This slide show was produced for the PV workshop we organized in Wageningen with Otherwise in May 2011. We worked with representatives of local NGOs and the results were publicly screened.
We:
Patricia Santos
Margriet Goris
Tessa Steenbergen
Geke Kieft
2. Program of the workshop
MORNING
Introduction to Participatory Video (PV)
PV Workshop
Playback and Wrap-up
AFTERNOON
Meeting the Organisations
PV Process
4. Introduction to Participatory
Video
⌐ What is PV?
⌐ Why use PV?
⌐ From/to Whom? – Typologies
⌐ Examples of PV Methods
⌐ How to facilitate PV?
⌐ Research options -
Ethnovideography
⌐ Video Examples
5. And also
⌐ Coffee break
⌐ Wrap up – Shooting tips
⌐ Lunch
⌐ Welcome back - Editing tips
⌐ Dinner
⌐ Closing reflections
6.
7. What is PV?
⌐ Or, what is not!
PV is not making movies - it aims
for community empowerment
⌐ You, as a PV facilitator will not
be taking the shots - the
participants have full ownership
of the process and the product
8. Why use PV?
⌐ Creates a safe place
⌐ Literacy barriers
⌐ Geographical barriers
⌐ Exercise democratic right
⌐ Technology and knowledge transfer
⌐ Experiential action learning
⌐ Multi-stakeholder interaction
⌐ Attracts curiosity
⌐ Fits oral traditions
⌐ Low cost for outreach potential
⌐ …
9. From/to Whom? – Typologies
(1)
1. FOR ADVOCACY & AWARENESS
RISING
From Community to researchers/ NGOs/
policy makers
From Marginalized/ isolated groups
to wider community
Community to community
Policy makers to community
Multi-stakeholder workshops
10. From/to Whom? - Typologies
(2)
2. FOR CAPACITY BUILDING
Tool for sharing information and
technologies, e.g. for agricultural
extension and introduction of new
practices
3. FOR STAKEHOLDER ENGAGEMENT &
REPORTING
Used from project planning, M&E,
consultation of isolated communities,
conflict situations, etc.
11. Examples of PV Methods
The Fogo Process
National Film Board of Canada, 1960’s
Participatory Video Approach
Lunch and Lunch, 2006
Zooming in zooming out
Van Mele, 2006 and 2008
Visual Problem Appraisal
Witteveen and Enserink, 2007
12. How to facilitate PV?
The facilitator is a person who is
substantively neutral , who has no
substantive decision-making authority and
intervenes to help a group to
explore, solve problems and
make decisions . Schwarz, 2002
ENGAGE AND ENABLE PEOPLE TO
TAKE ACTION
15. Research options
Starting point:
people use motion pictures in a
patterned, rather than a random
fashion, and the particular
patterns used would reflect their
culture and their cognition.
17. Research options
Analyze
⌐ The cultural, perceptual, and
cognitive taboos influencing
semantic or syntactic
organization and structure of an
utterance.
18. Research options
Analyze
⌐ The syntactic organization and
sequencing of events and units of
eventing – we shall be dealing
with way pieces or units of films
were used/edited.
20. Video Examples
Teenagers in Wageningen
Graffiti
Students in Groningen,
Netherlands
Small Gestures Big Effects
Participatory 3D Mapping,
Ethiopia
Participatory Video with Students
22. Example of PV Method
10-steps method
1. Sit in circle
2. camera basics, handling precautions, on/off,
framing - One teaches the next
3. Again, using the microphone – The name game
4. Watch footage, promoting reflection and comments
5. Introduce the tripod – Let them handle the
equipment
6. Help making out what story they want to tell –
Storyboard
7. Go, make it! - Let participants experiment
8. Participatory editing
9. Help organise a community screening
10.Reflect on the process and ask for consent for
dissemination
25. Shooting tips
Before you start
⌐ Study the camera manual
⌐ Know basic camera functions
⌐ Charge batteries
⌐ Check memory space / empty tapes
⌐ Try to get a tripod
26. Make a plan
⌐ What do you want to tell / achieve?
⌐ Who will watch?
⌐ Where will it be shown?
⌐ Internet: short (around 3min)
⌐ Option: make a story board
34. Interview
⌐ Position yourself next to camera
⌐ Use tripod for interview
⌐ Ask interviewee to maintain eye
contact with you
⌐ Avoid leading questions
35. Location and light
⌐ Find location that illustrates the
story
⌐ Avoid moving backgrounds
⌐ Enough light. Preferably outside in
natural light
⌐ Avoid backlight (into the sun)
36. Sound
⌐ Position of build-in microphone
⌐ Get close to person for better sound
⌐ Find quiet place
(or film source of noise)
⌐ Don’t touch the sound cables
⌐ Use external (clip) microphone to
improve sound (if possible)
37. Shooting
⌐ Count till 10
⌐ Shoot fat: start before action and
keep shooting after
⌐ Diversify your shots: different
angles, frames, movements
⌐ Include objects/environments that
illustrate the story
38. NJ OY
E
!
Meeting the Organisations & PV
Process
39. Welcome back!
how was your afternoon?
Before we start editing…
A refreshment !
40. Editing
Access your Clips and Video effects and Transitions
Preview
screen
Insert and edit clips in the Timeline
(video and sound)
41. Editing process
1. Preview, name and classify clips
2. Review storyboard
3. Import selected clips to video
editing software
4. Make rough edit, placing clips in
order in the timeline
5. Choose tittles and soundtrack
6. Refine editing
7. Export to movie format
Introduction to the process of facilitating a participatory video (PV) project !
Introduction to the process of facilitating a participatory video (PV) project !
Introduction to the process of facilitating a participatory video (PV) project !
Process over product – facilitating workshops, plenary meetings, PV processes is mainly about stepping out
Shot on location– isolated communities, Have voice, Multi-level, horizontal and vertical – Power of moving images to engage – Share view, sometimes conflicting views - portability
temptive typologies
RICE project + Visual problem appraisal…where videos of interviews with community is brought to policy makers, for e.g.
FOGO PROCESS n the late 1960s, a pioneering participatory communication pilot project using video was conducted on Fogo Island, Newfoundland - an isolated and underdeveloped fishing community cut off from most communitcation and with a fragmented and underserved population. This pioneering project, known as the Fogo Process, was supported by the Canadian Film Board's 'Challenge for Change' program which hoped to harness the potential of newly developed portable video camera and playback technologies (1/2 inch video 'portapaks') as a tool to promote social change by engaging isolated communities in a participatory process. The Fogo Project is a very interesting collection of videos produced by the National Film Board of Canada and Memorial University - Extension Services which capture the social, cultural and economic aspects of life on Fogo Island, Newfoundland and Labrador in the 1960s.
two-way communication between learners and tutors – ask about their experience in working with groups
– it can reveal something of their cognition and values that may be inhibited, not observable, or not analyzable when investigation is totally dependent on verbal exchange – expecially when it must be done in the language of the investigator. – it can happen that they don't choose to film within their own community. In case of the Navajo the y show close relatives and own live stock.
– it can reveal something of their cognition and values that may be inhibited, not observable, or not analyzable when investigation is totally dependent on verbal exchange – expecially when it must be done in the language of the investigator. – it can happen that they don't choose to film within their own community. In case of the Navajo the y show close relatives and own live stock.
“ As the Navajo were making the films and telling us about them, they repeatedly said: “ My mother, or my brother, goes looking for …, then she goes to get..., then she goes..., then my brother goes... ” We didn't notice this repeated emphasis of the verb “ to go ” at the time of the interviews; in a sense, we screened it out, paying attention to what was important to us . It wasn't until we saw the edited film that we realized that walking was an event of itself , not just a way of getting somewhere. We expected the filmmakers to cut out most the walking – but they didn't. This was the least discarded footage. In questioning them, it became clear that although they didn't verbalize it directly, walking was necessary to tell a story about something Navajo. ”
One speculation as to the reasons for this is that the Navajo generally avoid eye-to-eye contact. Staring at someone, or looking him “ straight in the eye ” is a form of insult, unless done for clearly humorous purposes. This relates to values of privacy in Navajo culture, where close living and modesty taboos must be reconciled by some form of perceptual avoidance behaviour. It seems possible to conclude that this has been carried over into film discourse. This show also the extra value of participative video as people make their film according to their values.
There are numerous examples in their films of people suddenly appaering on the screen. When asked why he said “ Oh, nothing happens when he's behind the tree so I cut it out. ” Susie's film edited, finished when her mother holds up the finished rug. We haven't been shown muchof her mother weaving the rug; it has been a film of coming and going. Also in Johnny film you hardly see the fabrication of the jewelry. The walking provides a means of depicting eventing, (the searching for and finding of the mine, the rock for casting, the dyes for weaving, and so on.)
-The film I made to finish with my study Etnovideography was about Transgender Continuum or Gender Identity from very male to very female. Watching back the footage the main charater reacted for example “ O, these trousers really doesn't make me a man ” which made clear the matter of clothing to transgender people.
– Graffiti reveals the empowering effect of participative video. At first instance they thought the could never have an interview with police or someone from the municipality. Discovering it isn't that difficult at all, it opened their way to new initiatives and hope to achieve something with their film. By now the plan for a legal graffiti wall is presented to inhabitants of Wageningen. And two of the teenagers, no more than twelve years old participate in the youth council. -Small gestures, Big Effects reveals the unique representation of an image of a so called marginalized group when presenting themselves.
Introduce tripod
Zooming: instead of zooming it is better to stop camera – move – start camera 180 degree rule: don ’t cross line
The rule of thirds says that you must place the important parts of your composition along the edges of your nine parts or even at the intersection of those edges.