed their behaviour because of the show, it was so high we didn’t quite believe it. The project was extended and this allowed us to dig into the findings more deeply to see why it was so successful.

We understood from our research that the stories were believable, that the audience trusted the contributor and importantly, that the topics were practical and not that complex to achieve.

“When you plant sunflowers do it X far apart” – this is not so hard. Its effectiveness was a combination of local, doable, socially uncomplicated activities and it was this that gave it the impact that it had. It showed that doable actions are more likely to be done more immediately and interpersonal communications adds huge value.

The impact from ‘behaviour change’ focused content can be high for relatively socially simple, practically doable actions even when they are explained on radio ‘only’. To be able to act on something technical that I only came into contact with on a live radio programme would be amazing! An alternative construction to a beehive is a very visual thing, but people were saying, ‘yes’ and that they went out and did it! We didn’t develop a module for contributors to think how best to describe the tasks using language only. The audience trust of our contributors, and the strength and clarity of their delivery were the principal factors in the programmes being so memorable.

xperience, and had grown with the ethos. They knew how to see the right contributors, seek full consent, get the best shots, all the practical procedural organisational issues and had the editorial know-how.

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RICHARD LACE

Country Director, Bangladesh

HOW THEORIES OF CHANGE HELP US DELIVER IMPACT

Theories of Change are at the very heart of how we work – our methodology. They are living documents, and the process must be inclusive and discrete for each activity and topic. For the production teams, it’s a process of refining ‘what it is that we’re doing’ i.e. how do our audiences think/feel? what’s stopping them from acting at the moment? what can help them? Theories of Change help you to ask, ‘are we still on track with the route we set out in the beginning?’ With Amrai Pari, the process was collective and involved 20 people over several weeks – going through the research and saying – what do we think? Is this going to work? What shall we change? By making the process inclusive with everyone involved complete with their different social/political backgrounds means it’s more likely the work will be focused and true to what’s going on.

The biggest driver of change was in the audience’s perception of risk – but we also needed to explain how they could make changes without having to wait for government to help them. This changed their thinking into a belief that they could work alone and not have to wait for government to tell them.

We arrived at three key themes for the production team to work with and to communicate to our audiences:

• The climate is changing, you can do something about it
• You don’t need expensive solutions and you don’t need government help
• You’ll be more effective if you do it collectively

We created a task framework for each series, with geographical areas and peoples we wanted to feature, and topics around the issues and produced a grid of these that we wanted to focus on. We included very simple, basic things you could do in half an hour as well as longer-term ideas, and another strand focused on how to make use of local government services e.g. your rights to have land elsewhere.

A fair amount of the talent that worked on this project came from previous programmes and had long experience with us. This investment in people over a long period of time has been really important as they had developed skills and talent, sufficient experience, and had grown with the ethos. They knew how to see the right contributors, seek full consent, get the best shots, all the practical procedural organisational issues and had the editorial know-how.

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SEAMUS GALLAGHER

Country Director, Nigeria

WHY USE DRAMA?

Drama can allow for people to learn and make more informed decisions in their own lives. Any time you give people the opportunity to follow, live with and identify with characters who are struggling with the same issues/challenges that they face in the real world, you’re allowing them to see how other people have choices, and to follow how they play out – these can also become ‘role models’. Helping people see how different choices, attitudes and decisions play out for good and for bad, can support them then to make more thoughtful decisions for their own lives.

The dramatic vehicle has to be broad enough to allow new themes in. The setting/town shouldn’t be too narrow, or focused on one specific message. If you’re doing a drama about HIV and you set it exclusively in a hospital, that could be great but it could also be hard then to expand its ‘world’ to cover non-medical issues. Story Story is a world, a community that reflects all of West Africa with different languages, accents and religions and therefore, as a setting, it’s adaptable and can change and develop over time.

You have to be exciting enough to get people to listen. If it’s not entertaining, funny, sexy and thought provoking, the message won’t work. The dramatic elements all need to be in place, all the environments and sounds, the range of characters etc. Then the ‘messages’ can be worked into the drama. If the emphasis is on message alone, certainly at the beginning before the audience has built a love for the characters, people won’t listen, and won’t identify with the characters. The message needs to be ‘back of stage’ rather than ‘front of stage’. You can’t hit people over the head with the message.

The challenge is to keep radio drama topical when there are fast changing events – a fast-changing topic like political upheaval or an emerging disease can catch you out. A solution can be to have a writing process with a quicker turnaround, and more content research about the pending issues and themes emerging on the ground. This is best done through talking with ordinary people about their experiences as well as experts, then the work can be as believable as possible.

stations are burned down by people who dona��t like the news they make. Wea��re not big but we do reach a large number of people and the sharing works, they trust it. El Kul is very well thought of by people in Libya as a source of reliable information and I feel very humbled by this.

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ANNE REEVELL

Country Director, North Africa

A PATH OUT OF CONFLICT

Our team really values our core mission. Here, there is a place where young people can have a peaceful dialogue and effect change through peaceful exchange. It’s a model internally of what we’re seeking outside. We have added significance – a safe place for dialogue, to influence opinions, change ideas and make change. It’s incredibly important, because everything we do is about that.

A woman from Libya said

Your report on the peace negotiations changed my mind about how we can reach people and put aside violence”.

To have reached this point is very important. This group of young people is spreading these values through social media and we have a real opportunity to look at socially responsible media. We are bringing together people who oppose each other to have the opportunities to resolve their differences and come to terms with each other through this work. Libya isn’t all about guns, we’re doing positive things to try and bring about peace and reconciliation, and we have a unique role as the only voice doing this. All the other media outlets fuel the violence. Peace and Reconciliation (PR) was our rationale, we do sport, music – all the things that interest young people. We want to do workshops for film as a tool of PR – making films together. We have young people from all over Libya here in Tunis, working in a team is new for Libyans and they really like it.

We have done a lot of training the trainers and now we’re doing peer to peer training. Young people are attuned to social media – and this young team of Libyans have formed the project – it’s for their Libya and that’s why this is a success. They can see the potential, run with it and shape the idea of El Kul– which resonates with the audience. It’s not top down, it’s organic. This is a great experience – it’s also one that needs to be managed. We have not published anything that would be harmful in any way, the team is very young – and dealing with kidnapping, civil war – tough things – and they take on very difficult questions in a very mature way.

Libya is in a state of emergency, the media can’t function there, TV stations are burned down by people who don’t like the news they make. We’re not big but we do reach a large number of people and the sharing works, they trust it. El Kul is very well thought of by people in Libya as a source of reliable information and I feel very humbled by this.

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ANGELA MURIITHI

Country Director, Kenya

STARTING A NATIONAL CONVERSATION

Sema Kenya was a roving programme; we went to about 27 counties (47 in total) which was a considerable reach. We went to a county in the far north, a marginal part of the country and ignored by successive governments. People were unhappy at being ignored right back from the first independent Kenyan government’s time. When we arrived, our team was greeted with ‘How is the rest of Kenya?’ – because people there don’t feel part of the country.

This programme was stunning , and one of the few times that people from this particular county had their issues brought to a national platform and so everyone from around the whole country could see and hear their issues. The power of the media is to bring marginal groups to the table, and amplify their issues when nobody has bothered to talk to them. We were able to do it, they had their moment and it was great.

Sema Kenya travelled to communities where there had been ethnic conflict and people needed to be able to talk with their leaders. We went to a county where there had been a lot of ethnic tensions and violence and we recruited audiences from these communities. I was collecting live audience feedback and asking, Was this programme having an impact? Was it helping them hold their leaders to account? How could we improve it? I was in a focus group and a lady said; “you don’t know what you’ve done, I didn’t know it was possible for these communities to sit together and have a discussion, I was ready to leave and to do so at short notice.”

I think it’s about the power of the media to convene trusted platforms for discussion – and people realised they were facing the same problem – lack of accountability, transparency, and absence of services. The problem wasn’t between them – it lay with leaders and their lack of accountability to citizens.

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PRIYANKA DUTT

Country Director, India

REACHING PEOPLE WHO CAN’T ACCESS MEDIA

In every situation we’re doing some fundamental things in common – what’s our goal? What are we trying to achieve? Who’s the audience? What are the resources available? Who are we working with? Is there enough money etc ? Then we look at a range of ways to respond, what’s worked before? Are there models we can use or re-work? What were the challenges and how can we do it differently now?

It may seem strange for BBC Media Action to be working in India; the media industry is huge, diverse and every region has its own industry and makes use of all available platforms. Our work has to straddle all of this, and be innovative, exciting, engaging and effective. We work with audiences who are ‘media dark’, with no access. How do we reach them? We use a 360 degree approach because in Bihar, with its huge range of audiences with and without access to media. You can’t reach the poorest of the poor with an old-fashioned approach that only uses media. If we want to reach them all and make the change in their lives, we take the same idea and put it on many platforms and multiple channels, to create a ‘surround sound’.

In Bihar, we have to be totally innovative to reach those who are very poor. When we developed Mobile Kunji we knew we needed to go directly to the people we wanted to reach. There are two front-line health workers for every thousand people, and they walk door-to-door every day to reach them. There are 200,000 in Bihar, a readymade group, providing health services. How could we strengthen what they’re doing? Daily, these women walk endless miles going from door to door, meeting hundreds of situations from concerns about the birth itself to questions from mothers of year old children.

The health workers have a lot of information to share, and needed something small to carry it in that could enable them to respond to all the needs. Mobile Kunji was born out of this. We designed it there and then – the content and how it could link with the technology. This was something born out of necessity – there was just no other way to do it. We arrived at it because we had been through all the open processes and thinking beforehand. 

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SOPHIA WILKINSON

Acting Head of Health and Resilience

UNDERSTANDING WHO INFLUENCES BEHAVIOUR

We were going to need to really engage men. In order to improve maternal and newborn health they’d have to be engaged because of women’s lack of power and decision making ability. How do you engage them when you’re working on issues that are traditionally seen as women’s issues? The way that the team went about it was to have a male presenter as well as a female presenter so that the audience would hear a man talking about mother and baby issues; the presenter was very willing to share his own experiences which made people relate to him. The shows are listened to by 14 million people every other episode and so he is hugely well known – almost half the adult population in the three states is listening!

There was an episode when he made Injera on air and his first attempt failed spectacularly – but he laughed and took away a real appreciation about how hard it is to make the bread, this really resonated with listeners. Embedding things wherever possible in existing structures helps things to create a bigger splash and contribute to sustainability. Outreach work can be questioned in terms of its value, its time consuming and takes a lot of co-ordinating – but listening/discussion groups really do deepen people’s understanding of issues and get things talked about and add tremendous value.

The success of the two shows in Ethiopia is because they were absolutely rooted in the local storytelling traditions and the ways that people communicate with each other. For the first time, radio programmes were filled with the voices of ordinary Ethiopians, full of proverbs, music and real voices – they grew from the culture there; this was no western style show.

PSAs (public service advertisements/announcements) do make the difference, all the research shows they do – they reinforce people’s knowledge and are played out so regularly that issues are kept ‘top of mind’. They can be creative – mini stories in themselves and grab listeners’ attention. They have to be done well; you can’t just play out slogans.