The Voicing Hidden Histories project: participatory video in development, soft power and film language

Abstract

In this article, we wish to reflect upon some of the findings of a recent Arts and Humanities Research Council-funded Global Challenges Research Fund Participatory Video (PV) project 'Voicing Hidden Histories'. Working in South Africa, India and Brazil, this project has been using PV to support specific marginalised communities in each country to challenge the way their nations present themselves-and in particular their national history-to the world via 'nation branding' and other 'soft power' initiatives. Specifically we ask: why use filmmaking as an international development tool? What are the enablers of-and barriers to-successful PV initiatives and what does 'success' mean in this context? Moreover, while such projects invariably make claims for PV as a particularly effective method for 'giving' communities 'voice'-however such potentially patronising terms might be defined-very little space is usually dedicated to the exploration of the films produced in such projects, that is to the specific articulation of this 'voice'. Thus, we also wish to challenge a trend in the analysis of such projects that focuses entirely on questions of methodology and an understanding of PV as a Participatory Video in Development: the Voicing Hidden Histories Project, Soft Power, Community Advocacy and Film Language This article reflects upon the findings of the recent AHRC project 'Troubling the National Brand and Voicing Hidden Histories'. Working in Brazil, India and South Africa' the project used participatory video to support specific marginalised communities in country to challenge the way these nations present themselves to the world via 'nation branding' and other 'soft power' initiatives. In so doing, the project sought to raise awareness nationally and internationally of these communities' precarious place in society and to support them in campaigning to effect change in their lives. Why use filmmaking as an international development tool? What are the enablers ofand barriers tosuccessful PV initiatives? What does 'success' mean in this context? What is the role of the filmmaker? Is s/he an artist? A community worker? A therapist? Moreover, while such projects invariably make claims for PV as a particularly effective method for 'giving' communities 'voice', very little space is usually dedicated to the exploration of the films produced in such projects, that is the specific articulation of this 'voice'. Thus, we also wish to examine the ways in which 'Voicing Hidden Histories' used film language both to reflect upon, and communicate, the experience of the participants involved.

Enacting social transformation through occupation: A narrative literature review

“…A range of diverse occupational mediums were used throughout the literature to support social change, although photography and photovoice were in the majority in this review (46-53, 55, 58-60, 62, 64, 68-71). Other mediums included video (44,45,57,61,65,72) theatre and carnival (42,45,63,65,66) storytelling (64, 72) quilting (56) textile images (37) and circus arts (43,54). Special mention should be given to the article by Spiegel et al, (43) as this describes an unprecedented national social circus project initiated by the Government of Ecuador.…”

“…Table 1 lists the articles included with details of participants, the type of occupation used, the purpose of the article and a brief outline of changes described. The articles included participants from locations across six continents including; South America (37,(42)(43)(44)(45), North America (46-55), Asia (56,57), Africa (57-61), Australia/ Oceania (62), and Europe (63)(64)(65)(66).…”

“…Appeals and even protests were made to the public and policy makers, suggesting that the projects were able to achieve some of their claims to advocacy. The reach of some public facing events was limited to local community centres (44,46,48) and universities (46,52,59,61). In one example, the local press published an article about the study by Findholt, Michael & Davis (51) which led the participants to undertake many other public speaking events.…”

“…Time may have been an issue as transformative processes may occur over the longer-term (43,69,71),. Ffor example, in a multi-site study that intended to help effect change in the lives of marginalised communities (44) the authors suggested that it was too early to tell whether higher level change had occurred. In a reflection on a digital storytelling project Wood (62) reported on a participatory project with a 'failing' school which aspired to social change through challenging perceptions of failure and 'good' and 'bad' schools/ communities.…”

Participatory Arts in International Development

“…This is, moreover, invariably seen as an important aim of participatory filmmaking projects in development settings around the world. Introducing young people to filmmaking is generally seen as an excellent way of building their confidence, and in so doing, ensuring that their voices are heard and help to shape civil society (Bery 2003, p.108;Cooke, Dennison and Gould 2018). Kenya is seeking to effect change on a scale and with a speed seldom seen in participatory filmmaking projects.…”