Engagement and Impact Report (2018) by The Lived Experience of Climate Change

HEADING THE LIVED EXPERIENCE OF CLIMATE CHANGE A STORY OF ONE PIECE OF

LAND IN DHAKA

ENGAGEMENT AND IMPACT REPORT

June 2018

Joanne Catherine Jordan bit.ly/GDIpotgan

This project was funded by the Royal Geographical Society (with IBG) with an Environment and Sustainability Research Grant (Grant ESRG 6/15), the Arts and Humanities Research Council’s Research in Film Award, the Global Development Institute, and several grants from The University of Manchester, including: the Faculty of Humanities Strategic Investment Research Fund, Social Responsibility Research Stimulation Fund, Research and Impact Stimulation Fund, and the Higher Education Innovation Fund: Eco-voucher award. I would like to convey my gratitude to the Department of Theatre and Performance Studies at the University of Dhaka, particularly Ahasan Khan, Prof Syed Jamil Ahmed, Sudip Chakroborthy, and their students whose talent, enthusiasm, and hard work made the Pot Gan a reality. Dhaka-based documentary makers, Green Ink, have been central to bringing the stories of low-income people living with climate change to a larger international and national audience; in particular Ehsan Kabir, Rashidul Karim and Ashraful Alam’s unique ability to not only create an idea or vision, but the knowledge, technical skills, and creativity necessary to make it a reality. The project also beneﬁtted from the support of many organisations, my project partners: Manchester Museum, Brick Lane Circle, Theatre of Debate, Rich Mix London, British Council Bangladesh, Tie-Dye Drama, and Regent’s High School. I would also like to thank Chris Jordan, Emma Kelly, Minna Lehtinen, Dr Saleemul Huq, Thatitun Mariam, Amy Mollett, Prof Mark Reed, Farhana Ahmed, Victoria Hewett, Caroline Boyd, Sharmi Barua, Afrin Jahan, Istiakh Ahmed, Dr Carly Chadwick, all those that kindly agreed to participate in the video interviews as part of the project, and many more without whose support this project would not have been possible. Most importantly, I would like to thank the participants in this research and the residents of Duaripara informal settlement in Dhaka. Without their generosity this project would never have been possible.

Use the following reference to cite: Jordan, J. C. (2018) The lived experience of climate change: A story of one piece of land in Dhaka. Engagement and impact report. Manchester, The University of Manchester. Cover photograph: Pot Gan performance in Duaripara informal settlement in North-west Dhaka. Photo credit Jashim Salam. © The University of Manchester

PAGE

CONTENTS List of Figures and Tables

5. Conclusion

Executive Summary

References

1. Introduction

Appendix 1:

2. Research

3. Engagement

3.1 Engagement Purpose and Approach

3.2 Description of Key Engagement Activities

Map of Duaripara informal settlement

Appendix 2A: Transcripts of post-performance video interviews at the 10th International conference on community-based adaptation to climate change 68 Appendix 2B: Transcripts of post-performance video interviews at the British Council

3.2.2 Documentary Film and Public Engagement Events 15

Appendix 2C: Transcripts of post-performance video interviews at Duaripara informal settlement

3.2.3 Teaching and Learning

Appendix 3:

Online survey results for live Pot Gan performances at the British Council and the 10th International conference on communitybased adaptation to climate change in Dhaka (results for open-ended questions) 72

Appendix 4:

Online survey results for public event at Manchester Museum (results for open-ended questions)

Appendix 5:

Online survey results for public event at Rich Mix London (results for open-ended questions)

Appendix 6:

Online survey results for documentary and video of Pot Gan performance viewed online (results for open-ended questions)

3.2.1 Performance Theatre

3.2.3.1 Students as Project Partners 3.2.3.2 Teaching and Learning Resources

14 16 16 17

3.2.4 Communicating Project Activities

3.2.5 Project Material

3.2.5.1 Videos

3.2.5.2 Play Booklet with Script

3.2.5.3 Newspaper or Magazine Articles and Blog Posts

3.2.5.4 Photo Galleries

3.2.5.5 Social Media and Web

4. Impact and Evaluation 4.1 Methods of Evaluation 4.2 Engagement and Results from Live Pot Gan Performances in Dhaka

24 24

Appendix 7:

Additional project feedback

100

Appendix 8:

Registration list for Pot Gan performance at the 10th International conference on community-based adaptation to climate change

101

Eventbrite registration list for public event at Rich Mix London

107

4.3 Engagement and Results from Public Events in the UK 34 4.4 Engagement and Results from Online Viewing of the Documentary and Video of Pot Gan Performances 4.4.1 Video Views and Reach

40 40

4.4.1.1 Documentary with English Subtitles

4.4.1.2 Documentary with Bengali Subtitles

4.4.1.3 Documentary Trailer

4.4.1.4 Video of Live Pot Gan Performance

4.4.2 Impact of Videos 4.5 Engagement and Results from Social Media and Online Sources

49 52

4.5.1 Facebook Page Engagement

4.5.2 Twitter Analysis

4.5.2.1 Hashtag Analysis

4.5.2.2 Wider Twitter Discussion of the Project

4.5.3 Newspaper Articles and Blog Posts

4.5.4 Other Online Publications

4.6 Invitations, Presentations, and Awards

Appendix 9:

PAGE

LIST OF FIGURES AND TABLES Figure 1: Location map of project ﬁeld site

Figure 2: Project partners and diﬀerent publics targeted in engagement

Figure 25: Most liked tweet using the project hashtag #GDIpotgan

Figure 26: Use of Twitter hashtag

Figure 27: Example of feedback from the public event at Rich Mix London

Figure 28: Example of feedback from the public event at Rich Mix London

Figure 29: Example of feedback on the documentary premiere at Manchester Museum 58

Figure 3: Country of work of audience that attended the Pot Gan performance at the 10th International conference on communitybased adaptation to climate change Figure 4: Did you find the language a barrier to your understanding of the performance? Figure 5: Do you think the Pot Gan’s focus on the 'everyday' experiences of those impacted by climate change is an effective way of communicating the issue? Figure 6: Did you find that the interactive element of the Pot Gan worked well?

Figure 30: Example of feedback of the live Pot Gan performance in Dhaka

Figure 31: Example of feedback from the live Pot Gan performance in Dhaka

Figure 32: Example of feedback on the documentary viewed online

Figure 7: Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan?

Figure 8: Has the Pot Gan made you think diﬀerently about how to communicate your work?

Figure 9A and 9B:

Do you think this event is a useful way to build awareness on climate change issues? 35

Figure 10A and 10B: Do you think the event’s focus on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? 36 Figure 11A and 11B: Were the discussions during the event useful?

Figure 12A and 12B: Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the event? 39 Figure 13A and 13B: Has the event made you think diﬀerently about how to communicate your work? 39 Figure 14: Facebook audience age data for the documentary with English subtitles (11.03.18 – 11.04.18) 42 Figure 15: Facebook audience age data for the documentary with Bengali subtitles (11.03.18 – 11.04.18) 44

Figure 34: Do you think the live Pot Gan performance/public event/documentary and/or video of the Pot Gan performance is a useful way to build awareness on climate change issues? 65 Figure 35: Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh as a result of the live Pot Gan performance/public event/ documentary and/or video of the Pot Gan performance? 65 Table 1: Table 2:

Audience targeting groups for project Facebook page

Audience targeting groups for project videos on Facebook

Table 3:

Overview of methods used to evaluate engagement and impact

Table 4:

Overview of social data for documentary with English subtitles

Table 5:

Viewer location data for documentary with English subtitles

Table 6:

Overview of social data for documentary with Bengali subtitles

Viewer location data for documentary with Bengali subtitles

24-25

Figure 16: Facebook audience age data for the Pot Gan performance video (11.03.18 – 11.04.18)

Figure 17: What is your gender?

Figure 18: How old are you?

Table 8:

Overview of social data for documentary trailer

Figure 19: What is your country of origin?

Table 9:

Viewer location data for trailer

Figure 20: What is your professional status?

Table 10: Overview of social data for live Pot Gan performance video

Figure 21: Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of viewing the Pot Gan videos 51 Figure 22: Facebook project page: audience by gender

Figure 23: Most commented tweet using the project hashtag #GDIpotgan 55 Figure 24: Most retweeted tweet using the project hashtag #GDIpotgan 56

Figure 33: Do you think the focus on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? 64

PAGE

Table 7:

Table 11: Viewer location data for live Pot Gan performance video

Table 12: Location of project Facebook page followers

Table 13: Most popular Facebook posts

Table 14: Newspaper or magazine articles

Table 15: Blog posts Table 16: Booklet with Pot Gan scripts

61-62 63

Duaripara informal settlement in Dhaka. Photo credit: Joanne Jordan ÂŠ

PAGE

EXECUTIVE SUMMARY This report evaluates the impact of a project that examined the ‘everyday’ realities and impact of climate change on the lives of low-income people in Dhaka, Bangladesh. For my research looking at urban climate resilience and how land tenure affects adaptation to climate change, I spent months in Duaripara informal settlement talking to over 600 people in their homes, workplaces, local teashops, and on street corners to understand how climate change affects their ‘everyday’ lives and what solutions they employ. The engagement and impact focus of this research project centred on a strong partnership approach to building awareness and action on the ‘everyday’ realities and impact of climate change on the lives of low-income people in Dhaka, through interactive theatre performances, documentary film, educational programmes, and public events aimed at a wide range of publics with varying levels of knowledge on climate change. Central to this project is the focus on learning from those living on the frontlines of climate change to ensure that people are better informed of the priorities and needs of low-income people. I teamed up with the Department of Theatre and Performance Studies at the University of Dhaka to explore my research findings through an accessible and engaging Pot Gan; a traditional folk medium that combines melody, drama, pictures, and dancing. The stories and script were all based on the direct testimonies and experiences of the people gathered though my research. The Pot Gan is not a static piece of theatre; it is an interactive, immersive, and local medium that challenges the audience to actively engage with the personal experiences of low-income people affected by climate change. The Pot Gan has proven to be an inclusive theatrical medium that can deepen engagement and understanding of the ‘everyday’ realities of climate change with an extremely diverse range of audiences. The three live Pot Gan performances in Dhaka were attended by an audience of 634 people, madeup of informal dwellers (research participants and the wider community), academics, policy makers, practitioners, and other key publics. 100% of respondents that attended the live Pot Gan performances said that it is a useful way to build awareness of climate change issues. 76% of those surveyed were not fluent in Bengali, however, only 5% indicated language as a significant barrier to their understanding of the Pot Gan despite it being performed in Bengali. 92% of those surveyed agreed that focusing on the ‘everyday’ experiences of those impacted by climate change was an effective way of communicating the issue. The Pot Gan has even influenced audiences with existing climate change expertise. While 89% of respondents reported expertise in climate change and/or development, the survey found that 83% had learned something new or that the Pot Gan changed the way that they think about climate change, particularly in the context of Bangladesh. 89% of respondents stated that the Pot Gan made them think differently about how to communicate their own work.

Photo credit: Paciﬁc Press/Alamy stock photo ©

PAGE

Central to the project is its focus on building awareness and action on climate change through film, with thirteen videos produced as part of the project. To bring the stories from the Dhaka informal dwellers to an even larger international and national audience, the Pot Gan performances were filmed to produce a documentary exploring my findings on the ‘everyday’ realities of climate change. At least 126,873 people have viewed the project documentary, trailer and video of the Pot Gan performance, mostly on Facebook. In a survey of the varied audiences who viewed the documentary and/or the video of the Pot Gan performance online, 100% said that it was a useful way to build awareness on climate change. 100% of those surveyed agreed that focusing on the ‘everyday’ experiences of those impacted by climate change was an effective way of communicating the issue.

Despite 86% of respondents having expertise in climate change and/or development, the survey found that 82% reported learning something new as a result of watching the video(s) or that it changed the way that they think about climate change, particularly in the context of Bangladesh. To accompany the documentary, a mini film series was recently launched, where informal dwellers from the project field site directly convey their own stories and experiences in the series ‘Living on the Frontlines of Climate Change’. The film series covers how Rohima Akter, Nasrul Islam, and Sufia Begum have been affected by climate change. We hear about their lives, their struggles, and their hopes for their children’s and grandchildren’s future. The project also engages with leading researchers and practitioners, sharing their insights on climate change via video interviews in ‘Expert Viewpoints’. The documentary was showcased at two sold out, high-profile events in the UK with an audience of 301 people. It was premiered at the UK's largest university museum as part of Manchester Museum’s award-winning Climate Control exhibition. A separate public event was held at Rich Mix London, in collaboration with a Bangladeshi community group, Brick Lane Circle and the International Institute for Environment and Development. True to the premise of the Pot Gan performances in Dhaka, I worked with Theatre of Debate, Tie-Dye Drama and Regent’s High School to develop an event that engaged the audience in informed debate around scientific research. The event posed a similar challenge to the live Pot Gan performances, audience members were invited to move from being passive viewers to active participants engaging with the personal experiences of low-income people affected by climate change. 79% of respondents that attended the public event at Rich Mix thought it was a useful way to build awareness of climate change issues, compared to 88% of respondents that attended the documentary screening at Manchester Museum. 97% of Rich Mix attendees surveyed agreed that focusing on the 'everyday' experiences of those impacted by climate change is an effective way of communicating the issue, compared to 100% of Manchester Museum attendees surveyed. Despite 66% of respondents at Rich Mix and 20% at Manchester Museum having expertise in climate change and/or development, and 75% of the audience at Rich Mix reporting that they think they have directly experienced climate change, a total of 69% of respondents at Rich Mix and 87.5% at Manchester Museum reported learning something new as a result of the event or that it changed the way that they think about climate change, particularly in the context of Bangladesh. 64% of the audience that attended the Rich Mix London event said that they care more about climate change as a result of attending the event. 69% of respondents at Rich Mix stated that the event made them think differently about how to communicate their own work, compared to 50% of respondents at Manchester Museum.

Via educational programmes, the project engaged with students based in Bangladesh, the UK, and Ireland. The project worked with the University of Dhaka to integrate the performance theatre project into their MA programme and helped Bangladeshi students learn about the impacts of climate change on low-income people in Dhaka. In the longer term, involvement with the project will also enhance the students’ employability in a variety of ways. The students gained valuable experience of working on a real academic research project with involvement in all stages of theatre performance, production, and documentray ﬁlm. The project has recently developed teaching resources to give secondary school teachers in the UK and Ireland support to teach pupils about climate change, and help young people develop the knowledge and skills to think critically about climate change in an urbanising world. The resources are designed as an intervention to achieve impacts on learning outcomes, attitudinal shifts, and behaviour change. Project materials have been used as teaching resources at the University of Manchester with, almost 250 MSc students engaging with the research material through digital media. This aimed to help students to develop their understanding of the diverse, multi-faceted, and complex ways that low-income people experience climate change. Social media has been critical to driving the project’s potential research reach and impact, including sharing videos, blog posts, and newspaper and magazine articles to a variety of audiences across Twitter, Facebook and YouTube, with the documentary videos and live Pot Gan performance video having reached 126,873 viewers and the 6 newspaper or magazine articles and 17 blog posts published on the project having a readership of at least 29,226. Facebook has been critical for reaching a Bangladesh audience, with almost 90% of the project Facebook page followers from Bangladesh. The project Facebook page has over 4,600 followers and 4,600 likes, has published 99 posts, with a total reach of 399,432 users, with 62,852 of these being engaged users. There have been at least 366 tweets on the project, by 93 diﬀerent Twitter users, with a total of 68 comments, 808 retweets, and 794 likes mostly from the UK and from an academic or development expertise background.

For further information on the project bit.ly/GDIpotgan #GDIpotgan @JoanneCJordan @GDIpotgan Joanne.Jordan@Manchester.ac.uk

PAGE

1. INTRODUCTION Climate change is one of the most significant risks facing the world. Climate experts suggest that a resilient community can better withstand ‘disturbances’, self-organise and learn, and adapt to change when required (Tompkins and Adger, 2004). While low-income people show significant capacity to develop strategies to improve their resilience to climate change, the impact that their lack of formal tenure rights has on these strategies is greatly debated. It has been suggested that lack of formal tenure rights can create disincentives for low-income people to invest scarce resources in risk reduction (Quan and Dyer, 2008). Therefore, this research project used a mixed method approach to examine how land tenure influences climate change impacts and in turn how land tenure can influence strategies for enhancing climate resilience in Dhaka.

This report evaluates the impact of this project. The report begins with Section 2 providing an overview of the underpinning research that the impact is based on. Section 3 details the project’s engagement purpose and approach, describing in-depth each of the engagement activities undertaken and why they were produced. Section 4 goes on to give a full breakdown and evaluation for each area of who the engaged audiences were, how they engaged with the project, and what impacts the project had on their understandings, attitudes, and behaviours. Section 5 is the conclusion of the report.

Drawing on this underpinning research, and in partnership with research participants and nine organisations in the UK and Bangladesh, Dr Joanne Jordan developed interactive theatre performances, documentary films, educational programmes, and public events to engage affected communities in the research findings and to build awareness and action on the ‘everyday’ realities and impact of climate change on low-income people in Dhaka.

Duaripara informal settlement in Dhaka.

Photo credit: Joanne Jordan ©

PAGE

2. RESEARCH Climate change is now widely recognised as one of the greatest challenges facing humanity. It will likely lead to potentially devastating impacts on livelihoods, food security, water supply, mental health, and well-being (IPCC, 2014). There has been increasing examination of resilience as a useful concept for understanding impacts and responses to climate change.1 It is top of the policy agenda, with many government and nongovernment agencies increasingly relating resilience to climate change (for example, USAID, 2010; UNEP, 2008). Indeed, climate experts suggest that a resilient community can better withstand ‘disturbances’, self-organise and learn, and adapt to change when required (Tompkins and Adger, 2004). While there is a growing literature on the factors that influence resilience, there is a lack of substantial research that has addressed directly how land tenure influences climate impacts and in turn how land tenure can enable or limit climate resilience. Low-income people are most at risk to climate change because they cannot afford housing in areas less vulnerable to climate risks, and there is a lack of government investment to protect at-risk areas. They tend to live in low-lying areas

(McGranahan et al., 2007), and in informal settlements with irregular land tenure, lacking adequate drainage and basic infrastructure and services (Moser and Stein, 2011). Low-income people show signiﬁcant capacity to develop strategies to improve their resilience to climate change. However, the impact that their lack of formal tenure rights has on these strategies is greatly debated. It has been suggested that lack of formal tenure rights can create disincentives for low-income people to invest scarce resources in risk reduction (Quan and Dyer, 2008). Alternatively, Payne et al. (2009) argue that it may actually incentivise investment.2 Moreover, Quan and Dyer (2008) argue that climate impacts can be expected to have a range of impacts on land use systems, with repercussions for land access and land tenure. Climate change is likely to reduce the availability of land suitable for human settlement and agricultural production, which is likely to increase human migration and displacement, and associated competition for land and potential changes in access to land and land tenure arrangements (Quan and Dyer, 2008, see McLeman, 2011).

2015 ﬂooding in Duaripara informal settlement in Dhaka.

Photo credit: Joanne Jordan ©

1 Resilience is a complex concept with contested definitions and relevance. There are multiple interpretations that direct very different community practices and political outcomes. In this study, resilience is interpreted as not just about being persistent or providing a robust response towards a disturbance, but also about adapting to new circumstances through flexibility to experiment, learn and adopt innovative solutions and transform (Walker, 2002). See Jordan (2018) for a more in-depth conceptualisation of resilience.

However, it is recognised that there are tenants that will not be directly helped by greater tenure security.

PAGE

2. RESEARCH

Therefore, this study examined how land tenure influences climate change impacts, and in turn how land tenure can influence strategies for enhancing climate resilience through mixed method case study research in Duaripara informal settlement in Dhaka (see Figure 1; Appendix 1). Dhaka is especially recognised for its high vulnerability to climate change impacts, and is exposed primarily to floods, waterlogging and overstretched drainage systems, and to heat stress (Rabbani et al., 2011). The project duration was February 2014 to present3. The case study involved undertaking a variety of robust questionnaires and thorough interviews with a total of 646 Duaripara residents. Of these, 510 residents took part in household questionnaire surveys; 52 residents took part in one-to-one in-depth semi-structured household interviews; 73 residents took part in 12 focus group discussions; 9 residents took part in one-to-one unstructured interviews; and 2 residents took part in key informant interviews. In short, this project collected a mix of qualitative and quantitative data from a large number of participants, used a mixed methods approach to gain insights with both depth and breadth, used an interdisciplinary focus to draw on the strengths of several academic disciplines, was based on international study, and developed practical strategies for communicating the findings at the local as well as the political level.

Figure 1: Location map of project ﬁeld site

Duration of research, impact and engagement components of the project.

10 PAGE

this study examined how land tenure inﬂuences climate change impacts, and in turn how land tenure can inﬂuence strategies for enhancing climate resilience through mixed method case study research in Duaripara informal settlement in Dhaka

3. ENGAGEMENT This section details the project’s engagement purpose and approach, describing in-depth each of the engagement activities undertaken and why they were produced, including how the project actively aimed to overcome some of the limitations of traditional science communication. The impact and reach of each of the activities is evaluated in Section 4.

3.1 Engagement Purpose and Approach Climate change is a complex issue that requires effective methods and tools to communicate its multiple dimensions. Article 6 of the United Nation’s Framework Convention on Climate Change reaffirms the importance of climate change communication for effective participation of stakeholders in decision-making processes and for mobilising climate action. Central to this are means of communication and participatory interaction that embrace a diversity of knowledges, not only scientific knowledge, but also lived experiential knowledge.4 Therefore, this project aimed to build awareness and action on the ‘everyday’ realities and impact of climate change on lowincome people in Dhaka. This project has highlighted that understanding the day-to-day realities of low-income people living with climate change must play a central role in climate change action. If we look at any given intervention, whether it will be accepted, modified, or completely rejected by the local population depends on whether the intervention fits with their ‘everyday’ experiences and understanding of climate change (see Reed, 2008). In order to create effective climate resilience strategies, it is crucial that we engage local voices in innovative ways to ensure that we do not leave the disadvantaged and most vulnerable communities behind by predefining their ‘problems’ and bypassing local priorities and realities. This project has provided a platform for the ‘voices of low-income people’ to enter the climate change debate, challenging us to inclusive action and critical thought. This project centres on six guiding principles, partly informed by the National Co-ordinating Centre for Public Engagement’s (NCCPE) (2018) purposed categories of purpose for public engagement with higher education. 1. Working across disciplinary divides to communicate science through the arts. The project used a range of art-based mediums that were accessible, entertaining, and engaging to a diverse range of publics with varying levels of education, literacy, and language skills. Performance theatre’s power to transcend cultural and geographical boundaries meant that the project was able to build awareness of climate change among key publics.

3. Developing reflexivity and a participatory ethics. This project took a people-centred approach which focused on engaging communities around the findings that they had been central to generating and provided them with a chance to give additional feedback on its key themes. Central to this was ensuring that every participant had an opportunity to contribute and all inputs were valued (see Reed, 2008). 4. Sharing what you do through informing and inspiring others. The goal was to inspire or inform people. Building understanding and stimulating curiosity was a vital part of the project. 5. Enhancing learning and changing understandings, attitudes, and behaviour. A vital purpose of engagement in this project was to educate; to help people engage with the personal experiences of low-income people affected by climate change, with the goal of increasing understanding of climate change and influencing different publics’ attitudes or behaviour. 6. Building new UK and international partners. A strong partnership approach was central to interacting more effectively with producers and users of knowledge, beyond academia. The focus here was on collaborative engagement, working together to create and apply knowledge collaboratively.

this project aimed to build awareness and action on the ‘everyday’ realities and impact of climate change on low-income people in Dhaka

2. Giving a platform for ‘voices of low-income people’ to enter into the climate change debate. Understanding the diverse, multi-faceted, and complex ways that low-income people experience climate change must play a central role in climate change action as it allows interventions to be better adapted to local socio-cultural contexts.

Illustration credit: Chris Shipton © The University of Manchester 4

For a discussion of a range of rationales for engaging publics, see Reed (2008).

PAGE 11

3. ENGAGEMENT

Audience at Rich Mix London Photo credit: Minna Rossi Photography ©

The project actively aimed to overcome some of the limitations of traditional science communication. Despite most research being publically funded, it tends to reach a very narrow group of people, largely within academia. Even within the scientific community, peer-reviewed journal articles have limited reach, with an average article read completely by no more than ten people (Biwas and Kirchherr, 2015). Also, it has been estimated that 32% of articles published in the social sciences have never been cited, 82% in the humanities, and 27% in the natural sciences (Biwas and Kirchherr, 2015). Moreover, the Public Attitudes to Science survey (2014) highlights that 40% of UK adults think that scientists are poor at communicating, and only 45% are aware of scientific research. Therefore, this project aimed to engage with the widest variety of people possible (‘publics’) to build awareness of climate change through a range of mediums. The project engaged with a range of different publics that have varying levels of knowledge on climate change (see Figure 2), including international and Bangladesh-based experts in climate, development, and the arts from backgrounds in policy, practice, and academia; students based in the UK and in Bangladesh; informal dwellers in Duaripara informal settlement of all age groups; key publics in the UK and Bangladesh; and a wide variety of online audiences. In summary, this project aimed to build awareness and action on the ‘everyday’ realities and impact of climate change on lowincome people in Dhaka through interactive theatre performances, documentary film, educational programmes, and public events. The project was involved in the following five types of engagement activity: 1. Engaging via three live theatre performances in Dhaka (entry free of charge) with informal dwellers (research participants and the wider community), policy makers, practitioners, academics, students, and key publics. 2. Engaging via thirteen films with policy makers, practitioners, academics, students and key publics based in the UK and internationally. 3. Working with Museums and arts and cultural centres to stage two public events in the UK (entry free of charge) that used film, performance, photographs, and interactive discussions to engage with policy makers, practitioners, academics, students, and key publics.

12 PAGE

4. Engaging via educational programmes with students based in Bangladesh, the UK and Ireland. The project worked with the University of Dhaka to integrate the performance theatre project into their MA programme, whilst also developing teaching resources for secondary school Geography teachers in the UK and Ireland, using video outputs from the project as teaching resources for MSc programmes at The University of Manchester, and working with Year 13 BTEC Performing Arts students from Regent’s High School in London to re-enact key scenes from the theatre performance at public events in the UK. 5. Communicating via a fully planned communication strategy to a range of UK and international online audiences, including policy makers, practitioners, academics, students, and key publics. The full communication strategy is described in Section 3.2.4 but includes digital and social media, local communication tools, and traditional broadcast media. Policy makers, practitioners, and academics were targeted for project engagement because of their power to implement change, whereas key publics and students were targeted to increase awareness and encourage them to take individual steps to tackle climate change. The local informal dwellers were a part of the engagement activities so that they too could see the results of the research that affects their lives and to provide an opportunity for post-research feedback. This project centred on a strong partnership approach to building awareness and action on climate change. A diversity of partners was key to developing the engagement activities, as each partner brought different skill sets and areas of expertise from which the other partners were able to learn. This diversity of partnerships was central to interacting more effectively with a diverse range of publics (see Figure 2), including producers and users of knowledge beyond academia. Specifically, nine new partnerships have been established - mostly beyond academia with a range of organisations based in the UK and Bangladesh. These include University of Dhaka, Brick Lane Circle, Theatre of Debate, Tie-Dye Drama, Regent’s High School, Manchester Museum, Green Ink, Rich Mix, and the British Council.

3. ENGAGEMENT

Figure 2: Project partners and diﬀerent publics targeted in engagement

‘COMMUNITY’ OF PLACE

STUDENTS

Residents of research ﬁeld site

PRACTITIONERS

STUDENTS

University of Dhaka and Regent's High School London

COMMUNITY GROUPS

FILM PRODUCTION COMPANIES

Brick Lane Circle

Green Ink Dhaka

RESEARCHER

MUSEUMS & ARTS & CULTURAL CENTRES

INFORMAL DWELLERS

Manchester Museum, British Council Bangladesh, Theatre of Debate, Tie-Dye Drama & Rich Mix London

AUDIENCES Online & in-person

Research participants in Dhaka informal settlement

POLICY MAKERS

ACADEMICS

Publics:

Partners:

PAGE 13

3. ENGAGEMENT

3.2 Description of Key Engagement Activities 3.2.1 Performance Theatre This section gives an overview of the three Pot Gan performances, including how a unique and modernised version of the traditional performance was created and why audience participation was integral to the project. This project aimed to examine the ‘everyday’ realities and impact of climate change on the lives of low-income people in Dhaka, Bangladesh. After talking to over 600 people living in an informal settlement, Dr Joanne Jordan set out to communicate her ﬁndings to a diverse audience in an accessible, engaging, and innovative manner, which challenged pre-existing notions of how low-income people experience and deal with climate change.

The collaboration with the University of Dhaka led to a new and modernised Pot Gan being developed as part of a Master’s course unit on ‘Theatre for Development’, helping Bangladeshi students learn about crucial global issues that have a local impact and explore those issues through traditional indigenous theatre. The Pot Gan is not a static piece of theatre; it is an interactive, immersive, and local medium that challenges the audience to engage with the personal experiences of low-income people aﬀected by climate change. The visual elements of the Pot Gan are particularly important. Rather than using traditional scroll paintings, projections of photographs that were taken throughout the research were used to connect the audience to a real place. The Pot Gan stories and the script itself are based on the direct testimonies and experiences of the people living in the Dhaka informal settlement upon which the research is based. The Pot Gan itself was performed in Bengali with English translations of the script projected throughout the performances to audiences that were not ﬂuent in Bengali (view the English script at bit.ly/GDIpotganScriptEng and the Bengali script at bit.ly/GDIpogtganScriptBeng). Every 35-minute Pot Gan

The Pot Gan is distinct not just because it raises awareness of how residents of the informal settlement experience climate change, but because it also actively encourages people to discuss the performance and to co-construct an ending to the Pot Gan. The director of the project’s Pot Gan, Ahasan Khan, explained the importance of active engagement: ‘One of the key aspects of the Pot Gan is that it is designed to get the audience involved. That way, they feel part of the story that is being acted out and are much more likely to remember the key messages from the performance later on’ (Khan, personal communication, April 18 2016).

Interaction with the audience at the Pot Gan Performance in the British Council Dhaka.

The Pot Gan performance was performed three times as part of the project (view at bit.ly/GDIpotganPerf). It was performed on 29 April 2016 in the informal settlement6 where the research was conducted, aimed at enabling research participants and the wider community to see the results. The performance was also performed at The 10th International Conference on Community-based Adaptation to Climate Change on 25 April 2016, aiming to reach an English-speaking audience of mostly international academics, practitioners, policy makers, planners, and donors working on all levels of community-based adaptation to climate change. The Pot Gan was also performed for a third time on 28 April 2016 at the British Council in Dhaka, the UK’s international organisation for cultural relations and educational opportunities. We aimed to reach an audience of Bangladeshi academics, practitioners, students, and key publics who we could encourage to reﬂect on the day-to-day realities of low-income people living with climate change. The Pot Gan is an inclusive theatrical medium that can reach very diverse audiences in a range of diﬀerent venues. The impact and reach of these performances is evaluated in Section 4.

5 The interactive sessions were in Bengali except for interaction at the 10th International Conference on Community-based Adaptation to Climate Change, which was in English.

The Pot Gan performance took place in Belur Math, an area of open space in North-west Duaripara (see Appendix 1), this location was chosen after consultation with c. 20 inhabitants. Critically, this location was viewed as a neutral space within the neighbourhood, and was of symbolic importance given its location in a part of Duaripara that has a high exposure to ﬂood risk in the monsoon season. 6

14 PAGE

Photo credit: Jashim Salam. © The University of Manchester

Dr Joanne Jordan teamed up with the Department of Theatre and Performance Studies at the University of Dhaka in 2015 to explore the research ﬁndings through a ‘Pot Gan’ (also known as Potuya Gan) - a traditional folk medium that combines melody, drama, pictures, and dancing. Pot Gan literally means picture song, with narratives visually illustrated with scroll paintings. The lead singer, character and narrator (Gayen), along with musicians and choral singers narrate and present the story to the audience by relating the scroll painting to the scenes in the play (see Ahmed, 2016). More broadly, the underlying principles of the Pot Gan is embodied in Freire’s (1993) ‘Pedagogy of the Oppressed’ aimed at ending the struggles of ordinary people on the margins of society by providing tools to analyse and take action to address the underlying causes of their oppression. In addition, the interactive techniques used by Boal (2000) in which he uses theatre as means of promoting social and political change is of particular relevance for this work.

performance ended with an interactive session with the audience5 (a Freirean dialogue with the audience), lasting between approximately 20-30 minutes.

3. ENGAGEMENT

Pot Gan performance in the informal settlement that the research is based on in Dhaka.

This section gives an overview of the documentary film, other video outputs and the public engagement events in the UK and Bangladesh, including how the documentary was made and why free public events were important for attempting to reach the project’s target audiences. The impact and reach of the film and events including viewer and attendee numbers is evaluated in Section 4. To attempt to bring the stories from the Dhaka informal dwellers to an even larger international and national audience, the Pot Gan performances were filmed to be included in a documentary exploring Dr Joanne Jordan’s findings on the ‘everyday’ realities of climate change (watch at bit.ly/GDIpotganDocEng). The documentary and video of the live Pot Gan performance is accessible to both English and Bengali speakers with subtitles provided throughout. The documentary was produced and directed by Green Ink, a Dhaka-based new media studio specialising in this format. The documentary was showcased at several high-profile events. It was premiered at the UK's largest university museum as part of Manchester Museum’s award-winning Climate Control exhibition on 24 August 2016. The Climate Control exhibition forms Manchester Museum’s main contribution to the city’s time as European City of Science and won the Climate Smart award 2017. A separate public event on ‘The Lived Experience of Climate Change’ was held at Rich Mix London on 2 February 2017, in collaboration with a Bangladeshi community group, Brick Lane Circle and the International Institute for Environment and Development. True to the premise of the Pot Gan performances in Dhaka, Dr Joanne Jordan worked with Nigel Townsend of Theatre of Debate to develop an event that engaged the audience in informed debate around scientific research. To give a flavour of the Pot Gan, key scenes from the performance in Dhaka were re-enacted by pupils from Regent’s High School, with Amy O’Tool of Tie-Dye Drama, acting out extracts from

The documentary was also shown at the University of Manchester’s Humanitarian and Conflict Response Institute’s stall at Bluedot Festival: An intergalactic festival of music, science, arts, culture, and the exploration of space from 7-9 July 2017 at Jodrell Bank Observatory in Cheshire in the UK. Additionally, the trailer of the documentary was shown at the Manchester International Festival on 6 July 2017. This was part of the University of Manchester’s work on the ‘Creative Campus and Beyond’, which aimed to engage the University’s key external stakeholders and alumni, to showcase the work being carried out within the Faculty. To accompany the documentary, a mini film series ‘Living on the Frontlines of Climate Change’ has been launched in summer 2018. In this, informal dwellers from the project field site directly convey their own stories and experiences. The film series covers how Rohima Akter (watch at bit.ly/GDIpotganMigrant), Nasrul Islam (watch at bit.ly/GDIpotganDriver), and Sufia Begum (watch at bit.ly/GDIpotganMother) have been affected by climate change. We hear about their lives, their struggles, and their hopes for their children’s and grandchildren’s future. The project also engages with leading researchers and practitioners, sharing their insights on climate change via video interviews in ‘Expert Viewpoints’ on ‘Climate Change in Bangladesh’ (watch at bit.ly/GDIpotganCCBdesh), 'Climate Change in Urban Areas’ (watch at bit.ly/GDIpotganCCurban) and ‘Climate Change Communication’ (watch at bit.ly/GDIpotganCCcomms).

Photo credit: Jashim Salam. © The University of Manchester

3.2.2 Documentary Film and Public Engagement Events

Dr Joanne Jordan’s ﬁeld diary entries to connect the audience to her personal experiences of carrying out research in Dhaka. The event posed a similar challenge to the live Pot Gan performances, audience members were invited to move from being passive viewers to active participants engaging with the personal experiences of low-income people aﬀected by climate change.

This project aims to highlight how the experiences of lowincome people living with climate change must play a central role in climate change action itself. If we look at any given intervention, whether it is going to be accepted, modified, or completely rejected by the local population depends on whether the intervention fits with their ‘everyday’ experiences and understanding of climate change. In order to create effective climate resilience strategies, it is crucial that we engage local voices in innovative ways to ensure that we do not leave the disadvantaged and most vulnerable behind by predefining their ‘problems’ and bypassing their priorities and realities. This project aims to provide a platform for the ‘voices of low-income people’ to enter the climate change debate - challenging us to inclusive action and critical thought.

PAGE 15

3. ENGAGEMENT

3.2.3 Teaching and Learning This section gives an overview of the teaching and learning resources produced through the project, including how students in Bangladesh, the UK, and Ireland have been involved with and beneﬁtted from the project.7

3.2.3.1 Students as Project Partners The project centred on the involvement of students as part of a broader teaching and learning strategy. The Pot Gan was developed as part of a Master’s course unit on ‘Theatre for Development’ at the University of Dhaka and helped Bangladeshi students learn about the impacts of climate change on low-income people in Dhaka. Ummay Somaiya, an MA student who acted in the Pot Gan, explained that working on the project has deepened her and her classmates’ understanding of climate change:

Staﬀ and students of the University of Dhaka at the British Council Dhaka.

16 PAGE

Ahsan Khan served as the Pot Gan Director, co-designing with Dr Joanne Jordan and MA students, and supervising the performances. His role was to ensure that the Pot Gan performance was professional and of the highest standard. The key role of the 19 MA students involved in the project was primarily to contribute to the development of the Pot Gan script, act, sing, dance and assist with production. The students at the University of Dhaka ensured that the Pot Gan performance delivery was authentic and local, giving a representative voice to the people whose lives are aﬀected by climate change. Year 13 BTEC Performing Art’s students from Regent’s High School in London were involved in the public event held at Rich Mix London. This performance was under the direction of Nigel Townsend of Theatre of Debate and Amy O’Tool of Tie-Dye Drama, which was set up to inspire more young people to get involved with social issues. They re-enacted key scenes from the Pot Gan performance in Dhaka to connect the audience to the experiences of informal dwellers living with climate change.

Photo credit: Jashim Salam. © The University of Manchester

‘We are studying theatre and performance so we only know about climate change from what we see on TV or in the papers. We live in Dhaka, but we were unaware of the problems caused by climate change, and how it affects slum dwellers until we did research to develop the story of the Pot Gan. I am portraying a woman named Hajera [in the Pot Gan], who we met during the research in the slum. Hajera is suffering from a skin disease caused by water, I had no idea contaminated flood water could impact people in this way. You cannot learn like this in the classroom. It is different when you see the impacts up close like this, when you play a person you have met for several weeks in rehearsals and then go on stage and try to tell her story’ (#167, Ummay Somaiya, interview, University of Dhaka, April 23 2016).

In the longer term, involvement with the project will also enhance the students’ employability in a variety of ways. The students gained valuable experience of working on a real academic research project with involvement in all stages of theatre performance, production, and documentray ﬁlm.

3. ENGAGEMENT

3.2.3.2 Teaching and Learning Resources The project has recently developed teaching resources to give secondary school teachers in the UK and Ireland support to teach pupils about climate change, and help young people develop the knowledge and skills to think critically about climate change in an urbanising world. The resources translate research into classroom sessions around the ‘everyday realities’ and impact of climate change on the lives of low-income people in Dhaka. ‘Climate Change in Urban Areas: Bangladesh Case study’ (view here bit.ly/GDIpotganKS3) has been developed as an intervention designed to achieve impacts on learning outcomes, attitudinal shifts, and behaviour change. The resources have been developed for Key Stage 3 (KS3) Geography (specifically for the second half of KS3 for students aged 12 to 14 years old)8 to allow the project to engage with the widest variety of young people possible given that Geography is a compulsory national subject at KS3. On completion of the sessions, students are expected to gain an understanding of both the effects of climate change in Bangladesh and how the effects of climate change impact the lives of informal dwellers in Bangladesh. Students are actively encouraged to reflect on their own attitudes and behaviours in a range of individual and group activities. For example, students are asked to set three goals to help tackle climate change.

These resources were informed by teachers to ensure that the materials were relevant and ﬁt for purpose. The resources were developed in collaboration with a secondary school teacher, Victoria Hewett (Head of Geography and Environmental Studies). This has led to the development of teaching resources that are accessible, engaging, and curriculum-linked. The teaching resources have been approved by a range of organisations that enhance and support young people’s geographical and global learning development, including the Royal Geographical Society, Geographical Association, Global Dimension, Geographical Society of Ireland, and Association of Geography Teachers of Ireland. These resources will also be distributed to teachers directly through The University of Manchester teacher training programmes, and a range of online platforms. Project materials have been used as teaching resources at The University of Manchester with, almost 250 MSc students engaging with the research material through digital media. This aimed to help students to develop their understanding of the diverse, multi-faceted, and complex ways that low-income people experience climate change.

See Table 3 for further information on how engagement and impact of teaching and learning will be evaluated later in the project cycle.

This refers to Year 8 or 9 in England and Wales and Year 9 or 10 in Northern Ireland. The approximate equivalent to the second half of KS3 in Scotland is Standard Grade 2 or 3 and Junior Cycle, 2nd or 3rd year in the Republic of Ireland.

PAGE 17

3. ENGAGEMENT

3.2.4 Communicating Project Activities This section gives an overview of the project’s communication and marketing strategy, including social media, local communication tools, and traditional print media. The impact and reach of these activities including readership, viewing figures, and social media analysis is evaluated fully in Section 4. Project outputs and events were promoted via thirteen different mediums dependent on the target audience: 1. Person to person: In Duaripara informal settlement, person to person contact with informal dwellers over a 6-week period before the live Pot Gan performance in the informal settlement was undertaken. This was vital in not only promoting the event but also ensuring that the event was designed to be as inclusive as possible. During this time, Dr Joanne Jordan consulted with a broad range of inhabitants (c. 20) to finalise the location, day, and time most suitable for the performance to take place.9 2. Local communication tools: Rickshaws with speakers were used to promote the live Pot Gan performance in Duaripara for two days before the event. This was particularly important as other forms of communication were unsuitable due to low literacy levels in the project field site. 3. Contact database: A contact database was developed, which included over 1,500 climate change, development, and arts-based academics, practitioners, and policy makers in the UK, Bangladesh, and a range of other countries. Email invitations for the live Pot Gan performance in the British Council and public events in the UK were sent to these contacts, in addition to video outputs, newspaper articles, blog posts and teaching resources from the project.

4. Listservs: Invitations for public events in the UK and video outputs, newspaper articles, blog posts and teaching resources from the project were sent to all relevant University of Manchester Listservs (staff and students), the Standing Conference of University Drama Departments (SCUDDs) Listserv with over 3,000 subscribers, National Coordinating Centre for Public Engagement (NCCPE) Listserv with over 1,000 subscribers. and the GDI e-newsletter list, with 2,700 subscribers. 5. Staff intranets: A range of project outputs were promoted via internal and external staff intranets: a. United Nations Framework Convention on Climate Change (UNFCCC): The documentary was posted on the UNFCCC staff online portal, which is available to approximately 400 staff members working on all areas of climate change (Hodgson, personal communication, September 23 2016). b. British Council: A blog post on the Pot Gan performance at the British Council Dhaka was published on the British Council’s South Asian staff online portal on 5 May 2016. The blog post entitled, ‘Bangladesh’s Jol-duari: Raising awareness through melody, drama and dancing’, was made available to approximately 1,000 staff members working in South Asia (Mann, personal communication, May 15 2016). c. University of Manchester staff intranet, including, 6 blog posts or articles about the project. 6. Facebook: The live Pot Gan performance at the British Council, public events in the UK, video outputs, newspaper articles, blog posts, and teaching resources from the project were widely promoted on the Global Development Institute Facebook page and The Lived Experience of Climate Change Facebook page (view at bit.ly/GDIpotganFacebook ).

Photo credit: Jashim Salam. © The University of Manchester

Announcements to inform community members of the Pot Gan performance taking place in the Dhaka informal settlement that the research was based on.

The Pot Gan performance was held on Friday 29 April 2016 at 4:00pm as inhabitants identiﬁed this as the most suitable time. A range of issues were considered in making this decision, including: prayer time; when people are engaged in work or school or household chores (for example, cooking); electricity availability to ensure there was a power supply for speakers; temperature (to avoid mid-day sun); and safety concerns, particularly for females (for example, ensuring performance ﬁnished before sunset). See previous footnote for discussion of the location of the performance.

18 PAGE

3. ENGAGEMENT

The project Facebook page was set up in May 2016 under the advice of Richard Lace, Country Director of BBC Media Action Bangladesh, to disseminate the project ﬁndings to a Bangladesh-based audience. Facebook has been critical for reaching a Bangladesh audience with We Are Social and Hootsuite (2018a) identifying Dhaka as the second biggest Facebook city in the world, with 20 million Facebook users in Dhaka alone. Lace said: ‘The Facebook platform is the most useful to reach urban young people. We also know that by far the highest access is on mobile.’ (Lace, personal communication, April 24 2016). Research by the Nielsen Media and Demographic Survey (2015) shows that 16% of the Bangladesh population (equivalent to 16.5 million people) have ever used the internet. Internet users in Bangladesh are predominantly urban, male, young, and relatively aﬄuent, and of internet users 95% use Facebook.10

Facebook ‘boosting’ was used to ﬁrst establish a solid base of followers and likes of the project Facebook page in May 2016. The Facebook page was promoted to speciﬁc audiences (see Table 1) through the ‘audience target’ function on Facebook (£48.57 spent). This allowed us to attempt to increase the reach of project content added to the project Facebook page once a solid audience was established.

Table 1: Audience targeting groups for project Facebook page

Group

Location

Age

Gender

Interests

Potential audience reach

18-65 plus

All

No ﬁlters applied

40,000,000 people

18-65 plus

All

- MDGs - Sustainability - Global warming - Sustainable development - International development - Natural environment - Climate change - Environmentalism - Poverty reduction

3,400,000 people

Bangladesh: Dhaka plus 25 miles

18-65 plus

All

- MDGs - Sustainability - Global warming - Sustainable development - International development - Natural environment - Climate change - Environmentalism - Poverty reduction

18,000,000 people

Bangladesh: Dhaka plus 25 miles

18-65 plus

All

No ﬁlters applied

1,800,000 people

Second, boosting Facebook posts was used to attempt to signiﬁcantly increase the reach of four project videos hosted on the Global Development Institute Facebook page (Bengali and English versions of the documentary, trailer, and Pot Gan performance video), with a total of £230.00 spent across both the Global Development Institute and project Facebook pages. The project videos were boosted to a range of audiences through audience targeting (see Table 2). Recently released project videos will be boosted in summer 2018.

22% of urban people have used the internet compared to 14% rural, 25% male and 6% female, 28% 15 to 29 years old (8% 30 to 44 years old, 3% 45 years old plus) and 37% socio-economic class (SEC) A, 29% SEC B, 22% SEC C, 8% SEC D. Of all internet users, most (56%) use it daily or almost daily (Nielsen Media and Demographic Survey, 2015). 10

PAGE 19

3. ENGAGEMENT

Table 2: Audience targeting groups for project videos on Facebook

Group

Location

Age

Gender

People who match ONE or more of the following: Interests

Employment

Education

Potential audience reach

USA: New York plus 50 miles

18-65 plus

All

- MDGs - Sustainability - Global warming - Sustainable development - International development - Natural environment - Climate change - Environmentalism - Poverty reduction

No ﬁlters applied

1,500,000

18-65 plus

All

No ﬁlters applied

40,000,000

18-65 plus

All

- MDGs - Sustainability - Global warming - Sustainable development - International development - Natural environment - Climate change - Environmentalism - Poverty reduction

No ﬁlters applied

3,400,000

Bangladesh: Dhaka plus 25 miles

18-65 plus

All

- MDGs - Sustainability - Global warming - Sustainable development - International development - Natural environment - Climate change - Environmentalism - Poverty reduction

No ﬁlters applied

18,000,000

Bangladesh: Dhaka plus 25 miles

18-65 plus

All

No ﬁlters applied

1,800,000

Bangladesh

18-65 plus

All

- Climate change

No ﬁlters applied

Studied or currently studying development studies.

2,900,000

18-65 plus

All

No ﬁlters applied

Department for International Development (DFID)

No ﬁlters applied

Less than 1,000

USA, Canada, UK and Belgium

18-65 plus

All

- Climate change

Climate change linked employers

No ﬁlters applied

38,000,000

18-65 plus

All

- Climate change

No ﬁlters applied

Works for a nongovernmental organisation (NGO)

540,000

20 PAGE

3. ENGAGEMENT

7. Twitter: The live Pot Gan performance in the British Council, public events in the UK, video outputs, newspaper articles, blog posts, and teaching resources from the project were publicised via Twitter with the use of GIFs and images developed for the project. Also, project information was targeted at over 100 speciﬁc Twitter users who worked on climate change, development, and the arts through direct messaging and tagging in tweets. 8. YouTube: Project videos were added to the University of Manchester and the Global Development Institute YouTube accounts. A project playlist on YouTube was established on the Global Development Institute YouTube account to help users navigate the range of videos and encourage them to watch more (watch at bit.ly/GDIpotganYouTube). 9. LinkedIn: The live Pot Gan performance in the British Council, public events in the UK, video outputs, newspaper articles, blog posts, and teaching resources from the project were promoted on LinkedIn, albeit to a much lesser extent compared to other forms of social media. 10. Websites: Project outputs were hosted on a range of websites, including a. Dhaka Tribune: Project videos were added to Dhaka Tribune Climate Change (Bangladeshi English language Newspaper) on 10 October 2016. b. International Institute for Environment and Development (IIED): Project videos were hosted on IIED climate change from November 2016. c. Global Development Institute: All project outputs were added to the project web page, in addition to the news and blog posts section of the website. d. Acclimatise: The project documentary was added to Acclimatise's website on 30 September 2016. Acclimatise is a specialist consulting, communications and digital application company providing world-class expertise in climate change adaptation and risk management.

f. UK cultural and arts websites: Pot Gan performances and public events in the UK were publicised on a range of websites and their Facebook pages, for example: Rich Mix, Creative Tourism, The List, Panda Arts, Indie London and View London. g. The Pot Gan performance in the British Council was advertised through Bangladesh cultural and arts Facebook pages, such as Cultural Events in Dhaka. h. Teaching resources continue to be hosted on a range of websites, for example the Geographical Association, and the project web page. 11. Newspaper Articles (print and online) and Blogs Posts: A range of newspaper articles and blog posts were written on the project. These include coverage from the Dhaka Tribune, The Independent (Bangladesh), ICE Business Times (Bangladesh), The Mancunion, Thomson Reuters Foundation, AHRC, NCCPE, British Council Bangladesh, the University of Manchester and the Global Development Institute (see 3.2.5.3 for highlights of key articles and blog posts on the project). 12. Eventbrite: The British Council Pot Gan performance in Dhaka and all UK public events were advertised via Eventbrite. Booking was managed through Eventbrite for all UK public events allowing for communication to the attendee's pre and post event. 13. Posters and Flyers: A total of 600 ﬂyers and 80 posters (recycled paper) were distributed to advertise all UK public events. In addition to the above, conference programmes and e-newsletters at the University of Manchester were used to promote public events in the UK and project outputs.

e. Asian Cities Climate Change Resilience Network (ACCCRN): Has hosted content since 20 July 2017. ACCCRN is a leading regional network connecting professionals and communities across Asia to build inclusive urban climate change resilience that focuses on poor and vulnerable people aﬀected by climate change.

PAGE 21

3. ENGAGEMENT

3.2.5 Project Material

Audience Viewpoint

This section gives an overview of the broad range of project materials that has been developed, including videos, blog posts and photo galleries. The impact and reach of this material is evaluated in Section 4.

5. Reactions at the International conference on communitybased adaptation to climate change performance (watch at bit.ly/GDIpotganCBA10)

3.2.5.1 Videos Central to the project is its focus on building awareness and action on climate change through ﬁlm, with thirteen videos produced as part of the project.

6. Reactions at the British Council Bangladesh performance (watch at bit.ly/GDIpotganBC) 7. Reactions at Duaripara informal settlement performance (watch at bit.ly/GDIpotganDP) Mini Film Series – Living on the Frontlines of Climate Change

The Documentary – The Lived Experience of Climate Change: A Story of One Piece of Land in Dhaka

Living on the frontlines of climate change: A migrant’s story (watch at bit.ly/GDIpotganMigrant)

1. Trailer (watch at bit.ly/GDIpotganTrailer)

Living on the frontlines of climate change: A rickshaw wallah’s story (watch at bit.ly/GDIpotganDriver)

2. Documentary with English subtitles (watch at bit.ly/GDIpotganDocEng)

The Pot Gan Performance 4. Live Pot Gan performance (watch at bit.ly/GDIpotganPerf)

10. Living on the frontlines of climate change: A mother’s story (watch at bit.ly/GDIpotganMother) Expert Viewpoint 11. Climate change in Bangladesh – Dr Saleemul Huq, International Centre for Climate Change and Development (watch at bit.ly/GDIpotganCCBdesh) 12. Climate change in urban areas – Dr David Satterthwaite, International Institute for Environment and Development (watch at bit.ly/GDIpotganCCurban) 13. Climate change communication – Richard Lace, BBC Media Action (watch at bit.ly/GDIpotganLace)

Filming in Duaripara informal settlement in Dhaka.

22 PAGE

Photo credit: Jashim Salam. © The University of Manchester

3. Documentary with Bengali subtitles (watch at bit.ly/GDIpotganDocBen)

3. ENGAGEMENT

3.2.5.2 Play Booklet with Script

9. Innovative new research reveals the lived experience of climate change in Dhaka through a Pot Gan performance of ‘Jol-duari’ (view at bit.ly/GDIpotganBlog2).

A booklet with full script was produced to accompany the performances, written in English (view at bit.ly/GDIpotganScriptEng) and in Bengali (view at bit.ly/GDIpogtganScriptBeng).

Interview with NCCPE

3.2.5.3 Newspaper or Magazine Articles and Blog Posts

NCCPE Public Engagement Case study

A selection of published articles and blog posts featuring Dr Joanne Jordan discussing the project are listed below.

10. NCCPE Engage Finalist pen portrait (view at bit.ly/GDIpotganNCCPE1)

11. The lived experience of climate change (view at bit.ly/GDIpotganNCCPE2)

Opinion Article in Thomson Reuters Foundation News

3.2.5.4 Photo Galleries

1. Living on the frontline of climate change: The story of Hena (view at bit.ly/GDIpotganTR).

Several online photo galleries have been produced in order to oﬀer a record of live events and performances.

Newspaper Article in Dhaka Tribune

1. Project ﬁeld site (view at bit.ly/GDIpotganDphotos).

2. Climate change research based on Dhaka slum featured in ‘Pot Gan’ and documentary (view at bit.ly/GDIpotganDT1).

2. Dhaka community Pot Gan performance (view at bit.ly/GDIpotganDPperphotos).

AHRC Blog Post 3.

Research in Film Awards Winners 2017: The lived experience of climate change (view at bit.ly/GDIpotganAHRC).

3. #CBA10 Pot Gan performance (view at bit.ly/GDIpotganCBA10Photos). 4. British Council Pot Gan performance (view at bit.ly/GDIpotganBCDphotos).

Interview in University of Manchester’s Addressing Global Inequalities

5. Public event on 'The lived experience of climate change', Rich Mix London (view at bit.ly/GDIpotganRMphotos).

4. The role of climate change in inequality (view at bit.ly/GDIpotganUoM).

6. Documentary screening at Manchester Museum (view at bit.ly/GDIpotganUOMMphotos).

Global Development Institute Blog 5. Joanne Jordan’s climate change documentary wins prestigious award (view at bit.ly/GDIpotganNews1).

3.2.5.5 Social Media and Web

6. Double success at the Making a Diﬀerence Awards (view at bit.ly/GDIpotganNews2).

A project Facebook page was published (view at bit.ly/GDIpotganFacebook) alongside the project web page (view at bit.ly/GDIpotgan) to help distribute materials, updates, and engage a variety of audiences.

7. Climate change research based on Dhaka slum showcased at Rich Mix London (view at bit.ly/GDIpotganBlog1). 8. The lived experience of climate change shortlisted for National Public Engagement Award (view at bit.ly/GDIpotganNews3).

A Twitter hashtag #GDIpotgan (view at bit.ly/GDIpotganTwitter) was used to encourage online viewers and audiences at the events and performances to interact and discuss the project on Twitter.

PAGE 23

4. IMPACT AND EVALUATION This section gives an overview of the impact and reach of the project outputs listed in Section 3, and gives a full breakdown and evaluation for each area of who the engaged audiences were, how they engaged with the project, and what impact the project had on their knowledge, attitudes, and behaviours11. Overall, findings include that the digital and social media audiences were up to fifty times higher than predicted and that the Pot Gan viewers and attendees reported very high levels of enjoyment and understanding. The Pot Gan has influenced even audiences with existing climate change and development expertise. In many places, testimonies and direct quotes from participants and viewers are used to show how the project truly made an impact for so many people.

4.1 Methods of Evaluation A core component of the project has involved monitoring and evaluation (see Table 3 for a full list of all activities). This has primarily involved carrying out video interviews and online questionnaire surveys to gather feedback about the project outputs. A total of 165 people completed interviews and surveys, consisting of viewers of the live Pot Gan performances in Dhaka, online viewers of the documentary in English or Bengali, online viewers of the Pot Gan performance video, and attendees at the public events held in the UK. This has been supplemented with analysis of social media and digital media engagement.

Table 3: Overview of methods used to evaluate engagement and impact

Live Pot Gan performances - Audience numbers and composition. - Feedback from online questionnaire surveys, including descriptive statistics and thematic analysis. - Follow-up semi-structured interviews with survey respondents, to see how they have put their learning from the Pot Gan into practice in their work and daily life.* - Video interviews - Pot Gan interactive session transcripts (copies in English and Bengali available on request) Teaching and learning - Total number of students involved in project. - Number of University of Manchester students that utilised digital resources. - Testimonies from University of Dhaka students and lecturers involved in project. - Feedback from online questionnaire surveys with University of Dhaka students on learning outcomes, including descriptive statistics and thematic analysis.* - Online questionnaire surveys with secondary school teachers that used the project resources, to estimate the total number of secondary school Geography students that were taught content from the project teaching resources.* - Number of downloads of KS3 Geography teaching resources.* - Feedback from online questionnaire surveys with Secondary School students on learning outcomes, attitudinal shifts, and behaviour change, including descriptive statistics and thematic analysis.* - Analysis of Geography homework to assess learning outcomes and attitudinal change.* - Number of pledges and thematic analysis of pledges made by Secondary school students to tackle climate change.* - Follow-up semi-structured interviews with Secondary school students that pledged to tackle climate change to ﬁnd out which impacts actually arose.*

Public events - Audience numbers and composition. - Multiple choice questions during events, including hand counts and polling. - Feedback from online questionnaire surveys, including descriptive statistics and thematic analysis. - Follow-up semi-structured interviews with survey respondents, to see how they have put their learning from the Pot Gan into practice in their work and daily life.*

Social media** - Project web page views. - Reposts of videos and other project materials on external websites. - Twitter tweets, including retweets, likes, and use of the project hashtag. - Thematic analysis of Twitter conversations.10 - Facebook shares, likes, comments, reactions, conversations and engagement with the project Facebook page. - Semi-structured interviews with those behind key Twitter accounts that commented on project events and/or outputs, to triangulate the interpretation of the qualitative data from the thematic analysis of Twitter conversations.*

Table 3 outlines how impacts on behaviour are being monitored and evaluated. Section 4 mostly deals with potential impacts that the project has on behaviour, the speciﬁc impacts that actually arise will be captured later in the project cycle.

12 Thematic analysis of Facebook conversations is not presented in this report as posts and comments from users focused on promoting project events, sharing outputs, or project successes and providing positive feedback on the project, rather than generating wider discussion on the key themes and issues raised in the videos and other project material.

24 PAGE

Table 3: continued

Digital media** - Video views (number of views and watch time on YouTube and Facebook), likes and shares. - Feedback from online questionnaire surveys, including descriptive statistics and thematic analysis. - Number of pledges and thematic analysis of pledges to tackle climate change made by online viewers of video(s)* - Follow-up semi-structured interviews with survey respondents, to see how they have put their learning from the Pot Gan into practice in their work and daily life.*

- Number of presentations and meetings with policy makers and practitioners. - Follow-up semi-structured interviews with professionals, to see how they have put their learning from the project into practice in their work.*

Note: All of the above has been carried out and is presented in this report, except any activity marked *, which denotes that the activity will be carried out in the future.

- Number of newspaper/magazine articles and blog posts. - Number of reads, including read time. - Popular press mentions. - PDF downloads.

Project partners - Number of new partnerships build as part of the project. - Testimonies from key partners involved in project.*

** means that the speciďŹ ed activity has been carried out, but will be updated to capture new impacts later in the project cycle.

Photo credit: Jashim Salam. ÂŠ The University of Manchester

Impacts on development policy and practice**

Newspaper/magazine articles, booklets and blog posts**

Pot Gan performance at the British Council Bangladesh.

PAGE 25

4. IMPACT AND EVALUATION

Out of the 165 interviews, 14 were brief video interviews carried out after the live Pot Gan performances to capture the impact of the Pot Gan as a tool to build awareness and action on climate change. These video interviews were recorded at the 10th International Conference on Community-based Adaptation to Climate Change (watch at bit.ly/GDIpotganCBA10), British Council Bangladesh (watch at bit.ly/GDIpotganBC) and Duaripara informal settlement (watch at bit.ly/GDIpotganDP) (see Appendix 2A, 2B and 2C for the video interview transcripts). The remaining 151 surveys were completed using SurveyMonkey online questionnaire surveys. Three types of surveys were distributed: 1. Live Pot Gan performances: 270 surveys were sent to those that attended (and provided their email address) the British Council or the 10th International Conference on Communitybased Adaptation to Climate Change in Dhaka performance in April 201613, with a response rate of 23% (see Section 4.2 and Appendix 3 for survey results for open-ended questions). 2. Public events: 301 surveys were sent to those that attended either the public event at Rich Mix London on 2 February 2017 or the documentary screening at Manchester Museum on 24 August 2016, with responses of almost 15% and 10% respectively (see Section 4.3 and Appendix 4 and 5 for survey results for open-ended questions). 3. Online videos: Surveys were completed by 50 people that viewed only the documentary and/or video of the live Pot Gan performance online (see Section 4.4.2 and Appendix 6 for survey results for open-ended questions).

4.2 Engagement and Results from Live Pot Gan Performances in Dhaka The three live Pot Gan performances of ‘The Lived Experience of Climate Change: A Story of One Piece of Land in Dhaka’ were seen by 634 people in Dhaka, including research participants, community members, policy makers, practitioners, academics, students, and key publics. The first Pot Gan performance at the 10th International Conference on Community-based Adaptation to Climate Change was attended by 201 people on 25 April 2016. The audience was made of practitioners, policy makers, planners, donors and academics (see Appendix 8 for composition of audience based on type of employer and professional status). The audience comprised people aged 22 to 65 plus years old, approximately 55% of whom were male and 45% female, based on a headcount. Audience members were based at organisations spanning 34 different countries (see Figure 3). The top five countries were Bangladesh (37%), Nepal (13%), UK (10%), India (7%) and USA (6%).

634

viewed the Pot Gan performances in Dhaka

Photo credit: Jashim Salam. © The University of Manchester

Opening of the Pot Gan performance in Duaripara informal settlement, Dhaka.

The online survey was not carried out within the informal settlement that the research was based on as this is an inappropriate method to collect post-performance feedback from this audience due to lack of access to internet and low literacy levels.

26 PAGE

4. IMPACT AND EVALUATION

Figure 3: Country of work of audience that attended the Pot Gan performance at the 10th International conference on community-based adaptation to climate change

While attendance at this performance was free of charge for attendees, it could only be attended by those that had paid the conference registration fee. Therefore, invitations for the second performance at the British Council Dhaka were sent to Dhaka-based policy makers, practitioners, and academics that did not register to attend the conference. However, it is important to acknowledge that venues play an important role in inﬂuencing engagement and impact. While there is no clear evidence to establish whether holding the Pot Gan performance at the British Council altered outcomes, it is important to acknowledge that choosing it as a venue may have inﬂuenced some Bangladeshis’ decisions not to attend the performance or whether everyone that attended felt comfortable in the space given how the British Council may be viewed in the (post) colonial context.

The third Pot Gan performance in Duaripara informal settlement on 29 April 2016 was attended by approximately 333 informal dwellers, based on a headcount. The audience was made-up of research participants and residents of Duaripara informal settlement, and comprised people aged 2 to 65 plus years old, approximately 53% of whom were male and 47% female, based on a headcount. Despite repeated attempts by the Pot Gan director/facilitator to provide more space for women close to the stage, some women mentioned that it was diﬃcult for them to see all of the Pot Gan as some men dominated the space closer to the stage.

The second performance at the British Council Dhaka on 28 April 2016 was attended by 100 people. The audience was made-up of students, key publics, policy makers, practitioners and academics. 98% of the audience were Bangladeshis (others were 1% British and 1% Spanish), aged 14 to 55 plus years old, approximately 48% of whom were male and 52% female, based on a headcount.

PAGE 27

HEADING

2015 ﬂooding in Duaripara informal settlement in Dhaka Photo credit: Joanne Jordan ©

The key motivation for the project was to give attention to the diverse, multi-faceted, and complex ways that informal dwellers experience climate change, through developing a participatory ethics14 that centres on engaging communities around the ﬁndings that they have been central to generating, and providing them with a chance to provide additional feedback on its key themes. Far too often, research is carried out extractively in the global south, and then presented only to audiences in the global north. This theme came out in the video interviews, with several interviewees commenting on the success of our aims, as shown in the extracts below. ‘The involvement of people in what we do is crucially important, and I think actually demonstrating to the people we work with and are supposedly trying to help that they get something back from it as well. I think this is a way of potentially doing that, showing that we have done is useful for them’ (#4, Dr Terry Cannon, video interview, Independent University Bangladesh, Dhaka, April 25 2016. Watch at bit.ly/GDIpotganCBA10). ‘I think one of the things that this project is trying to do which is really impressive is to reﬂect its research back to the communities that were the subject of the research, and

obviously doing so in an entertaining creative way is likely to be much more successful than trying to go down to a slum and read someone an academic paper, that will not work. I think the big benefit it brings is validation of the findings of the research, which then means it is much easier to get policy traction and encourage people to take that research seriously outside of the academic sphere’ (#6, Richard Lace, video interview, Hotel Sarina, Dhaka, April 25 2016. Watch at bit.ly/GDIpotganLace). ‘These local stories are very powerful. If we do not put people at the core of communication, we are leaving them behind. By focusing on the lived experience, the Pot Gan is communicating the actual realities of local people, rather than perceived realities from outsiders’ (#69, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). In a survey of the varied audiences who saw the live Pot Gan performance, 95% enjoyed it (71% really enjoyed it and 24% enjoyed it). The Pot Gan was performed in Bengali. 76% of those surveyed were not fluent in Bengali, however, only 5% indicated language as a significant barrier to their understanding of the performance (see Figure 4).

It is acknowledged that there is an epistemological gap between the lived experiences of those being studied and the interpretation by the researcher, Pot Gan Director and students in representing their ‘reality’ in the Pot Gan (see Sontag, 2001). In addition, it is recognised that the researcher and the reality studied are intertwined. We are not neutral observers. The researcher is part of the social world, so the knowledge constructed reﬂects their subjective values and norms and worldview inﬂuenced by their lived experience (Corbetta, 2003; Weber, 2004). This can lead to the construction of knowledge or representation of ‘others’ from a position of power and privilege (Binns, 2006). 14

28 PAGE

4. IMPACT AND EVALUATION

Figure 4: Did you ﬁnd the language a barrier to your understanding of the performance?

This highlights how the Pot Gan achieved the project aim of being an inclusive theatrical medium that reaches audiences across language barriers. Methods such as projections of images, use of props, stage settings, and acting technique helped connect the audience to speciﬁc places, people, and events. Subtitles in English were projected throughout the performances to audiences that were not ﬂuent in Bengali, including brief script notes to provide further explanation in cases where the meaning may be misinterpreted by nonBangladeshis (for example, sarcasm). Digital copies of the script were also made available in English and Bengali postperformance.

‘The way the Pot Gan was presented was easy to understand, regardless of your language, level of education, and status’ (#36, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). ‘This tool is eﬀective, even to people who do not understand Bengali. You could feel the emotions of the actors, their body language, you could not help but be moved by it all. The projections of images throughout the performance were powerful, they helped tell the story’ (#52, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016).

This approach was clearly successful in increasing the accessibility of Pot Gan to a broad range of people, in particular breaking down language barriers. Attendees noted: ‘I have tried to tell stories on climate change in an engaging way but have been limited by language. But, the Pot Gan can work in many languages as the performance in Bengali was accompanied with English subtitles, so everyone could easily follow it’ (#70, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016).

PAGE 29

4. IMPACT AND EVALUATION

96% of respondents felt a Pot Gan is a useful method to communicate research findings. 100% said that it is a useful way to build awareness of climate change issues. Responses included: ‘It takes climate change out of the realms of science and into something more personal that people can more easily relate to and understand. […] As a researcher, I often find I am 'preaching to the converted', but the Pot Gan has potential to reach a much broader audience, which is something climate change researchers struggle with. The science on climate change is clear, but public perceptions do not align with the science - this is a communication problem, and I think the Pot Gan can help overcome it’ (#56, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). ‘After watching this performance, I have realised how fatal [the] consequences [of climate change] are for economic and livelihood issues of the urban poor. These kinds of plays should be organised not only in Bangladesh but all over the world, because performances like this will create awareness among people to take initiatives to fight the effects of climate change’ (#7, Inur Aqib, video interview, British Council Bangladesh, Dhaka, April 28 2016. Watch at bit.ly/GDIpotganBC).

100%

thought the Pot Gan was useful for building awareness on climate change

Photo credit: Jashim Salam. © The University of Manchester

30 PAGE

Pot Gan performance in Duaripara informal settlement, Dhaka.

‘Watching the performance made it is easy to learn and understand the effects of climate change through its use of specific examples. We all need to take actions in our daily lives in order to stop and/or avoid increasing the effects of climate change’ (#17, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). The Pot Gan stories and script were all based on the direct testimonies and experiences of the people gathered through the research, as displayed in these extracts: ‘I have been living in this slum for the past fifteen years and I can relate to the scenes in the play. People here suffered a lot due to waterlogging. This drama made me feel like I was watching my own life in front of my eyes. Performances such as this should be organised more often, so people will find out about our lives’ (#13, Moriom Khatun, video interview, Duaripara informal settlement, Dhaka, 29 April 2016. Watch at bit.ly/GDIpotganDP). ‘I have known Joanne for two years, since she started her research. During the research she visited many families in the slum to collect information. The performance was based on our stories of living in the slum. People here are affected by flooding. Some children in this slum have lost their lives by drowning in the water. Working mothers, such as garment workers and maids, would come back home to find that they lost their children. People in this slum have suffered a lot because of waterlogging’ (#14, Hasina Begum, video interview, Duaripara informal settlement, Dhaka, 29 April 2016. Watch at bit.ly/GDIpotganDP). ‘It focused on real people and a place that exists. It goes into the issue in-depth, letting people understand the real situation and motivates us to take the action that is needed’ (#33, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). 92% of those surveyed agreed that focusing on the 'everyday' experiences of those impacted by climate change was an effective way of communicating the issue (see Figure 5). The Pot Gan’s focus on telling the stories of informal dwellers (‘life story approach’) through drama, song, and pictures helped animate and make their needs and priorities much clearer. Its emphasis on telling stories that focus on real people with real lives and real loss helped engage with the emotions and empathetic behaviour of the audience, as explained by attendees: ‘It is about how penetrating to the emotional self this performance was [...]. It was a very powerful, viscerally palpable experience […]. The actors successfully immersed us in the daily life of someone who is not having an easy time, there were very powerful moments, the mother crying for not knowing how her child is. I could feel in my guts the shouts of the performance, when the child was missing […]. We cared, this made us care and that is something that neither science, nor policy is successful at doing. We have been trained into the belief that only certain forms of inquiry are valid […]. It reaches us at a level that is more likely to motivate action. […] I hope I can help create this magical moment where what we observe becomes what we influence. That moment was very powerful, we as an audience became aware that we can change something’ (#2, Dr Pablo Suarez, video interview, Independent University Bangladesh, Dhaka, April 25 2016. Watch at bit.ly/GDIpotganCBA10).

4. IMPACT AND EVALUATION

‘I got really emotional, why are we depriving vulnerable people of their rights? As a researcher I should be very proactive in terms of coming up with a solution, I should be innovative enough. So, it really tested my skills, it tested my capacity as a researcher, it tested my capacity as a human being to really learn to respond to the plights [of] the community, or for those people who are poor and vulnerable, especially to climate change’ (#5, Charles Tonui, video interview, Independent University Bangladesh, Dhaka, April 25 2016). Watch at bit.ly/GDIpotganCBA10). ‘It brings it into that emotional level, which I think is really important […]. It speaks to you on different levels, on an emotional level, actual facts, examples, on a real life. It just hits you on multiple different ways. For me it is having it down on the ground, as opposed to having these buzz words, this is what it means, how it comes down to you and me, and how this affects the people who live in your city and live around you’ (#3, Teresa Sarroca, video interview, Independent University Bangladesh, Dhaka, April 25 2016). Watch at bit.ly/GDIpotganCBA10).

Figure 5: Do you think that the Pot Gan’s focus on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue?

However, the Pot Gan’s focus on the ‘everyday’ realities of living with climate change is aimed at ensuring that different publics are better informed of the needs and priorities of informal dwellers as expressed by informal dwellers themselves, rather than mispresenting and/or downplaying their personal experiences. An interactive session between the audience, actors, and facilitator at the end of each performance aimed to encourage the audience to engage with the personal experiences of informal dwellers affected by climate change. Figure 6 highlights that 88% of respondents said that the interactive element worked well (59% worked very well and 29% worked well). It not only provided a space to reflect, debate, and react to what they had seen but invited the audience to present solutions to the issues raised - rather than the Pot Gan telling them how the issues should be addressed - which the actors then played out. This process involved the audience being ‘invited to inhabit the choices [they made] and to feel the consequences’ for different groups of people in the project field site (#2, Dr Pablo Suarez, video interview, Independent University Bangladesh, Dhaka, April 25 2016. Watch at bit.ly/GDIpotganCBA10). This highlighted the differences in opinion on how the issues raised could be tackled and the potential trade-offs for various stakeholders. In this way, audiences were able to effect changes to the performance itself through co-constructing an ending to the Pot Gan. In other words, as Schechner (2003) argues, the audience were not just going ‘to see the show’, but rather were ‘necessary to accomplish the work of the show’ (that is, an integral audience): ‘The [Pot Gan] went into an issue that needed to be resolved and drew the audience into debating on that particular issue in an extremely effective manner […]. But, the most important and most impressive was the way they turned the audience into participants by engaging on an issue of reality on the ground. This audience […] had a great deal of difficulty dealing with a real problem on the ground and came up with all sorts of theoretical solutions that would not help the problem on the ground that they were being faced with. And, they realised that, and they were made to realise that and that was an extremely effective means of drawing the audience into a discussion. […] So, forcing them into making real choices about real problems and then seeing how deficient their science is in that context is very important’ (#1, Dr Saleemul Huq, video interview, Independent University Bangladesh, Dhaka, April 25 2016. Watch at bit.ly/GDIpotganCBA10).

One respondent would have preferred if the Pot Gan depicted issues in a diﬀerent light, for example, presenting land tenure less negatively: ‘I would have enjoyed it more, if the scripts focus on land tenure did not sound so negative. If the intention is to highlight the plight of the poor who are ﬂocking to urban areas due to climate change, urban planners should have had a small role in the play’ (#26, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016).

‘The most interesting part of the performance was the last part, when the performers asked the audience for solutions and everybody was stunned. There was a breath-taking moment when we were asked: “What will you do for this family? Where will they go?”’ (#16, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). ‘During the audience interaction we had to decide what should happen next, it made us start to feel responsible for the action we choose’ (#23, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016).

PAGE 31

4. IMPACT AND EVALUATION

Figure 6: Did you ﬁnd that the interactive element of the Pot Gan worked well?

83%

learned something new

Respondents highlighted the importance of learning from the perspective of those living with climate change. Discussions with audience members about best practices in climate change adaptation also enabled further understanding: ‘I learned to see the life of the poor in Bangladesh from a different perspective, from theirs. The Pot Gan had a direct impact on the audience on many levels, through the directness of the questions that were posed to the audience and the way the audience got involved in a “real life” scenario that was being acted out’ (#62, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). ‘People mostly think that climate change affects rural communities. But, from the Pot Gan we get a clear picture that urban communities are also highly affected. We were able to gain an understanding of best practice from other countries during the discussion with other participants’ (#37, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). However, one respondent mentioned that the audience interaction left them ‘feeling like the situation was hopeless and could not be solved as we could not come up with a solution’ (#71, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). This finding raises an important issue. Despite the majority of the audience at the 10th International Conference on Community-based Adaptation to Climate Change working on climate change and/or development and many working directly in policy or practice in this field, they were unable to come up with a workable solution to the problems presented in the Pot Gan. The Pot Gan influenced even audiences with existing climate change expertise. Despite 89% of respondents having expertise in climate change and/or development, the survey found that 83% reported learning something new or that the Pot Gan changed the way that they think about climate change15 (see Figure 7), particularly in the context of Bangladesh. Respondents reported learning about a diversity of issues, including: how climate change is embedded in development problems, for example, health; local effects of climate change, for example, livelihoods; uneven distribution of the impacts of climate change; that climate change is also an urban issue; the importance of structures of dominance and power in shaping vulnerabilities at the local level, including the political dimensions of informal settlement development; and how climate change responses involves trade-offs for different groups of people.

As outlined in Table 3, future evaluation of the project will focus on following-up with professionals to see how they have put this learning into practice in their work.

32 PAGE

‘It confronted people with a “real situation” they had to deal with in that moment, rather than an abstract idea [...]. It clearly reveals the tensions between dealing with present, pressing issues and future-oriented climate thinking, and thereby makes even clearer that work is needed on both fronts. So, it makes the link between development and climate change very obvious. The performance made me realise that not only professionals working within the ﬁelds of adaptation or development need to make crucial decisions, but that every stakeholder (including every family living in a slum) has to make such decisions when it comes to climate change issues on a very regular basis’ (#68, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016).

Figure 7: Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan?

Duaripara informal settlement.

Photo credit: Jashim Salam. © The University of Manchester

Figure 8 shows that 89% of respondents stated that the Pot Gan made them think diﬀerently about how to communicate their own work. Feedback included:

Figure 8: Has the Pot Gan made you think diﬀerently about how to communicate your work?

‘It was such an amazing performance and such a great tool to communicate the complexities of climate and development, as well as the difficult decisions that people take every day […]. I felt part of the decision-making process through the audience participation […]. I work with [an NGO]. We are currently undertaking research on local perceptions of risk, we have been struggling with methods to communicate these findings. The data either loses the localisation and the everyday realities or is so focused that it does not speak to the replicability or complexity of the issues. Using interactivity like in the Pot Gan could help with this. I think this approach has so much potential’ (#69, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). ‘[It] helped highlight the different opinions within the audience, which can be a very helpful tool for planning interventions […] We will explore the concept (using street plays) during our slum level resilience planning process to help people visualise long term concerns’ (#44, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016). ‘It has made me think of involving creative artists and writers in the promotion of various causes that my organisation promotes among poor communities across the country. It would be helpful if you can put me in touch with artists and organisations doing similar work in India’ (#31, online questionnaire, attendee at live Pot Gan performance, Dhaka, May 2016).

PAGE 33

4. IMPACT AND EVALUATION

4.3 Engagement and Results from Public Events in the UK

The survey results from these public events were overwhelmingly positive in terms of both audience enjoyment and audience learning.

A public event on ‘The Lived Experience of Climate Change’ was held at Rich Mix London with a capacity audience of 201 people on 2 February 2017. The audience was made of policy makers, practitioners, academics, students and key publics (see Appendix 9 for composition of audience based on type of employer and professional status). The audience comprised people aged 22 to 65 plus years old, with an average age of 30-years-old, 78.5% of whom were female, 21% male, and 1% identiﬁed as non-binary based on the event registration list.

In a survey of the audiences who attended the public event at Rich Mix, 93% enjoyed it (59% really enjoyed it and 34% enjoyed it) and 87.5% of those that attended the documentary screening at Manchester Museum enjoyed it (12.5% really enjoyed it and 75% enjoyed it). 79% of respondents that attended the public event at Rich Mix think that it was a useful way to build awareness of climate change issues (see Figure 9A), compared to 88% of respondents that attended the documentary screening at Manchester Museum (see Figure 9B).

The documentary premiere at Manchester Museum was attended by 100 people on 24 August 2016. The audience was made-up mostly of academics and students at the University of Manchester, with a small proportion of the audience made-up of members of the general public. The audience comprised people aged 22 to 65 plus years old, approximately 47% of whom were male and 53% female. Holding the public event at Manchester Museum clearly inﬂuenced the audience demographic, with the majority of the audience being made-up of University of Manchester staﬀ and students. Dawson (2018) argues that white, middle-class people living with their families in urban areas are more likely to visit museums. Her study found that traditional science communication practices and institutions, such as museums, are perceived as a form of ‘high-brow’ culture and, as a result, are broadly unappealing and inaccessible to people from socio-economically disadvantaged backgrounds and ethnic minorities. However, we do not have any clear evidence to suggest that this altered project outcomes.

‘There was a good mix of academic and public audience and the fact that it reached to both ends is telling. It was like weaving an intricate tapestry on climate change. It was accessible to the layperson and not bogged down by academic jargon. I really liked your emphasis on the everyday and ordinary practices’ (#88, online questionnaire, attendee at public event, Rich Mix, London, February 2017).

79%

of Rich Mix attendees thought the event was useful for building awareness on climate change

34 PAGE

Photo credit: Emma Kelly © The University of Manchester

Premiere of documentary at Manchester Museum.

4. IMPACT AND EVALUATION

‘It gave me a new perspective to think about climate change […]. It explored the real and tangible impact of climate change in Dhaka slums. It emphasised that climate change is not “experienced” in isolation but makes existing difficulties worse. I work for WaterAid […]. We work in Bangladesh and have told stories about climate change before, but not like this. I think our programme staff in Bangladesh would be very interested in the Pot Gan’ approach’ (#106, online questionnaire, attendee at public event, Rich Mix, London, February 2017). ‘It was a great way to learn about climate change, bringing local voices and culture to the fore, to show how the urban poor are impacted. I learned about how the slum developed, the life of those living there, the impact of flooding, the way the slum is “managed”. Without focusing on those living on the frontline of climate change, how else could people from the UK get any inkling of life in a Dhaka slum prone to flooding?’ (#80, online questionnaire, attendee at public event, Manchester Museum, August 2016).

88%

The majority of respondents thought that the public event at Rich Mix was a useful way to build awareness of climate change issues. However, some respondents felt that the event did not address the learning needs of climate change sceptics or those with low levels of knowledge of climate change, as it was felt that those groups of people were unlikely to have attended the event (#93, 95, 98, 99, 105, 109, online questionnaire, attendee at public event, Rich Mix, London, February 2017): ‘I am not sure if it reached people that are not aware of climate change. I certainly think the Pot Gan format would be a useful way to build awareness’ (#95, online questionnaire, attendee at public event, Rich Mix, London, February 2017). Although it is important to acknowledge this feedback, the project very clearly does not start with the premise of focusing solely on climate sceptics or people with no or low understanding of climate change (see Figure 2 for an overview of key publics targeted in engagement). The project, nor this public event, were not pitched in this way. However, the project has in fact developed a range of engagement activities that target a diverse range of publics that have varying levels of knowledge on climate change. For example, teaching resources have been developed for KS3 Geography (and its equivalent in Scotland and Ireland) to allow the project to engage with the widest variety of young people possible in the UK and Ireland given that Geography is a compulsory subject at this level (see section 3.2.3.2).

of Manchester Museum attendees thought the event was useful for building awareness on climate change

Figure 9A and 9B: Do you think this event is a useful way to build awareness on climate change issues?

Rix Mix London

Manchester Museum

PAGE 35

4. IMPACT AND EVALUATION

97% of Rich Mix attendees surveyed agreed that focusing on the 'everyday' experiences of those impacted by climate change was an eﬀective way of communicating the issue (See Figure 10A), compared to 100% of Manchester Museum attendees surveyed (see Figure 10B). ‘It strips back the numbers and focuses predominantly on the humanity of the issue, which has a far more emotional impact on the audience. Too emotional however, can be overwhelming and result in the audience switching oﬀ. This version of the everyday struck a perfect balance between the two’ (#89, online questionnaire, attendee at public event, Rich Mix, London, February 2017).

‘It makes it more emotional, real, and easy to relate to feelings we all experience and to put ourselves in their shoes’ (#84, online questionnaire, attendee at public event, Manchester Museum, August 2016). ‘It is a very powerful way of getting the issues across, climate change is such a complex topic, but this really made it tangible’ (#114, online questionnaire, attendee at public event, Rich Mix, London, February 2017).

Figure 10A and 10B: Do you think the event’s focus on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue?

Rix Mix London

Manchester Museum

Photo credit: Minna Rossi Photography ©

Rich Mix London audience members participated in a range of interactive activities to help connect them to the ‘everyday’ experiences of low-income people in Dhaka. Here, audience members are standing in an area measuring 8 by 7 feet: the size of some of the houses in the Dhaka informal settlement featured in the research.

36 PAGE

4. IMPACT AND EVALUATION

True to the premise of the Pot Gan performances in Dhaka, both UK events actively encouraged audiences to engage with the personal experiences of low-income people aﬀected by climate change. This involved using a diversity of media such as ﬁlm, performance, participatory activities, photographs, music, and question and answer sessions to stimulate and provoke discussion on the issues raised and to encourage people to share their ideas. 83% of respondents said that the discussions at Rich Mix were useful (38% very useful and 45% useful) (see Figure 11A), compared to 75% of Manchester Museum respondents (12.5% very useful and 62.5% useful) (see Figure 11B).

Figure 11A and 11B: Were the discussions during the event useful?

Rix Mix London

‘It was an open dialogue between those on stage and the audience, which made for a very inclusive and engaging atmosphere, it meant we were part of the discussion, as everyone needs to be regarding a topic such as climate change’ (#89, online questionnaire, attendee at public event, Rich Mix, London, February 2017). ‘Interactive, engaging way of reaching out to a wide audience about the reality of climate change impacts on the ground. The discussions were engaging, useful and added flavour to the event. It was such a stimulating and inspirational event. We talk a lot about how to really get the learning from our work across to clients, partners and a wider audience. This is a great challenge and often approached too formally. The event was a fantastic example of how less formal, more interactive communication can have a more effective influence on the audience, as well as reaching to a wider audience in terms of stakeholders and geographical reach’ (#113, online questionnaire, attendee at public event, Rich Mix, London, February 2017).

Manchester Museum

‘It was so interesting to see how academic research could be presented in an alternative way. It was interactive, involving ﬁlm, photographs, live discussion and performance. This is so much more interesting, sincere, and moving than reading a research paper or report on climate change’ (#91, online questionnaire, attendee at public event, Rich Mix, London, February 2017). The Science Festival Alliance’s (2012) study found that attendees who interacted with a science professional at USA science festivals were 15% to 19% more likely to report positive learning impacts. Similarly, several respondents that attended the UK public events mentioned the opportunity to have informal discussions with active scientiﬁc researchers as useful for developing their understanding of climate change (for example, #89, 90, 97, 98, 112).

PAGE 37

4. IMPACT AND EVALUATION

69%

of Rich Mix attendees learned something new

87+%

of Manchester Museum attendees learned something new

64%

of Rich Mix attendees care more about climate change

38 PAGE

In conversation with Dr Saleemul Huq and Dr Joanne Jordan, Rich Mix London.

Photo credit: Minna Rossi Photography ©

The public live events influenced even audiences with existing climate change expertise. Despite 66% of respondents at Rich Mix and 20% at Manchester Museum having expertise in climate change and/or development, and 75% of the audience at Rich Mix reporting that they think they have directly experienced climate change, a total of 69% of respondents at Rich Mix and 87.5% at Manchester Museum reported learning something new as a result of the event or that it changed the way that they think about climate change, particularly in the context of Bangladesh (see Figure 12A and 12B). Respondents identified many topics about which they changed their minds: the intersection of climate change and social justice; how climate change is embedded in development problems; effects of climate change on families and individuals; how perceptions of climate change can vary according to culture; strategies used by households to deal with climate change; and that climate change is also an urban issue. Respondents also reported learning something new on a range of related issues: living conditions in informal settlements; land tenure and rights; dynamics of informal settlement development and management; importance of undertaking ethical and participatory research; and the potential of communicating climate change through the arts. 64% of the audience that attended the Rich Mix London event said that they care more about climate change as a result of attending the event (Audience polling, Rich Mix London, 2 February 2017).

4. IMPACT AND EVALUATION

Figure 12A and 12B: Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the event?

Rix Mix London

69% of respondents at Rich Mix stated that the event made them think diﬀerently about how to communicate their own work (see Figure 13A), compared to 50% of respondents at Manchester Museum (see Figure 13B).

69%

Rich Mix London attendees think diﬀerently about how to communicate their own work Rix Mix London

Manchester Museum

50%

Manchester Museum attendees think diﬀerently about how to communicate their own work

Figure 13A and 13B: Has the event made you think diﬀerently about how to communicate your work?

Manchester Museum

PAGE 39

4. IMPACT AND EVALUATION

4.4 Engagement and Results from Online Viewing of the Documentary and Video of Pot Gan Performances 4.4.1 Video Views and Reach A total of 13 videos have been produced for this project (see Section 3.2.5.1 for the full list). The analysis below focuses on four of the main videos: the documentary with English subtitles; the documentary with Bengali subtitles; the documentary trailer; and the live Pot Gan performance. These videos have attracted an audience of at least 126,873. The remaining nine videos were released in summer 2018.16

4.4.1.1 Documentary with English Subtitles The documentary with English subtitles (watch at bit.ly/GDIpotganDocEng) (19:52 running time) was viewed a total of 54,685 times online (see Table 4), and received another 301 views at the public events at Rich Mix London and Manchester Museum, meaning that the total audience for the documentary was 54,986. Our original prediction was 1,000 views based on videos previously shared, so this is a huge success. This video was the second most-viewed video of the project’s outputs, being narrowly beaten by the documentary with Bengali subtitles.

views of the documentary, trailer, and Pot Gan performance video

The vast majority of views - 51,441 - came from the Facebook page for the Global Development Institute. In comparison, the total views from the YouTube pages for the Global Development Institute and University of Manchester are 3,244. The difference between the higher Facebook viewing figure and the comparatively lower YouTube viewing figures can be explained through several factors. First, with 148 shares and almost 1,000 reactions and likes, the documentary video on Facebook benefitted hugely from the viral nature of social sharing, with several instances of warm recommendations coming from those connected to the project or from those studying the topic leading to further shares in their respective Facebook networks. Second, we used targeted audience promotion on Facebook to attract interested viewers but did not use any similar targeting on YouTube. And third, Facebook privileges any video content in its newsfeed algorithm so it is guaranteed a high viewing figure when compared to other channels. Facebook has become the default platform for video sharing, with a natively-posted auto-playing Facebook video attracting 62% more reach on average than a YouTube video (Saric, 2017).

Photo credit: Jashim Salam. © The University of Manchester

These four videos are hosted on a range of online outlets including Vimeo, Facebook, and YouTube, though the analysis below focuses only on The University of Manchester and the Global Development Institute’s YouTube channels and Facebook pages as promotion was focused on these channels.17 The data collection and analysis was carried out using Facebook Insights and YouTube Video Manager. Unless otherwise stated, this analysis records from the date of publishing up to 11 April 2018.

126,873

Filming in Duaripara informal settlement in Dhaka.

See Table 3 for further information on how engagement and impact of the recently released ﬁlms will be evaluated later in the project cycle.

Promotion of all the project videos will be signiﬁcantly increased on the project Facebook page from summer 2018, under the advice of Amy Mollett, Social Media Strategist.

40 PAGE

4. IMPACT AND EVALUATION

Table 4: Overview of social data for documentary with English subtitles

Metric

GDI Facebook

GDI YouTube (3 video listings)18

UoM YouTube

Total

Video views

51,441

2,464

780

54,685

Minutes viewed

30,627

8,675

3,037

42,339

Average watch time (minutes)

00:18

03:57

03:53

03:04

Comments

148

214

Reactions/likes

997

1,017

Top audiences (further audience detail given below)

Males 25-34

Top location

Dhaka, Division, Bangladesh

With the overall viewing figures much stronger than we expected, the average watch time figures were also better than we anticipated. Social media audiences have notoriously short attention spans, with the average watch time for videos on Facebook being 10 seconds (Saric, 2017) and Facebook users are encouraged to continue scrolling to something else a few seconds into watching a video that might at first have caught their eye. The documentary with English subtitles reached an average watch time of 18 seconds on Facebook - almost double the average 10 second Facebook audience watch time - whereas on YouTube it reached an average watch time of 3 minutes 41 seconds. This tells us that our audience on YouTube though smaller in number - were more engaged with the video and they invested more of their time in watching several minutes. In contrast, our Facebook audience stayed to watch for a shorter time - 18 seconds is still almost double the average Facebook video watch time - so did not commit to watching much more than the introduction on average. It is likely that our YouTube audience were ‘warm’ and were watching the video via the YouTube link on Twitter, most likely already part of a network of academics or practitioners looking for content about the field of work they are passionate about, with the YouTube platform designed in a way to encourage them to watch more of the film. In contrast, the Facebook audience were comparatively not so ‘warm’ about the project, and the platform encourages users to move on quickly, although they did stay to watch longer than the platform average. Videos also start by playing muted on Facebook so there is no sound to attract the viewer. This is a possible reason for the shorter watch times on Facebook, although we did add subtitles to increase the accessibility.

This highlights a broader challenge of using videos on social media to drive research reach and impact. Social media has become an important method of public dissemination for academic research, but the audiences there are not always ready to invest time in watching the material. This is why multiple channels of communication were employed for this project, such as the public screening of the documentary and the live Pot Gan performance, where viewing ﬁgures are comparatively lower than on social media but the overall impact and watch time is far higher. Pairing this with audience location data, the audience on Facebook were based overwhelmingly in Bangladesh (see Table 5). Seven areas in Bangladesh - Dhaka, Chattogram (formerly known as Chittagong), Sylhet, Rajshahi, Barishal (formerly known as Barisal), Khulna and Rangpur – made-up 86.3% of our Facebook viewers, with 7.03% based in the UK and 1.82% based in the USA. The audience picture was quite diﬀerent for YouTube however, with UK viewing accounting for over 40% on both channels, and Bangladesh viewing accounting for 14% and 16% on the Global Development Institute and University of Manchester channels respectively. The YouTube video link was promoted through personal, Global Development Institute, and University of Manchester Twitter accounts, where a much higher percentage of followers are based in the UK than in Bangladesh, which also explains this pattern.

This data relates to three versions of the documentary with English subtitles on the Global Development Institute YouTube channel. Only one version is now publicly available, however data for the other two versions was saved before making those versions private.

PAGE 41

4. IMPACT AND EVALUATION

Table 5: Viewer location data for documentary with English subtitles

GDI Facebook

GDI YouTube

UoM YouTube

Bangladesh 86.3%

UK 47%

UK 42%

UK 7.03%

Bangladesh 14%

Bangladesh 16%

USA 1.82%

USA 9.6%

USA 16%

Canada 0.4%

Canada 2.4%

Canada 3.4%

Germany 0.3%

Spain 2.3%

Germany 2.6%

Unfortunately full demographic audience data is available from neither YouTube nor Facebook due to restrictions and platform changes around access to viewer data. YouTube audience demographic data is not available at all, but on average across the platform male users account for 62% of viewers and female users account for 38% (FortuneLords, 2018). By age, users aged 18 to 24 account for 11% of viewers, 25 to 34 for 23%, 35 to 44 for 26%, 45 to 54 for 16%, 50 to 64 for 8%, and 65 plus for 3% (FortuneLords, 2018). For Facebook, we have access to a broad range of demographic data, showing that males aged 25 to 34 years old in the Dhaka region are our most-reached audience since publishing. We also have access to only the last thirty days of demographic data due

to restrictions introduced by Facebook, showing that 90% of viewers are male, and 9% are female. In every age group males are higher than females, with the biggest difference in the 25 to 34 age group, where minutes viewed by males represent 34.6% and minutes viewed by females represent 3.6%. (see Figure 14). This fits with We Are Social and Hootsuite’s (2018b) findings that only 26% of users on Facebook in Bangladesh are female, and the Nielsen Media and Demographic Survey (2015) showing that internet users in Bangladesh are predominantly urban, male, young and relatively affluent, and that of internet users, 95% use Facebook. Across Facebook, 56% of users are male and 44% are female (DeMers, 2018), suggesting that the gender difference in video views on Facebook is Bangladesh specific.

Figure 14: Facebook audience age data for the documentary with English subtitles (11.03.18 – 11.04.18)

42 PAGE

4. IMPACT AND EVALUATION

4.4.1.2 Documentary with Bengali Subtitles The documentary with Bengali subtitles (watch at bit.ly/GDIpotganDocBen) (19:52 running time) was viewed a total of 54,061 times (see Table 6) and has 39,823 total minutes viewed, making it the most-viewed of our project video outputs and allowing us to reach an audience double to that we would have had if we only published with English subtitles. We had estimated that 1,000 viewers would watch the documentary with Bengali subtitles, so again we have had a huge amount of success with surpassing our estimate many times over.

Table 6: Overview of social data for documentary with Bengali subtitles

Metric

GDI Facebook

GDI YouTube

Total

Video views

54,517

1,222

55,739

Minutes viewed

37,728

2,095

39,823

Average watch time (minutes)

00:26

01:42

01:04

Comments

273

295

Reactions/likes

3881

3,889

Top audiences (further audience detail given below)

Males 25-34

Top location

Dhaka Division, Bangladesh

Bangladesh

Like the documentary video with English subtitles, the vast majority of views for this video - 54,517 - came from the Facebook page for the Global Development Institute. In comparison, the total views from the YouTube page for Global Development Institute were 1,222. We can attribute this difference in viewing figures on each platform to the same reasons as before: the viral nature of Facebook engagements around the video attracted 273 shares and 3,881 reactions which led to much higher viewing figures than YouTube; we used targeted audience promotion on Facebook to attract interested viewers but did not use any similar targeting on YouTube; and Facebook privileges any video content in its newsfeed algorithm so it is guaranteed a high viewing figure when compared to other channels. Delving deeper into our audiences on these platforms and how they engaged with the documentary with Bengali subtitles, the average watch time on Facebook was 26 seconds. This is much higher than the wider Facebook average of 10 seconds, and exceeds the English subtitled version average of 18 seconds. This again points to the video’s overwhelming success in engaging with a Bengali-speaking audience: the video was watched by many more thousands than we could have anticipated and those who did watch spent over two and a half times as long watching the video when compared to the

Facebook average watch time. On YouTube, the average watch time for the video was 1 minute 42 seconds. Like the documentary with English subtitles, we can again see that viewers on YouTube committed more time to watching the video, which is down in large part to the user experience on those platforms. In comparison, the English subtitled version was watched on average for 3 minutes 31 seconds however, so it is likely that those viewers were more impacted by the documentary. Unsurprisingly, our highest audience viewing ﬁgures came from Bangladesh on both Facebook and YouTube (see Table 7). On Facebook, the same seven regions of Bangladesh - Dhaka, Chattogram, Sylhet, Rajshahi, Barishal, Khulna and Rangpur make up 99.09% of viewers, with just 0.2% based in the UK. On YouTube, Bangladesh represented 38% of viewers, India 26%, UK 21%, USA 3.5% and Germany 0.7%. This also adds weight to why the higher average watch time on this video is longer when compared to the English subtitled video, where Bengalispeaking viewers are watching this one for longer. On YouTube, Bangladesh followed by India make up the highest areas of viewers, which we would expect to see as the video has Bengali subtitles. This is a marked diﬀerence to the version with English subtitles, and highlights the importance of projects making their outputs and resources available in the languages of the country in which the research is carried out.

PAGE 43

4. IMPACT AND EVALUATION

Table 7: Viewer location data for documentary with Bengali subtitles

GDI Facebook

GDI YouTube

Bangladesh 99.09%

Bangladesh 38%

UK 0.2%

India 26%

USA 0.1%

UK 21%

Canada 0.06%

USA 3.5%

Germany 0.05%

Germany 0.7%

Unfortunately full demographic data is available from neither Facebook nor YouTube, but from Facebook we know from a broad overview that males aged 25 to 34 in the Dhaka region are the most-reached audience since publishing. The last thirty days of demographic data - which is all that the Facebook platform makes available - also show that 94% of viewers are male, and 6% are female. The same gender and age patterns emerge as before: in every age group males are higher than females, with the biggest diďŹ&#x20AC;erence in the 25 to 34 age group (see Figure 15).

Figure 15: Facebook audience age data for the documentary with Bengali subtitles (11.03.18 â&#x20AC;&#x201C; 11.04.18)

44 PAGE

4. IMPACT AND EVALUATION

4.4.1.3 Documentary Trailer The documentary trailer (watch at bit.ly/GDIpotganTrailer) (01:17 running time) has been viewed a total of 9,691 times and has 4,003 total minutes viewed (see Table 8). Out of all four videos, the trailer was our lowest performing for the metrics of minutes viewed, average watch time, and reactions/likes, but in itself this is not a bad result. The trailer video gives only a taster of the longer and more in-depth video content still to come. The purpose of the trailer is to warm up the audience and introduce them to the project a few weeks ahead of the full publishing of the documentary and the Pot Gan performance. To have the trailer as the highest performing video and the full videos as less well-received would have been a failure, as the trailer would not have succeeded in translating trailer views into full documentary views. Table 8: Overview of social data for documentary trailer

Metric

GDI Facebook

GDI YouTube

UoM YouTube (two video updates shared)

Total

Video views

3,838

1,065

4,788

9,691

Minutes viewed

1,906

682

1,415

4,003

Average watch time (minutes)

00:23

00:38

00:04

00:21

Comments

Reactions/likes

595

140

742

Top audiences (further audience detail given below)

Males 25-34

Males 18-24

Top location

Dhaka Division, Bangladesh

The average watch time for the Global Development Institute audience was much longer than the University of Manchester audience (30.5 seconds and 4 seconds respectively). This could be down to the diverse followers for the University Facebook page, where a much smaller fraction will be interested in watching the trailer, compared to the Global Development followers on Facebook and YouTube, whose audience we would expect to be much more interested. Focusing on the average watch time in comparison to the other videos, we can see that the trailer performed quite well, with in many places a similar average watch time even though the content is much shorter. Unfortunately we have an incomplete picture of the location viewer percentages and age data, due to errors on the University of Manchester Facebook page (see Table 9). However, we can see that the UK and Bangladesh were our top audiences for the trailer overall, which was mirrored in the top audiences for the main documentary videos. Table 9: Viewer location data for trailer

GDI Facebook

GDI YouTube

UoM YouTube

Bangladesh 97.44%

UK 64%

UK 1.8%

Bangladesh 20%

Bangladesh

Germany 0.08%

USA 4.7%

Singapore

Japan 0.07%

The Philippines 1.4%

Punjab

Oman 0.06%

Germany 1.2%

Japan

PAGE 45

4. IMPACT AND EVALUATION

4.4.1.4 Video of Live Pot Gan Performance The live Pot Gan performance (watch at bit.ly/GDIpotganPerf) (34:39 running time) was performed in front of 634 people in Dhaka. In addition, we ďŹ lmed a live Pot Gan performance at the 10th International Conference on Community-based Adaptation to Climate Change and shared this on the Facebook page and YouTube page of the Global Development Institute. The video of the performance has attracted a total of 6,357 online views (see Table 10) and 100 views at the public event at Manchester Museum, meaning that the total audience for the performance was 7,091. By having a permanent digital record of the performance on social media, it is hoped that the value and impact of the performance will continue to grow as new audiences view and share it.

Photo credit: Jashim Salam. ÂŠ The University of Manchester

Pot Gan performance at the 10th International Conference on Community-based Adaptation to Climate Change in Dhaka.

46 PAGE

7,091

viewed the Pot Gan performance (in person & online)

4. IMPACT AND EVALUATION

Table 10: Overview of social data for live Pot Gan performance video

Metric

GDI Facebook

GDI YouTube

Total

Video views

5,387

970

6,357

Minutes viewed

5,560

3,722

9,282

Average watch time (minutes)

00:34

03:50

01:28

Comments

Reactions/likes

3,091

3,101

Average watch time (minutes)

00:34

03:50

01:28

Top audience (further audience detail given below)

Males 18-24

Top location

Dhaka Division, Bangladesh

The 35-minute live Pot Gan performance video attracted 6,357 total views, which when compared to the other videos is our lowest performing output. However, the video attracted a high number of reactions and likes (3,101) which is in the same region as the documentary with Bengali subtitles (3,889 reactions) and three times more than the documentary with English subtitles (1,017 reactions). This indicates that the Pot Gan performance had a more positive impact on those who watched it. To support this, the average viewing time on both Facebook and YouTube for this film were the highest of all the four films. On Facebook, audiences watched on average 34 seconds - more than three times the platform average of 10 seconds - and on YouTube, audiences watched for an average of 3 minutes 50 seconds. As with the above three videos, there is a difference

between the YouTube and Facebook viewing numbers and watch times which can be put down to the way that users interact on these platforms. On Facebook, the total views recorded since publishing are 5,387, compared to 970 on YouTube. Taken together, all of these metrics strongly suggest that the live Pot Gan performance was heavily valued and enjoyed by the audience, especially on Facebook. Looking now at the location of the audience, the Facebook viewers were based overwhelmingly in Bangladesh, with the region of Dhaka accounting for 95% of views and the region of Chattogram accounting for 1% (see Table 11). On YouTube, the picture is again diﬀerent, with 69% of the viewers tuning in from the UK, followed by 15% from Bangladesh. This follows all of the patterns of analysis for the above documentary videos.

PAGE 47

4. IMPACT AND EVALUATION

Table 11: Viewer location data for live Pot Gan performance video

GDI Facebook

GDI YouTube

Bangladesh 96%

UK 69%

UK 1%

Bangladesh 15%

USA 0.7%

India 5.7%

Italy 0.5%

USA 1.9%

The Philippines 0.2%

Indonesia 1.5%

As with the above videos, full demographic data is available from neither Facebook nor YouTube, but from Facebook we know from a broad overview that males aged 18 to 24 in the Dhaka region are our most-reached audience since publishing. The last thirty days of demographic data also show that 91% of viewers are male, and 9% are female (see Figure 16). The same gender and age patterns emerge as before: in every age group males are higher than females, with the biggest diﬀerence in the 25 to 34 age group.

Figure 16: Facebook audience age data for the Pot Gan performance video (11.03.18 – 11.04.18)

Throughout this analysis of all four of the video outputs, it is clear that females in Bangladesh have proved to be very hard to reach in the social media space. Young men have been over-represented in all viewing categories where we have demographic data, and females make up a much smaller proportion of our digital viewers. This highlights some of the challenges of accessing hard to reach audiences, particularly in the context of Bangladesh where only 26% of users on Facebook are female (We Are Social and Hootsuite, 2018b). In light of these ﬁndings, the remaining nine videos launched in summer 2018 (see Section 3.2.5.1 for a full list of videos) will be boosted in an attempt to increase the reach of project videos to females through the audience target function on Facebook.

48 PAGE

This issue highlights the importance of using multiple channels of communication to reach females, with the audience picture being quite diﬀerent for the live Pot Gan performances in Dhaka and the public events in the UK. Females accounted for 52% of attendees at the live Pot Gan performance at the British Council, 47% at Duaripara informal settlement and 45% at the 10th International Conference on Community-based Adaptation to Climate Change. Similarly, 53% of attendees at the public event at Manchester Museum were female, and the event with the highest proportion of females was at Rich Mix London, with 78.5% respectively.

4. IMPACT AND EVALUATION

4.4.2 Impact of the Videos on Viewers Online questionnaire surveys were carried out with online viewers of the documentary (English or Bengali version) and/or video of the Pot Gan performance (see Appendix 6 for survey results for open-ended questions). The results gave us an accurate picture of the demographic background of the viewers and their opinions of the videos they watched, with very positive feedback including 100% agreeing that focusing on the ‘everyday’ experiences of those impacted by climate change is an eﬀective way of communicating the issue.

Figure 17: What is your gender?

58% of respondents were female, 40% male, and 2% identiﬁed as non-binary (see Figure 17), with the majority of respondents aged 18 to 29 years old (56%) (see Figure 18) and from Bangladesh (42%), UK (14%), China (12%), or India (12%) respectively (see Figure 19). The top four professions of respondents were students (54%), employees at an NGO or not for proﬁt organisation (18%), higher education institution (12%) and government (6%) (see Figure 20).

Figure 18: How old are you?

Figure 19: What is your country of origin?

PAGE 49

4. IMPACT AND EVALUATION

Figure 20: What is your professional status?

In a survey of the varied audiences who viewed the documentary (71% of respondents) and/or video of the Pot Gan performance online (38% of respondents), 90% said they enjoyed it (45% really enjoyed it and 45% enjoyed it). 100% said that the documentary, performance theatre, and other audiovisual methods used in the project are a useful way to build awareness on climate change. Responses included: ‘It allows the community to relate to and understand the issue of climate change, rather than being excluded from the research’ (#131, online questionnaire, online viewer of the documentary and/or video of Pot Gan performance, October 2016). ‘It translates the academic research into a more easily understood medium. The use of documentary and theatre is far more engaging than reading a paper. Being able to see the researcher and the speciﬁc location of the issue makes you more aware of the problems and solutions’ (#137, online questionnaire, online viewer of the documentary and/or video of Pot Gan performance, October 2016). ‘There is scope for learning from each other through visuals and storytelling. It makes a bigger psychological impact for bringing about change’ (#161, online questionnaire, online viewer of the documentary and/or video of Pot Gan performance, October 2016).

100%

thought the videos are useful for building awareness on climate change 50 PAGE

100% of those surveyed agreed that focusing on the ‘everyday’ experiences of those impacted by climate change was an effective way of communicating the issue. ‘It provided a sense of what the conceptual and technical concept of climate change means in real terms and it brings one back to the essence: that we need to start tackling development and climate change with huge efforts. If you do not focus on the everyday experiences of those impacted the most by climate change it remains conceptual and difficult to understand in real terms’ (#117, online questionnaire, online viewer of the documentary and/or video of Pot Gan performance, October 2016). ‘The “everyday experience” is what matters at the end of the day. It is 'real' and 'relatable' rather than being an abstract ideal’ (#136, online questionnaire, online viewer of the documentary and/or video of Pot Gan performance, October 2016). Research is very important but communicating [the] findings to a wider audience is often rather difficult, as people are expected to have a certain academic background themselves. Using performance theatre, which is part of the local culture to illustrate issues of climate change, turns a highly academic subject into a language that is understood by a broad audience.’ (#128, online questionnaire, online viewer of the documentary and/or video of Pot Gan performance, October 2016).

Photo credit: Minna Rossi Photography ©

One respondent reported that they felt the stories presented were apolitical and did not engage with difficult political issues like corruption (#137, online questionnaire, online viewer of the documentary and/or video of Pot Gan performance, October 2016). On the other hand, it can be argued that the Pot Gan itself deals directly with these issues (for example, bribery), as it focuses on the reality of social difference and inequities within local power structures that influence how people are impacted by climate change. The documentary and video of the live Pot Gan performance in Dhaka has influenced even audiences with existing climate change expertise. Despite 86% of respondents having expertise in climate change and/or development, the survey found that 82% reported learning something new as a result of watching the video(s) or that it changed the way that they think about climate change, particularly in the context of Bangladesh (see Figure 21).

82%

learned something new Figure 21: Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of viewing the Pot Gan videos?

PAGE 51

4. IMPACT AND EVALUATION

4.5 Engagement and Results from Social Media and Online Sources The project had a strong focus on using social media to drive potential research impact, including sharing videos, blog posts, and newspaper and magazine articles to a variety of audiences across Twitter, Facebook and YouTube. The analysis below delves into core areas of the social media data, with results showing high reach of Bangladesh-based audiences for the project’s content on Facebook and a broad selection of positive feedback on Twitter from practitioner and academic audiences.

4.5.1 Facebook Page Engagement This analysis of the project Facebook page (view at bit.ly/GDIpotganFacebook) details the age and location demographics of the page followers and some of the page’s most popular pieces of content. Engagement with the project of course also happened on other Facebook pages such as the Global Development Institute and University of Manchester Facebook pages, but the focus here is solely the project Facebook page. While project material was shared on other social media platforms such as LinkedIn and audiences discussed the project events on other platforms such as Instagram, these are not included in this analysis as the project focused principally on communicating the research via Twitter, Facebook, YouTube, newspaper and magazine articles, and blog posts. The Facebook page was set up to communicate the project and resources to both an international and national audience, but it was also a strategic decision to ensure that the project reached an audience based in Bangladesh. Facebook has been critical for reaching a Bangladesh audience, with We Are Social and

Figure 22: Facebook project page: audience by gender

52 PAGE

Hootsuite (2018a) identifying Dhaka as the second biggest Facebook city in the world, with 20 million Facebook users in Dhaka alone. Other social media platforms like Twitter are not very popular so this is the key mode of connecting with a Bangladesh audience. The paid boosting of the Facebook page resulted in over 4,600 followers and 4,600 likes. Of the Facebook page’s 4,666 followers, females made-up just 15%, while males made-up 85% (see Figure 22). This distinctive pattern has been mirrored through all of the video content shared on other Facebook pages, pointing to the diﬃculty of reaching females in Bangladesh in a digital space for this project.

4,600+ Facebook followers

4. IMPACT AND EVALUATION

Followers were based in 43 diﬀerent countries, but the country with a huge majority of followers is Bangladesh. The earlier paid boosting of the Facebook page towards followers in this region was incredibly successful, as drilling down to a city/regional level shows that Dhaka is indeed the region where most of our followers are concentrated (see Table 12).

Table 12: Location of project Facebook page followers

Country level analysis

City level analysis

Country

Followers

City/region

Followers

Bangladesh

4,132

Dhaka, Dhaka Division

3,046

Saudi Arabia

Gazipur, Dhaka Division

Chattogram, Chattogram Division

India

Narayanganj, Dhaka Division

Malaysia

Sylhet, Sylhet Division

Kuwait

Riyadh, Riyadh Region

USA

Nabiganj, Dhaka Division

Qatar

Cumilla (formerly known as Comilla), Chattogram Division

Oman

Khulna, Khulna Division

Pakistan

Rajshahi, Rajshahi Division

Since the Facebook page was launched, 99 posts have been published, with a total reach of 399,432 users. This ﬁgure represents the number of users who have seen content from the Facebook page in their own Facebook newsfeed, via their friends and connections sharing the content to them, or from browsing suggested pages. Of those 399,432 users we reached, 62,852 were engaged users. This ﬁgure represents the number of unique people who engaged by commenting on, liking, sharing or clicking the post.

The ten Facebook posts that attracted the highest number of engaged users are listed in Table 13 below. With 43,894 engaged users, the documentary video with Bengali subtitles attracted by far the highest number of engaged users; most likely because of the high concentration of Facebook page followers based in Bangladesh and because video content is always promoted highly in Facebook newsfeeds. Many of the top posts are also video-based posts.

PAGE 53

4. IMPACT AND EVALUATION

Table 13: Most popular Facebook posts

Post message

Lifetime post total reach

Lifetime engaged users

Watch the Documentary bit.ly/GDIpotganFB1 (Bengali subtitles) - The Lived Experience of Climate Change. Find out more about the #GDIPotgan project: bit.ly/GDIpotgan

243,435

43,894

Watch the Live Bengali Pot Gan bit.ly/GDIpotganFB2 Performance (English subtitles) - The Lived Experience of Climate Change. Find out more about the #GDIPotgan project: bit.ly/GDIpotgan

92,188

12,181

Watch the Trailer (English sub- bit.ly/GDIpotganFB3 titles) of 'The Lived Experience of Climate Change'. Find out more about the #GDIPotgan project: bit.ly/GDIpotgan

29,650

4,664

VIDEO: What does climate change mean to Dhaka slum dwellers? #GDIPotgan

bit.ly/GDIpotganFB4

5,477

568

Newspaper article: Thank you bit.ly/GDIpotganFB5 to The Mancunion for the great write-up on 'The Lived Experience of Climate Change' #climatechange #poverty #Dhaka #GDIPotgan mancunion.com/2017/11/17/ manchester-academic-winsaward-climate-change-ďŹ lm

1,855

161

Trailer (English subtitles) - 'The bit.ly/GDIpotgan6 Lived Experience of Climate Change: A Story of One Piece of Land in Dhaka'. #GDIPotgan

923

122

Timeline photos

bit.ly/GDIpotganFB7

502

120

Delighted that 'The Lived Experience of Climate Change' won the International Development Award last night at #RIFA2017!!! ow.ly/MCnL30gsFmK #GDIPotgan

bit.ly/GDIpotganFB8

940

Manchester Museum. Photo album

bit.ly/GDIpotganFB9

1,735

Watch the Documentary (with Bengali subtitles) - The Lived Experience of Climate Change: A Story of One Piece of Land in Dhaka. #GDIPotgan bit.ly/2cYYs9H

bit.ly/GDIpotganFB10

596

54 PAGE

URL

4. IMPACT AND EVALUATION

4.5.2 Twitter Analysis As detailed above, this project has used YouTube and Facebook as the primary social media channels for promotion of its outputs, with the documentary videos and live Pot Gan performance video having reached many thousands of international viewers. In addition to the use of YouTube and Facebook, the project has used Twitter as a secondary social media channel. Twitter is increasingly used in the academic community to share research, network at events, and communicate new ideas (Mollett et al., 2017), and this project’s use of Twitter matches these uses.

Figure 23: Most commented tweet using the project hashtag #GDIpotgan

This analysis details the success of the project’s use of Twitter and the conversation about the project that took place on this platform. The data collection and analysis were carried out using Twitter Analytics and Goggle Sheets. This analysis records from the date of publishing up to 7 May 2018 for Twitter activity using the project hashtag #GDIpotgan and for all other Twitter activity, up to 15 March 2018.

4.5.2.1. Hashtag Analysis The hashtag #GDIpotgan was attached to all tweets about the project coming from the project team, the University of Manchester, and the Global Development Institute (view at bit.ly/GDIpotganTwitter). We encouraged all public viewers of the outputs to use the hashtag when sharing project content, and we encouraged all event attendees to use the hashtag when sharing their experiences of the performances and screenings too. The hashtag was ﬁrst used on 15 April 2016 by the project team to showcase the Pot Gan performance rehearsal in Dhaka. The hashtag is still being used in summer 2018 to promote the project outputs. Overall, 268 tweets have been sent containing the hashtag #GDIpotgan, by a total of 48 diﬀerent Twitter users. Tweets containing the hashtag #GDIpotgan have received a total of 47 comments, 600 retweets, and 581 likes. The most commented tweet containing the hashtag #GDIpotgan was a tweet from the project team that includes 5 comments thanking those in the wider network for re-sharing and re-tweeting information about the screening event (see Figure 23). This tweet was sent in the run up to the screening event in Manchester and perfectly demonstrates the use of Twitter in academic networks to share opportunities, research, and outputs.

Source: bit.ly/GDIpotganTweet12

The most retweeted tweet containing the hashtag #GDIpotgan was another tweet from the project team, which received 23 retweets (see Figure 24). The tweet promoted the screening event at Rich Mix in East London. The tweet received several retweets from large influential academic institutions, including Manchester University News, IIED, the London School of Economics and Political Sciences’ Department of International Development, and the Global Development Institute. It also received retweets from high profile academics and well-respected individuals in the field, including Dr Jocalyn Clark, the Executive Editor of The Lancet, and Dr Prakash Kashwan, a University of Connecticut academic. Of the other retweets, worth noting in particular is a retweet from Member of the European Parliament (MEP) for the London region for London and Green Party politician, Jean Lambert MEP. The project has no prior connection to Jean Lambert MEP, suggesting that the project work is being viewed and shared by politicians working in green politics at a European level and that this retweet is more impactful than the others mentioned.

PAGE 55

4. IMPACT AND EVALUATION

Figure 24: Most retweeted tweet using the project hashtag #GDIpotgan

Figure 25: Most liked tweet using the project hashtag #GDIpotgan

Source: bit.ly/GDIpotganTweet3

Source: bit.ly/GDIpotganTweet2

The most liked tweet containing the hashtag #GDIpotgan received 13 likes (see Figure 25). This tweet was also sent by the project team and promoted coverage of the project in the Dhaka Tribune. Retweets came from Manchester Friends of the Earth; Dr Koko Warner, climate researcher at the United Nations; and from Pulse Connects, an online publication keeping South Asian arts communities informed of cutting-edge practice.

56 PAGE

When we look at how the hashtag was used over time we can see three clear peaks in usage (see Figure 26). The first is in April 2016 when 41 tweets were sent about the live Pot Gan performances in Dhaka, the second is in August 2016 when 85 tweets were sent in that month about the film screening at Manchester Museum, and the third is in February 2017 when 49 were sent in that month about the event at Rich Mix in East London. This finding is in line with what we would expect to see: we can connect these peaks in usage with our live Pot Gan performances in Dhaka and our two main public events, where we encouraged those attending to live tweet or share updates from the events on Twitter.

4. IMPACT AND EVALUATION

Figure 26: Use of Twitter hashtag

Almost all users of the hashtag were based in the UK and were from an academic or development and/or climate expertise background. With Twitter now commonly used in the international academic community for sharing research, we can observe that the audience for the project on Twitter is markedly diﬀerent to that on Facebook, where people from Bangladesh whom we had targeted the outputs towards constituted the majority of the audience. Academics, development and climate experts are one of the core target audiences for this project, so this ﬁnding presents further evidence that the project successfully achieved that goal.

4.5.2.2 Wider Twitter Discussion of the Project Any public tweets about the project that did not use the project hashtag were obtained through carrying out a range of searches on Twitter using key phrases and hashtags associated with the project, for example, lived experience of climate change, Pot Gan, a story of one piece of land in Dhaka, and #mmclimatecontrol. All of these tweets were then saved as a ‘Moment’ on Twitter to ensure that the majority of Twitter activity was captured. As well as the 268 tweets including the hashtag #GDIpotgan analysed in the above section, at least an additional 98 tweets were sent by a total of 58 diﬀerent Twitter users who attended events and performances or viewed online project outputs (view at bit.ly/GDIpotganTwitterMoment). These tweets have received a total of 21 comments, 208 retweets, and 213 likes. This means that the total number of tweets on the project is at least 366, by 93 diﬀerent Twitter users, ranging from the Green Party Tower Hamlets, ActionAid Bangladesh, Acclimatise to employees of DFID, with a total of 68 comments, 808 retweets, and 794 likes.

The total 366 tweets were coded for positive, negative, or neutral sentiment using a manual coding process in order to get a full understanding of how the project was received by the audiences on Twitter. 100% of the tweets were positive or neutral, which is a huge success; none of the tweets were found to express negative sentiment about the project. To have 100% positive or neutral sentiment in the often hostile and polarised public social media space of Twitter is incredibly valuable and means that any new users searching for information about the project in that space will encounter only positive discussion and interaction with the project. Of the topics and themes covered in the tweets about the project, all of the outputs, events, and performances were discussed and shared. While the majority of Twitter activity focused on promoting project events, sharing outputs or project successes, and providing positive feedback on the project, 37 tweets and/or replies to tweets from 25 Twitter users outside of the project team were identiﬁed as focusing on discussion (and reactions) of the key themes and issues raised in the Pot Gan performances, public events, documentary and other project material (list of discussion-based tweets available on request).

PAGE 57

4. IMPACT AND EVALUATION

Twitter users discussed many issues related to climate change as a result of engaging with the project: the enormity and urgency of climate change; the intersection of climate change, social justice, and inequality; the need for global solidarity to tackle climate change; how climate change is embedded in development problems; how physical, social, and economic conditions of Bangladesh are related to its vulnerability to climate change; and the effects of climate change on the ‘everyday’ lives of low-income people. Twitter users also reported key lessons that the project highlighted on a range of related issues: importance of undertaking ethical and participatory research that engaged communities around the findings that they had been central to generating; how useful the Pot Gan can be for spreading information and awareness to publics, in particular its ability to provide a platform for ‘voices of low-income people’ to enter into the climate change debate; the potential for multidisciplinary outputs to inspire and inform different publics; and how academics were challenged to think differently about local traditions in public engagement and outreach.

In another example, the documentary premiere at Manchester Museum attracted Twitter discussion about how the audience were challenged to think diﬀerently about interacting with research participants after seeing the Pot Gan featured in the screening (see Figure 29). This is again very positive because the Pot Gan is a form of performance and storytelling so rarely used in communicating research with audiences.

Figure 29: Example of feedback on the documentary premiere at Manchester Museum

For example, the public event at Rich Mix attracted Twitter discussion about how important it is to include the Bangladeshi diaspora in engaging policy makers, and how communities need to be involved with contributing to knowledge and consuming the outputs (see Figures 27 and 28). This is particularly positive as these themes have been central to the research from the beginning of the project. Source: bit.ly/GDIpotganTweet7

Figure 27: Example of feedback from the public event at Rich Mix London

Source: bit.ly/GDIpotganTweet4

Figure 28: Example of feedback from the public event at Rich Mix London

Rich Mix London. Photo credit: Minna Rossi Photography ©

Source: bit.ly/GDIpotganTweet5

58 PAGE

4. IMPACT AND EVALUATION

In a third example, the live Pot Gan performance in Dhaka attracted Twitter discussion about how useful the Pot Gan can be for spreading information and awareness to aﬀected communities, and how the Pot Gan connects to other forms of performance in diﬀerent settings (see Figures 30 and 31). This is another positive reaction from the audience, particularly around the merits of the Pot Gan for connecting with audiences in both the academic community and the user community.

Figure 30: Example of feedback from the live Pot Gan performance in Dhaka

In a final example, the documentary attracted Twitter discussion about the potential for multidisciplinary outputs to influence and inspire different audiences (see Figure 32). This is a further positive public reaction from the audience on Twitter, particularly because overcoming the traditional barriers of science communication has been a core part of the aims of the project.

Figure 32: Example of feedback on the documentary viewed online

Source: bit.ly/GDIpotganTweet8

Figure 31: Example of feedback from the live Pot Gan performance in Dhaka

Source: bit.ly/GDIpotganTweet6

Source: bit.ly/GDIpotganTweet10

PAGE 59

4. IMPACT AND EVALUATION

4.5.3 Newspaper Articles, Blog Posts, and Project Webpage A range of newspaper and magazine articles (print and online) and blogs posts were written on the project, including coverage from Dhaka Tribune, The Independent (Bangladesh), The Mancunion, Thomson Reuters Foundation, Arts and Humanities Research Council’s (AHRC), NCCPE, British Council Bangladesh, the University of Manchester (Policy@Manchester, Global Inequalities Beacon, and University news) and the Global Development Institute. A total of 6 newspaper or magazine articles have been written and 17 blog posts published on the project, with a readership of 29,226 (24,500 print and 4,726 online) (see Table 14 and 15). In some cases, only partial data are available, hence overall totals are likely to be signiﬁcantly higher.

Table 14: Newspaper or magazine articles

Publication and article

Link to article

Readership

Engagement

Dhaka Tribune: ‘Climate change research based on Dhaka slum featured in ‘Pot Gan’ and documentary’

bit.ly/GDIpotganDT1

- 8,000 printed copies - 1,079 online views (including 480 unique views)

- 3,050 Facebook reach - 72 Facebook likes - 42 Facebook clicks - 3 Facebook shares - 26 Twitter likes - 34 Twitter retweets

Dhaka Tribune: ‘Documentary ﬁlm on Bangladesh climate change screened in London’

bit.ly/GDIpotganDT2

- 8,000 printed copies - 885 online views (including 392 unique views)

- 4,859 Facebook reach - 115 Facebook likes - 122 Facebook clicks - 4 Facebook shares - 13 Twitter engagements - 7 Twitter clicks - 2 Twitter likes - 1 Twitter retweet

The Independent Bangladesh: bit.ly/GDIpotganIndep ‘Bangladeshi story of resilience travels around the globe’

Data not provided

ICE Business Times: ‘A progressive playhouse’

bit.ly/GDIpotganIce

- 5,000 printed copies - 416 online reads

- 8348 impressions - 4 likes - 0:05:06 average read time per view - 1.5 days total read time

The Mancunion: ‘Manchester academic wins award for climate change ﬁlm’

bit.ly/GDIpotganManc

- 2,500 printed copies - 61 online unique views

- 89 Facebook shares

The University of Manchester’s Addressing Global Inequalities: ‘The role of climate change in inequality’

bit.ly/GDIpotganUoM

- 1,000 printed copies - 612 online reads

- 5,424 impressions - 2 publication shares - 0:05:40 average read time per view - 2.4 days total read time

Source: Baig, personal communication, April 16 2018; Boyd, personal communication, April 13 2018; O'Mahony, personal communication, April 13 2018; Pollard, personal communication, April 16 2018; Zaman, personal communication, May 27 2018.

60 PAGE

4. IMPACT AND EVALUATION

Table 15: Blog posts

Publication and article

Link to article

Readership

Engagement

Thomson Reuters Foundation: ‘Living on the frontline of climate change: The story of Hena’

bit.ly/GDIpotganTR

Data not provided

AHRC: ‘Research in Film Awards Winners 2017: The lived experience of climate change’

bit.ly/GDIpotganAHRC

- 156 online views

- 631 Facebook reach - 9 Facebook engagements - 4,422 Twitter impressions - 30 Twitter engagements

Global Development Institute: ‘Joanne Jordan’s climate change documentary wins prestigious award’

bit.ly/GDIpotganNews1

- 38 online views

Global Development Institute: ‘Double success at the Making a Diﬀerence Awards’

bit.ly/GDIpotganNews2

- 15 online views

Global Development Institute: bit.ly/GDIpotganBlog1 ‘Climate change research based on Dhaka slum showcased at Rich Mix London’

- 159 online views

Global Development Institute: ‘The Lived Experience of Climate Change shortlisted for national public engagement award’

bit.ly/GDIpotganNews3

- 15 online views

Global Development Institute: ‘Innovative new research reveals the lived experience of climate change in Dhaka through a Pot Gan performance of Jol-duari’

bit.ly/GDIpotganBlog2

- 376 online views

British Council Bangladesh: ‘Bangladesh’s Jol-duari: Raising awareness through melody, drama and dancing’

Intranet - link not available

No data available

- Distributed to 1,000 staﬀ members

The University of Manchester intranet: ‘Joanne Jordan’s climate change documentary wins prestigious award’

bit.ly/GDIpotganUoMNews1

- 46 online views

- 3,000 distribution list

The University of Manchester Uni News: ‘Dr Joanne Jordan nominated for Research in Film Awards’

bit.ly/GDIpotganUoMNews2

- 202 unique online views

PAGE 61

4. IMPACT AND EVALUATION

Table 15: continued

Publication and article

Link to article

Readership

Engagement

The University of Manchester Uni News: ‘Terriﬁc trio shortlisted in public engagement awards’

bit.ly/GDIpotganUoMNews3

- 305 unique online views

The University of Manchester Uni News: ‘Climate change documentary shortlisted for national public engagement award’

bit.ly/GDIpotganUoMNews4

- 87 unique views

The University of Manchester Uni News: ‘Premiere of new documentary looking at climate change in Dhaka’

bit.ly/GDIporganUoMNews5

- 82 unique online views

The University of Manchester Uni News: ‘GDI academic's documentary on eﬀects of climate change’

bit.ly/GDIpotganUoMNews6

- 128 unique online views

Policy @ Manchester: ‘What does Habitat 3 mean for people aﬀected by climate change?’

bit.ly/GDIpotganPolicyMan

- 54 online views

NCCPE: ‘Engage Finalist pen portrait’

bit.ly/GDIpotganNCCPE1

No data available

NCCPE: ‘The lived experience of climate change’

bit.ly/GDIpotganNCCPE2

- 10 online views

Source: Jack, personal communication, April 13 2018; Kelly, personal communication, April 12 2018; Mann, personal communication, May 15 2016; O’Rourke, personal communication, April 20 2018; Sitford, personal communication, April 17 2018; Steele, personal communication, April 16 2018; Venis, personal communication, April 16 2018.

The project web pages on the Global Development Institute website have received 2,657 views since it was established in September 2016 up to 13 April 2018: The Lived Experience of Climate Change (2,041 views) and Urban Climate Resilience (616 views) (Kelly, personal communication, April 13 2018).

2,657

views of project web page

62 PAGE

4. IMPACT AND EVALUATION

4.5.4 Other Online Publications A booklet with the full Pot Gan script was made available in English and Bengali. Table 16 outlines the information that is available on readership and engagement, only partial data are available, hence overall totals are likely to be signiﬁcantly higher.19

Table 16: Booklet with Pot Gan scripts

Publication and article

Link to article

Readership (versions on ISSU and project web page)

Engagement (versions on ISSU)

Pot Gan booklet with English script

bit.ly/GDIpotganScriptEng

- 28 online views

- 154 impressions - 1 publication shares - 1 like - 0:01:34 average read time per view - 0:29:55 total read time

Pot Gan booklet with Bengali script

bit.ly/GDIpogtganScriptBeng

- 13 online views

- 31 impressions - 1 publication shares - 1 like - 0:01:13 average read time per view - 0:13:33 total read time

Source: Kelly, personal communication, April 19 2018; ISSU, 19 April 2018.

4.6 Invitations, Presentations, and Awards The project won the AHRC’s Research in Film Awards 2017 International Development Award: Mobilising Global Voices, out of 200 applications. AHRC judging panellist, Professor Tom Inns (Glasgow School of Art), said: ‘The film shone out from all the other films as a dynamic piece of practice-based research. The film captures the entirety of the research process - unlike other films that only showed the output or the discourse that the research stimulated, Joanne’s film really got under the bonnet of the actual research itself’ (The Mancunion, February 9 2018). The project won The University of Manchester Making a Difference Awards 2017 for outstanding public engagement initiative, out of over 130 applications. The project was a 2016 finalist in a national public engagement competition run by the National Co-coordinating Centre for Public Engagement, out of over 180 applications. The NCCPE Judges Panel (2016) said:

Dr Joanne Jordan and Dr Saleemul Huq were invited to give a presentation on ‘Climate Change Policy and the “On-theGround” Experiences of Low-Income Peoples in Bangladesh’ to the UK government’s International Climate and Energy Directorate at the Department for Business, Energy and Industrial Strategy (formerly the Department of Energy and Climate Change) and DFID’s Climate and Development team on 23 May 2018. In addition, papers will be presented by Dr Joanne Jordan on ‘The drama of it all: The lived experience of climate change' to a diverse audience made-up of academics and applied researchers, professionals in consulting and other roles, policy makers and managers, civil society, business, those working in international bodies and multilateral bodies at the Adaptation Futures 2018 International Conference on Climate Adaptation in Cape Town in June 2018, and ‘Living on the frontlines of climate change’ at the Cultures and Disasters III Conference: Towards New Understandings of Culture and Justice in the Context of Disaster Risk Reduction at Friedrich-Alexander-Universität Erlangen-Nürnberg in Germany in June 2018.

‘The panel were impressed by the strength of personal commitment animating the project and the powerful personal responses encouraged in the participants through the use of the Pot Gan theatrical medium’.

For the booklets hosted on the University of Manchester website, data is only available on the number of downloads, no data is available on number of views.

PAGE 63

5. CONCLUSION

Duaripara informal settlement in Dhaka.

Photo credit: Joanne Jordan ©

This project centred on a strong partnership approach to engage affected communities in the research findings and to build awareness and action on the ‘everyday’ realities and impact of climate change on low-income people in Dhaka, through interactive theatre performances, documentary film, educational programmes, and public events aimed at a wide range of publics with varying levels of knowledge on climate change.

Figure 33: Do you think the focus on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue?

The report has highlighted many advantages of the project’s approach to public and stakeholder engagement and impact, and lessons for effective engagement: Used creative and innovative methods to engage with diverse, intergenerational audiences: The use of inclusive, accessible, entertaining, and diverse engagement activities helped animate and make the needs and priorities of low-income people much clearer, and it meant that we were able to reach a diverse range of publics with varying levels of education, literacy, and language skills. The surveys found that key publics were interested in and enjoyed engaging with climate change through performance theatre (95%), documentary film (90%), and public events (Rich Mix, 93% and Manchester Museum, 87.5%), and the majority felt that engaged discussion and participatory interaction encouraged sharing of ideas and enhanced learning on the day-to-day experiences of those impacted by climate change (live Pot Gan performances, 88%, Rich Mix, 83%, and Manchester Museum, 75%). Engaged ‘voices of low-income people’ to bring new dimensions to understanding local priorities and needs: The emphasis on understanding the diverse, multi-faceted, and complex ways that low-income people experience climate change ensured that different publics are better informed of the needs and priorities of low-income people, allowing interventions to be better adapted to local socio-cultural contexts. In surveys of the varied audiences that attended the live Pot Gan performances in Dhaka (92%), viewed the documentary and/or the video of the Pot Gan performance online (100%), attended public events at Rich Mix London (97%) and Manchester Museum (100%), a clear majority agreed that focusing on the ‘everyday’ experiences of those impacted by climate change was an effective way of communicating the issue (see Figure 33).

64 PAGE

The focus on telling stories about real people with real lives and real loss helped engage with the emotions and empathetic behaviour of diverse audiences to bring new dimensions to understanding how low-income people are impacted by climate change. Indeed, 64% of the audience that attended the Rich Mix London public event said that they care more about climate change as a result of attending the event. Enhanced learning, understanding, and awareness: The broad range of project activities has deepened engagement and understanding of the ‘everyday’ realities of climate change with an extremely diverse range of audiences based in the UK and internationally. In surveys of the varied audiences that attended the live Pot Gan performances in Dhaka (100%), viewed the documentary and/or the video of the Pot Gan performance online (100%), attended public events at Rich Mix London (79%) and Manchester Museum (88%), the majority said that it is a useful way to build awareness of climate change issues (see Figure 34).

5. CONCLUSION

Figure 34: Do you think the live Pot Gan performance/public event/ documentary and/or video of the Pot Gan performance is a useful way to build awareness on climate change issues?

The resources have been adopted and hosted on the websites of a range of organisations that enhance and support young people’s geographical and global learning development, including the Royal Geographical Society, Geographical Association, Global Dimension, Association of Geography Teachers of Ireland, and Geographical Society of Ireland. Engaged communities around ﬁndings that they had been central to generating: A people-centred approach which focused on engaging research participants and the wider community around the results of the research and provided them with a chance to give additional feedback on its key themes. Central to this was ensuring that every participant had an opportunity to contribute and all inputs were valued.

The project has even inﬂuenced audiences with existing climate change expertise. While respondents that attended the live Pot Gan performances in Dhaka (89%), viewed the documentary and/or the video of the Pot Gan performance online (86%), attended public events at Rich Mix London (66%) and Manchester Museum (20%), reported expertise in climate change and/or development, the surveys found that 83%, 82%, 69%, and 87.5% of the varied audiences had learned something new or that it changed the way that they think about climate change, particularly in the context of Bangladesh (see Figure 35).

Figure 35: Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh as a result of the live Pot Gan performance/public event/ documentary and/or video of the Pot Gan performance?

Shared the project resources to both international and national audiences: The project highlights the potential of developing engagement activities that transcend cultural and geographical boundaries. In particular, the Pot Gan proved to be an inclusive theatrical medium that reaches audiences across language barriers. 76% of those surveyed were not fluent in Bengali, however, only 5% indicated language as a significant barrier to their understanding of the Pot Gan, despite it being performed in Bengali. Making available project outputs and resources in the language of the country that the research is carried out in is of critical importance, given that the documentary with Bengali subtitles was the most-viewed of our project video outputs and allowed us to reach an audience double to that we would have had if we only published with English subtitles. Used social media to make an impact: Social media has been critical to driving the project’s potential research reach and impact, including sharing videos, blog posts, and newspaper and magazine articles (including articles with Thomson Reuters and Dhaka Tribune) to a variety of audiences across Twitter, Facebook and YouTube. While project videos have attracted an audience of up to fifty times higher than predicted, the findings draw attention to a broader challenge of using videos on social media to drive research reach and impact. While the average watch time figures were better than we anticipated, social media audiences have notoriously short attention spans. This highlights the importance of the project’s use of multiple channels of communication, such as the public events in the UK, where viewing figures are comparatively lower than on social media but the overall impact and watch time is far higher.

Facilitated young people’s engagement with climate change in Bangladesh, the UK, and Ireland: The project helped Bangladeshi students at the University of Dhaka learn about the impacts of climate change through performance theatre. In the longer term, involvement with the project will also enhance the students’ employability in a variety of ways. The students gained valuable experience of working on a real academic research project with involvement in all stages of theatre performance, production, and documentray ﬁlm. Emerging from the research insights, new, education resources have recently been developed to support secondary school teachers help young people develop the knowledge and skills to think critically about climate change in an urbanising world, and to achieve impacts on learning outcomes, attitudinal shifts, and behaviour change.

Facebook has been critical for reaching a Bangladesh audience, however it is also clear that females in Bangladesh have proved to be very hard to reach in the social media space. Again, this underlines the importance of employing several channels of communication, with the audience picture being quite different for the live Pot Gan performances in Dhaka, with much larger proportions of the audience being made-up of females. Worked together to create and apply knowledge collaboratively: A diversity of partners was key to developing the engagement activities, as each partner brought different skill sets and areas of expertise from which the other partners were able to learn. This diversity of partnerships was central to interacting more effectively with a diverse range of publics, including producers and users of knowledge beyond academia.

PAGE 65

REFERENCES Ahmed, S. J. (2016) Applied theatre and climate change in Bangladesh: Indigenous theatretics for neoliberal theatricks. In: Hughes, J. and Nicholson, H. (eds.) Critical perspectives on applied theatre. Cambridge, Cambridge University Press, pp. 150-171.

NCCPE (National Co-ordinating Centre for Public Engagement) (2018) Do engagement: Purpose. Retrieved from www.publicengagement.ac.uk/do-engagement/ quality-engagement/purpose

Binns, T. (2006) Doing ﬁeldwork in developing countries: Planning and logistics. In: Desai, V. and Potter, R. B. (eds.) Doing Development Research. London, SAGE publications, pp.13-24.

Nielsen Company (2015) Nielsen media and demographic survey 2015. Bangladesh, Nielsen Company Limited.

Biswas, A. and Kirchherr, J. (2015) Citations are not enough: Academic promotion panels must take into account a scholar’s presence in popular media. LSE Impact blog. Retrieved from blogs.lse.ac.uk/impactofsocialsciences/2015/04/09/ academic-promotion-scholars-popular-media Boal, A. (2000) Theater of the oppressed. London, Pluto Press.

Payne, G., Durand-Lasserve, A. and Rakodi, C. (2009) The limits of land titling and home ownership. Environment and Urbanisation, 21(2), pp. 443-462. Quan, J. and Dyer, N. (2008) Climate change and land tenure: The implications of climate change for land tenure and land policy. Land Tenure Working Paper 2. Rome, Food and Agriculture Organisation of the United Nations.

Castell, S., Charlton, A., Clemence, M., Pettigrew, N., Pope, S., Quigley, A., Shah, J. N. and Silman, T. (2014) Public attitudes to science 2014: Main report. UK Department for Business, Innovation and Skills. Retrieved from www.ipsos-mori.com/ researchpublications/researcharchive/3357/Public-Attitudes-toScience-2014.aspx

Rabbani, G., Rahman, A. A. and Islam, N. (2011) Climate change implications for Dhaka city: A need for immediate measures to reduce vulnerability. In: Otto-Zimmermann, K. (eds) Resilient cities: cities and adaptation to climate change. Dordrecht, Springer, pp. 531-541.

Corbetta, P. (2003) Social research: Theory, methods and techniques. London, SAGE publications.

Reed, M. S. (2008) Stakeholder participation for environmental management: A literature review. Biological Conservation, 141, pp. 2417-2431.

Dawson (2018) Reimagining publics and (non) participation: Exploring exclusion from science communication through the experiences of low-income, minority ethnic groups. Public Understanding of Science doi.org/10.1177/0963662517750072 DeMers, J. (2018) A long list of social media statistics that you need to know in 2018. Hootsuite blog. Retrieved from blog.hootsuite.com/social-media-statistics-for-socialmedia-managers FortuneLords (2018) 37 mind blowing YouTube facts, ﬁgures and statistics – 2018. Retrieved from fortunelords.com/youtubestatistics Freire, P. (1993) Pedagogy of the oppressed. London, Penguin Books. IPCC. (2014) Climate change 2014: Impacts, adaptation, and vulnerability. Part A: Global and sectoral aspects. Contribution of Working Group II to the Fifth Assessment Report of the Intergovernmental Panel on Climate Change [Field, C. B., V. R. Barros, D. J. Dokken, K. J. Mach, M. D. Mastrandrea, T. E. Bilir, M. Chatterjee, K. L. Ebi, Y. O. Estrada, R. C. Genova, B. Girma, E. S. Kissel, A. N. Levy, S. MacCracken, P. R. Mastrandrea, and L. L. White (eds.)]. Cambridge, UK: Cambridge University Press. Jordan, J. C. (2018) Deconstructing resilience: Why gender and power matter in responding to climate stress in Bangladesh. Climate and Development doi.org/10.1080/17565529.2018.1442790 McGranahan, G., Balk, D. and Anderson, B. (2007) The rising tide: Assessing the risks of climate change and human settlements in low elevation coastal zones. Environment and Urbanisation, 19(1), pp. 17-37. McLeman, R. (2011) Settlement abandonment in the context of global environmental change. Global Environmental Change, 21(S1), pp. S108-S120. Mollett, A., Brumley, C., Gilson, C. and Williams, S. (2017) Communicating your research with social media: A practical guide to using blogs, podcasts, data visualisations and video. London, SAGE publications Moser, C. and Stein, A. (2011) A methodological guideline for implementing urban participatory climate change adaptation appraisals. Environment and Urbanization, 22(2), pp. 463-486.

66 PAGE

Saric, M. (2017) The state of Facebook video in the year 2017: Video length up, time watched down. Retrieved from www.business2community.com/facebook/state-facebook-videoyear-2017-video-length-time-watched-01834666 Schechner, R. (2003) Performance theory. New York, Routledge. Science Festival Alliance (2012) Get inspired: A ﬁrst look at science festivals. Cambridge, Massachusetts, MIT Museum. Retrieved from sciencefestivals.org/media/planning_tools/Festival_ FirstLookLowRes.pdf Sontag, S. (2001) On photography. New York, Picador. Tompkins, E. L. and Adger, W. N. (2004) Does adaptive management of natural resources enhance resilience to climate change? Ecology and Society, 9(2), pp. 1-14. UNEP (2008) UNEP climate change strategy. Nairobi, UNEP. USAID (2010). Global climate change: adapting to climate variability and change. Retrieved from www.usaid.gov/our_work/environment/climate/policies_prog/ vulnerability.html Walker, B., Carpenter, S., Anderies, J., Abel, N., Cumming, G., Janssen, M., Lebel, L., Norberg, J., Peterson, G. D. Pritchard, R. (2002) Resilience management in social-ecological systems: a working hypothesis for a participatory approach. Conservation Ecology [online], 6(1), 14 www.consecol.org/vol6/iss1/art14 We Are Social and Hootsuite (2018a) Digital in 2018: Global overview. London: We Are Social and Hootsuite. Retrieved from www.slideshare.net/wearesocial/digital-in-2018-globaloverview-86860338 We Are Social and Hootsuite (2018b) Digital in 2018 in Southern Asia. London: We Are Social and Hootsuite. Retrieved from www.slideshare.net/wearesocial/digital-in-2018-in-southernasia-86866282?ref=https://hootsuite.com/resources/digital-in2018-apac Weber, R. (2004) The rhetoric of positivism versus interpretivism: a personal view. MIS Quarterly, 28 (1), pp. iii-xii.

APPENDIX Appendix 1: Map of Duaripara informal settlement

PAGE 67

68 PAGE

Name

Dr Saleemul Huq

Dr Pablo Suarez

Participant No.

Red Cross/Red Crescent Climate Centre, The Netherlands

International Centre for Climate Change and Development, Bangladesh

Organisation

Interview video link

It is about how penetrating to the emotional self this performance was. It was not a sense of enjoyment, as in enjoy. It was a very powerful, viscerally palpable experience. There were moments where it was very comfortable. The actors successfully immersed us in the daily life of someone who is not having an easy time and there were very powerful moments, the mother crying for not knowing how her child is. But then when the [Pot Gan] director intervened and gave us the choice ‘what do you do? Do you clean the drainage, or do you?' That means do you sacrifice this group or that group? It is the magnificent manifestation of the consequence of choice. In this performance, we the audience were invited to inhabit that choice and feel the consequences. That person has no home to sleep tonight, what are we going to do? What emerged in the dynamics of the conversation, with as usual some members of the audience giving all of the answers, some asking relevant questions, some not seeing through the disagreements, the desire to take over the discussion, that is what we do. The fact that this invitation to [move] from audience to participant, to essentially performers, I liked the last comment by Atiq, we were performers in this. We cared, this made us care and that is something that neither science, nor policy is successful at doing. We have been trained into the belief that only certain forms of inquiry are valid, it is very clear that the viscerally palpable physical nature of what happens, I could feel in my guts the shouts of the performance, when the child was missing. It felt here [points to gut], it was not just here or here [points to head]. We in the climate community, we in the development community, we in the scientific community need to remember that there is a reason why performance was the earliest form of communication, it is because it reaches us, it reaches us at a level that is more likely to motivate action. What I most liked about this instance, and I hope I can help spread is to create this magical moment where what we observe becomes what we influence. That moment was very powerful, we as an audience became aware that we can change something.

One of the participants who works with both scientists and slum dwelling communities in India told me afterwards, I do not know if she talked to you, but she told me that she is going to go back and do this. She said one of her problems is getting scientists to actually talk in a language that normal people can understand even if they are taken down there, they do not communicate well with the communities and so forcing them into making real choices about real problems and then seeing how deﬁcient their science is in that context is very very important. I think what I learned is that you can dramatise in very human terms what is a very complex issue, namely the issue of migration, people losing their livelihoods and their land and moving to cities. In this particular case, Dhaka city as an example, a very overcrowded city that migrants are moving to in their millions. So, it humanises what otherwise would be a fairly complex and diﬃcult to understand, and theoretical and technical issue, and I felt that they did that very well.

bit.ly/GDIpotganCBA10

The Pot Gan performance by the drama students from Dhaka University was absolutely superb. It was not actually a bit.ly/GDIpotganCBA10 traditional Pot song. They made a riff of a traditional Pot song and went into an issue that needed to be resolved and they drew the audience into debating on that particular issue in an extremely effective manner. In the end the audience were the theatre and the theatre were the audience. They did that very cleverly, I was very impressed. The songs were very nice, very interesting, popular. But, the most important and most impressive was the way they turned the audience into participants by engaging on an issue of reality on the ground. This audience is [mostly] scientists working on theory rather than practice and they had a great deal of difficulty dealing with a real problem on the ground and came up with all sorts of theoretical solutions that would not help the problem on the ground that they were being faced with. And, they realised that, and they were made to realise that and that was an extremely effective means of drawing the audience into a discussion.

Interview transcript

Appendix 2A: Transcripts of post-performance video interviews at the 10th International conference on community-based adaptation to climate change

PAGE 69

Institute of Development Studies, UK

Dr Terry Cannon

Mr Charles Tonui

Mr Richard Lace

BBC Media Action Bangladesh

African Centre for Technology Studies, Kenya

International Institute for Environment and Development, UK

Ms Teresa Sarroca

Organisation

Name

Participant No.

Appendix 2A: continued Interview video link

I think one of the things that this project is trying to do which is really impressive is to reflect its research back to the bit.ly/GDIpotganLace communities that were the subject of the research, and obviously doing so in an entertaining creative way is likely to be much more successful than trying to go down to a slum and read someone an academic paper, that will not work. I think the big benefit it brings is validation of the findings of the research, which then means it is much easier to get policy traction and encourage people to take that research seriously outside of the academic sphere.

This particular play was actually very fantastic, it was quite informative in terms of sharing with the researchers, like me, bit.ly/GDIpotganCBA10 practitioners, policymakers and also community representatives on what actually the vulnerable communities are facing back at home. […] I learned [that] is it is not easy to come up with a solution. So, it means that getting a solution requires a multi sectoral approach, it requires all the players to come on board to participate from the word go, especially in developing the short and mid-term and long-term solutions. But, I realised that live performance, especially through drama is really emotional. I got really emotional, why are we depriving the vulnerable people of their rights? As a researcher I should be very proactive in terms of coming up with a solution, I should be innovative enough. So, it really tested my skills, it tested my capacity as a researcher, it tested my capacity as a human being to really learn to respond to the plights of the community, or for those people who are poor and vulnerable, especially to climate change. This is one of the ways […] that is very good, very initiative in terms of sharing information with those people who do not even understand your language.

I enjoyed it very much, the aspect that I found very useful and fascinating was the interaction, the way the play broke down into bit.ly/GDIpotganCBA10 an interaction with the audience. In fact, I thought that could have happened at several points during the play, and then open it up to a final discussion right at the end as it did. But, I think there were possible stopping points earlier where it could have opened it up and then gone back into the play. But, I thought it was a very very good performance and a very good way of doing it. I think you could get a sense of the enjoyment that people were getting. It was not just enjoyment of the experience it was actually making people think about the issues that were involved. I also thought it was very useful for providing a critique of the concept of community, which is used rather uncritically by many people because in that short play I counted at least six different kinds of conflicts going on between people in this so-called community. Does it lead me to do anything differently in what I do? Well I think the involvement of people in what we do is crucially important, and I think actually demonstrating to the people we work with and are supposedly trying to help that they get something back from it as well. I think this is a way of potentially doing that, showing that we have done is useful for them.

It brings it into that emotional level, which I think is really important. It is, someone just said interactive. It is interactive in bit.ly/GDIpotganCBA10 a way that, it is not necessarily interactive in terms of you getting into the action. But, it is just a different communication. It speaks to you on different levels, it is like on an emotional level, on actual facts, on examples, on a real life, it just hits you on multiple different ways. For me it is having it down on the ground, as opposed to having these buzz words, of like, this is what it means, how it comes down to you and me, and how this affects the people who live in your city and live around you.

Interview transcript

70 PAGE

University Student

High School student

University student

Ms Farzia Haque Farin

Ms Priya Khan

Ms Nusrat Rahman

Mr Mahfuz Ahmed

University student

Mr Inur Aqib

Organisation

Name

Participant No.

bit.ly/GDIpotganBC

Interview video link

Usually climate change related presentations use a lot of technical terms and jargon, like sea level rise. However, this performance displayed the eﬀects of climate change practically rather than using technical terms. And that is where I feel climate action needs to be. If we do not raise awareness among the masses, then it will not make people think about it. So this is where this event is diﬀerent.

Before coming here, I thought this would be just another play. But it was very diﬀerent to what I thought it would be, especially the audience participation in the play which I thought was very unique. We can all relate to the issues that were highlighted in the play. Urban poor populations in Bangladesh face such issues in their everyday lives. Due to lack of awareness and initiatives these problems still remain unsolved.

To raise awareness about the impact of climate change among a mass audience, I think interactive plays like this are much more eﬀective compared to the usual methods, like PowerPoint presentation and panel discussions. The Performance portrayed the real impacts of climate change, which I thought was very eﬀective. It was so realistic. It is a good initiative.

bit.ly/GDIpotganBC

This play is very diﬀerent from the ones I have watched before. This play actually makes the audience participate and bit.ly/GDIpotganBC think about real problems. We have seen the crisis of the water drainage system [in the play], sadly none of us here could provide a solution. We are not talking about just one family here. Thousands of families are being aﬀected.

Climate Change is a big issue around the whole world. I never thought about how this issue is connected to the lives of farmers and the urban poor. After watching this performance, I have realised how fatal its consequences are for economic and livelihood issues of the urban poor. These kinds of plays should be organised not only in Bangladesh but all over the world, because performances like this will create awareness among people to take initiatives to ﬁght the effects of climate change.

Interview transcript

Appendix 2B: Transcripts of post-performance video interviews at the British Council

PAGE 71

Name

Mr Sudip Chawkroborti

Ms Moriom Khatun

Ms Hasina Begum

Mr Lidon Mahmood

Participant No.

I came here to watch the play. I really liked it as it based on our lives. I hope we will see more plays like this in the future.

I have known Joanne for 2 years, since she started her research. During the research she visited many families in the slum to collect information. The performance was based on our stories of living in the slum. People here are affected by flooding. Some children in this slum have lost their lives by drowning in the water. Working mothers, such as garment workers and maids, would come back home to find that they lost their children. People in this slum have suffered a lot because of waterlogging.

Local resident

I have been living in this slum for the past fifteen years and I can relate to the scenes in the play. People here suffered a lot due to waterlogging. This drama made me feel like I was watching my own life in front of my eyes. Performances such as this should be organised more often, so people will find out about our lives.

I have been living in this neighbourhood for the last ten years. Most of the scenes in the play are related to our lives in the slum. During the rainy season the slum gets ﬂooded with water, which makes us captive in our own beds due to waterlogging. A lot of the mothers here lost children that drowned while they were asleep. I want to thank the organisers for putting on the play.

Interview transcript

Local resident

Organisation

Appendix 2C: Transcripts of post-performance video interviews at Duaripara informal settlement

bit.ly/GDIpotganDP

Interview video link

72 PAGE –

I enjoyed the overall performance.

The Interactive parts of the performance with the audience.

The participatory performance approach.

–

That the performance was based on research. I liked how climate change was presented in a diﬀerent way…

How the performance brought During the audience interaction we people's real lives to the stage and in a had to decide what should happen next, it made us start to feel comical way. responsible for the action we choose.

–

We all need to take actions in our daily life in order to stop and/or avoid increasing the eﬀects of climate change.

Obviously. People are suﬀering every single day, not occasionally.

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

The Pot Gan medium helps people to understand climate changes in a way that is easy to understand.

The careful way that the issues were presented was outstanding.

–

Because it is something we will remember and feel under our skin.

–

People can learn very easily about – climate change from watching the performance. It is good for small sized audience, but not for big audience at a time.

Watching the performance made it is easy to learn and understand the eﬀects of climate change through its use of speciﬁc examples.

People only learn about climate change through newspapers which is not enough for describing the whole situation. The Pot Gan showed the true reality of climate change right in front of us. We were able to understand to some extent the actual situation...

I enjoyed all of it. The performance focused on those who are suﬀering in our country due to climate change and how some people's [self] interest make them suﬀer more. The most interesting part of the performance was the last part, when the performers asked the audience for solutions and everybody was stunned. There was a breath taking moment when we were asked: 'What will you do for this family? Where will they go?'

I had a great time. I enjoyed the whole performance, but the ﬁnal debate was the best part. But, it was sad to realise about all the problems related to climate change.

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

What did you enjoy (or not enjoy) about the performance?

Participant No.

–

I was not aware that political and economic elites controlled families and manipulated their rights and their future.

Yes, I was ignorant of the reality of climate change and thought it could be tolerated, but the Pot Gan showed something else.

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

–

Using a story as a vehicle of knowledge is always a good option to deliver information.

People's way of living, their emotional suﬀering and many other things cannot be described by words only. Pot Gan is far better than a research paper for making people understand climate change at a higher level or those that are concerned about the issue.

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

Appendix 3: Online survey results for live Pot Gan performances at the British Council and the 10th International conference on community-based adaptation to climate change in Dhaka (results for open-ended questions)

PAGE 73

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

Because it is the reality that people are concerned about.

An innovative and enjoyable way to convey a message... The ﬁnishing discussion of the Pot Gan could be improved.

People are more comfortable with simple and enjoyable forms of communication, but many climate adaptation strategies fail to deliver in this respect. The Pot Gan is diﬀerent in this sense.

It relates well to the most vulnerable people and helps impact life decisions in a practical manner.

Great show, drama is an eﬀective tool It speaks closely to the everyday for communication. I really liked how it challenges and solutions of climate was based on lived experiences. And, change. it showed how climate risks are perceived and dealt with by families.

Yes and no! 1. Those living the reality already know it, and those who need to made the investments and necessary preparation might not necessary attend Pot Gan sessions. 2. Side by side, synopsis also needs to be issued and circulated widely.

It brings to life issues on climate change and human values vividly. You cannot help but get caught up in the scenes unfolding in front of you.

I would have enjoyed it more, if the scripts focus on land tenure did not sound so negative. If the intention is to highlight the plight of the poor who are ﬂocking to urban areas due to climate change, urban planners should have had a small role in the play. I believe that it is also important to portray the desired outcome, to plant a positive seed of what is possible.

–

The way that the Pot Gan plays out the realities of living with climate change is valuable. The interactive part of the play gave the audience a chance to contribute to the story and also to learn more about the overall message of the performance… There is a need to strengthen local governments and challenge them to pro-actively address problems faced by those aﬀected by climate change.

–

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

–

The way it expressed the situation of I think it is really a useful way to build climate change in Bangladesh through awareness on climate change as the singing and acting. people of Bangladesh are culture loving.

What did you enjoy (or not enjoy) about the performance?

Participant No.

Appendix 3: continued

–

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

Yes, about the method… I feel it is time to honour indigenous communication of knowledge.

The issues addressed are common challenges that most families living in similar environments face in Dhaka.

As climate change is impacting local people, local forms of communication should be used to convey adaptation messages.

–

I learned that a piece of land is still We might use Pot Gan to central to people's perception of well communicate the importance of being […]. The plight of the urban poor holistic education for rural audiences in the face of rising water levels was very well portrayed.

It highlighted that the eﬀects of climate change is not just felt in rural areas, but in urban areas too. I learned more about the level of vulnerability that the poor experience. Even when seeking refuge, they are exposed to heartless exploitation, by those they seem to trust.

I knew about the word 'climate change' and also knew a little about it's impact. The 'Pot Gan' gave more information about it's impact.

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

74 PAGE

The audience interactions were really useful. I liked how the photos shown depicted the points raised in the wonderful songs.

The innovative format with audience involvement worked really well, especially leaving the ﬁnal say to the audience.

The stories conveyed in the Pot Gan helped us see ground realities. The audience interaction based on debating solutions was particularly eﬀective. Pot Gans and live performances should be part of every conference.

It focused on real people and a place Reality focused. I like the performance very much! I really enjoyed the interaction after the that exists. It goes into the issue indepth, letting people understand the main performance. real situation and motivates us to take the action that is needed.

–

Relating the issues to people's everyday experiences helps explain the concepts and issues better, especially for people with limited or no education.

Brings their reality to the audience.

–

Performances like this are capable of drawing the attention of citizens who otherwise may not spare the time to understand and respond to issues. With its compact format and compelling invitation for audience involvement, it is capable of driving home the message, be it on climate change or on any other burning issue. It is visual and physical.

Climate change is impacting every one, the rich and poor. Thus, climate change is a concern about human existence, so it should be communicated through our everyday experiences.

Interacting with various people in the audience meant we could learn how they are trying to address these issues, this is a very useful way to build awareness.

I have programme in an urban area, but this focus on urban community resilience and capacity building is very new to me. This made me aware of how to address this issue.

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

What did you enjoy (or not enjoy) about the performance?

Participant No.

Appendix 3: continued

–

Seeing the day to day struggle of citizens and their eﬀorts to stay aﬂoat in the face of calamities was really an eye opener.

–

Bangladesh is now at very critical condition due to the frequent occurrence of ﬂood, cyclone and increase in heat, therefore it is very useful for the Bangladesh government and NGOs to take appropriate measure for building community resilience.

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

–

It makes me think we should have more of this.

It has made me think of involving creative artists and writers in the promotion of various causes that my organisation promotes among poor communities across the country. It would be helpful if you can put me in touch with artists and organisations doing similar work in India.

–

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

PAGE 75

We were able to gain an understanding of best practice from other countries during the discussion with other participants. We could watch it and understand all of the issues.

–

The way it presented climate change through performance. If possible it would have been good for us to see the performance in the slum that the research was carried out, instead of at the conference venue.

The fact that no power point presentation was used was the best part! I really liked the way it used performance to share experiences.

I enjoyed the performance. The actors did not just stay on the main stage, they acted right beside us, among the audience. This created a new way to communicate, with the actors playing people that are suﬀering right there with you. In this Pot Gan, it showed the real situation of people living in slums.

It addressed the plight of the urban poor in Dhaka through the process of audience engagement.

The way the Pot Gan was presented was easy to understand, regardless of your language, level of education and status.

I think that if people become aware of the impacts of climate change then it will bring a positive result.

–

People mostly think that climate change aﬀects rural communities. But, from the Pot Gan we get a clear picture that urban communities are also highly aﬀected.

I was not aware that this was happening in the city I live in, Dhaka. I learned more about the category of aﬀected people.

I was already aware of the issues that the Pot Gan covered. So there was nothing new in it for me. However, I believe that it has educational (and entertainment) value for those who want to learn about climate change.

I had very little knowledge on climate change in the context of Bangladesh. Through the Pot Gan, when I go back home I can communicate to the Nepalese people about the Bangladesh context.

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

–

Climate change is aﬀecting communities in their everyday activity so if we can focus on everyday experiences it can help us ﬁnd […] solutions.

It is not catchy for the policy makers […], but it is for the victims or general people for awareness building.

Most people do not care about things that do not aﬀect them personally. We all can relate to 'everyday' experiences, more or less. So focusing on that aspect humanises the communication process.

The Pot Gan left a lasting emotional eﬀect on the audience. This is important if we want people to take action.

I admire the initiative and the people who put their time and eﬀort into making it happen. I enjoyed the way it engaged the audience at the end. It showed how moral conﬂicts can arise while trying to solve a problem like climate change.

This type of experiences helps those that are not impacted by climate change to empathise with those that feel the diﬃculties and pain caused by climate change.

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

This is very eﬀective way to make local people aware and it will hit the policy level too.

–

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

What did you enjoy (or not enjoy) about the performance?

Participant No.

Appendix 3: continued

–

I usually use entertaining elements to communicate my work, but I never tried musicals. I love the medium, and the Pot Gan made me think about how to apply it in the context of Bangladesh.

Putting questions to the ﬂoor during the performance was an innovative one and I shall use similar techniques in my work.

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

76 PAGE –

The audience can understand the messages with all of the visuals used to communicate the issues.

It was really great! For starters, it was a really beautiful, and emotive performance. I also liked how it brought out stark diﬀerences of opinion within the audience.

The performer's acting ability and the feelings they instilled into the audience.

The quality of the debate with diﬀerent participants.

It was great. The fact that it involved the audience in decision making, ensured complete involvement and understanding of the issues. This also helped highlight the diﬀerent opinions within the audience, which can be very helpful tool for planning interventions. I would like to learn more about your experiences in the ﬁeld is possible.

Enjoyed how the realities of living in a slum was presented.

Too much information and issues were raised. Pot Gan messages should reach to policy makers.

–

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

It helps people visualise the concept, while allowing them to move back and forth. Most importantly it allows for interaction and change, which is never possible with ﬁlms.

It talks about the real life of local communities.

–

People can learn about local problems.

Climate change is a gradual process, focusing on 'everyday' experiences does not reﬂect this. It was unable to reﬂect climate change issues in an urban context. It was successful in depicting the urban in-migration, resettlement and water and drainage issues. An important stakeholder - a local elected representative was missing in the Pot Gan.

I think that it is very important as it brings climate change right to your door step, rather than [something that happens in a] hundred years.

–

Again, because these issues occur in It uses a known theatrical form to communicate about a new issue. It is a the day-to-day scale and not just the macro level. medium that is relatable, and brings out the human-side of climate change.

Visually (e.g. photographs used) the performance told us what was said in words in an easy way

How it was based on storytelling and acting.

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

What did you enjoy (or not enjoy) about the performance?

Participant No.

Appendix 3: continued

–

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

–

I learned about the political dimensions of slum development in Bangladesh at the local level. I knew this as I have visited some slums, it helped verify my thinking. The Pot Gan put it in more context.

I learned that there is no easy solution to these problems.

–

We will explore the concept (using street plays) during our slum level resilience planning process to help people visualise long term concerns.

–

That trade-oﬀs exist, and some of the I want to think of more creative ways to connect to audiences. problems that climate change brings are really complex. There is not always a 'win-win' situation.

Social dynamics and climate change impacts.

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

PAGE 77

It was a very creative initiative with lots of thought put into the content, with various social messages […]. I think this type of initiative is needed in order to develop our social responsibility for society, for our nation. Also, the acting in the Pot Gan performance was excellent.

I enjoyed the Pot Gan performance as It was very easy for the common it was very powerful in visualising the people to understand and accept. reality of living with climate change in a slum. However, the end was not very promising as it tried to interact with the audience [to ﬁnd solutions] rather than telling us the solutions to the problems shown.

I enjoyed the fact that the audience were part of the theatre.

I was really touched by the live performance by the students showing how people's livelihoods are vulnerable to climate change.

The Pot Gan demonstrated that not only is listening […] important, but also it demonstrated that participatory interaction helps people to understand and build up their awareness easily.

Most people at conferences/ meetings/seminars are not aware of ground realities so this will help build their awareness.

If we want to build awareness on climate change we need to take some creative approaches to make it more understandable for people who live with climate change in our country.

The people, especially of developing countries, do not understand the technicalities of climate change... Thus, this is a great way to communicate the impacts of climate change.

The amazing way that climate change and its impacts were portrayed through theatre.

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

What did you enjoy (or not enjoy) about the performance?

Participant No.

Appendix 3: continued

Climate change is becoming a challenging issue nowadays. Therefore, to cope with this challenges, the impact of it should be known by all […]. Everyday experiences are an eﬀective way to communicating the issues.

–

It is easy for the community to understand the problem and the cause of it [...]. Climate change makes us rethink our lives […].The challenge of climate change should be tackled through the active participation of local people together with the concerned stakeholders.

Yeah of course, practical knowledge and experiences are more eﬀective than our theoretical knowledge on climate change. After watching the Pot Gan performance it helps me communicate with diﬀerent people about climate change issues.

People do not understand jargon, such as sea level rise or greenhouse eﬀect. They have to know that their lives will be directly aﬀected.

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

–

I work with school kids so I feel Pot Gan would be a good medium to get my message across.

I learned about the complexities of decision-making on climate change. I look forward to seeing more performances like this. In the context of Bangladesh, people should be aware of this challenging issue. The drama demonstrated by the students should also be shown to others […].

It was a very interesting idea to choose Pot Gan as a research communication tool. We tend to communicate our ﬁndings to the research community. Even if we communicate with the locals we assume their level of understanding is the same as ours. It has made me think of ﬁnding simpler ways to communicate with locals.

–

I learned how slum dwellers live and about their problems.

It was very helpful to understand more about the eﬀects of climate change in the urban context as I am more familiar with the impacts in rural areas.

–

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

–

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

78 PAGE This tool is eﬀective, even to people who do not understand Bengali. You could feel the emotions of the actors, their body language, you could not help but be moved by it all. The projections of images throughout the performance were powerful, they helped tell the story.

–

Great job! The interactive nature of the performance

It presented practical solutions to climate change impacts in a way that was easy to understand.

Climate change impacts in the form of ﬂooding, particularly aﬀects the poor, the landless, who have lost their belongings, and who are searching for safe shelter for their family. So, this play highlights a vital question not just for Bangladesh, but also for the countries who have caused climate change.

It appeals to people's hearts and not just their minds.

–

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

It can teach us the methods of coping or adapting to climate change as well as convincing those who are contributing much more to the climate change to do something.

It could provide lessons to others […].

Pot Gans can communicate to many People are always anxious for people and help cultivate their solutions to the problems that are interests in an entertaining way. In affecting their day to day lives. contrast, communication strategies that focus on reports may not reach everyone in part due to different literacy levels… It is important to use language that is suitable for particular audiences. The Pot Gan depicted the real life situation and offered solutions in a way that was entertaining and captivating, attracting the attention of the audience.

It brings the audience into the performance.

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

What did you enjoy (or not enjoy) about the performance?

Participant No.

Appendix 3: continued

That the poor and landless people are much more aﬀected than the rich […].

That climate change is an issue in urban areas […], although the approaches for tackling it in rural and urban contexts may diﬀer.

I learned about how climate change can impact people at a personal level, how it impacts at the family scale.

–

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

We, in Nepal, are also facing diﬀerent impacts from climate change, erratic pattern of rainfall, melting of ice-caps. It is posing a bigger threat to the poor. The severity of ﬂooding, drought, and diseases are making the poor poorer. So, we should also think about sensitising the poor to adaptation practices like that shown in the Pot Gan method. Pot Gan using local language, folk music and drama could be a very powerful tool of communication. Thank you!

–

I will try to explore ways of doing more.

–

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

PAGE 79

Portrays things in diﬀerent ways, through song, drama and photographs, this makes it easy to follow and understand.

The performance made a diﬀerence to the CBA conference.

The way it presented research ﬁndings in a lively way was exceptional.

How it highlighted the issue of river Community people in Bangladesh are bank erosion and the plight of landless fond of visual communication instead people. of lecture method.

–

The acting was great. The performance really made you understand the dilemmas faced by local communities and the power of theatre to get you thinking about this. Though, the play was a little long.

It really brings home in a powerful way the challenges faced by local communities.

–

Sometimes the literature cannot explain everything […] Everyone can understand theatre, that is universal.

See previous answer. The Pot Gan can reach a wider audience, climate change researchers like myself struggle to do that. The science on climate change is clear, but public perceptions do not align with the science - this is a communication problem, and I think the Pot Gan can help overcome it.

The Pot Gan performance provided an alternative way (to those I am used to) to learn about climate change. As a researcher, I often ﬁnd I am 'preaching to the converted', but the Pot Gan has potential to reach a much broader audience, which is something climate change researchers struggle with, both historically and currently.

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

What did you enjoy (or not enjoy) about the performance?

Participant No.

Appendix 3: continued

It is particularly useful for an audience made up of privileged people who do not have to worry about these issues. They do not have to worry about their baby falling off the bed into flood waters. I think it would be great to show the performance to policy makers and government officials who may not be aware of the reality on the ground.

–

Makes things more personal and real.

It takes climate change out of the realms of science and into something more personal that people can more easily relate to and understand.

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

I learned about the power of theatre as a tool to raise awareness. Also, about the fears that parents have of losing their children during ﬂood time, this was brought home in the scenes where a mother tied her baby [to the bed] to ensure it did not fall into the ﬂood [water].

–

Awareness about the impact of climate change on community people

[…] In the Pot Gan it described the underlying impacts of climate change nicely.

–

I was reminded that climate change problems are embedded in general development problems (like land ownership, corruption, health issues etc) and cannot be divorced from these.

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

Yes, but probably not relevant for my own work.

–

We are also working with different flood, cyclone and water logged communities on climate change issues. Pot Gan would be an effective way to raise community awareness about the impact of climate change.

A long thesis or case study might not get the attention of the targeted audience, but a performance could do that eﬀectively. There is little scope to present emotions in research paper, but Pot Gans appeal to people despite some language and culture barriers.

It showed me that it is possible to communicate your work outside of publications and the normal conference and seminar format.

Climate change scientists need to be more creative in how they communicate with a broader audience, or at least work with people who can do this better. It was a highlight of CBA10 conference for me and many others. Thanks Joanne!

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

80 PAGE It directly involves the feelings and emotions of people who are aﬀected by climate change. It not only creates education and knowledge sharing, but also reﬂects on how society, especially the poor and deprived are trying to address their needs [through] income generation, migrating to safer land, and protecting themselves.

The act itself was designed beautifully to attract attention. Besides, I liked how it presented life in an informal settlement, their diﬃculties, individual interests... It had a mind opening response from the audience.

I think it would have been better if the interactive elements had been better explained at the start. It was confusing when it happened.

Integrating communication through You were able to catch the real art with the real problem of climate problems of poor people linked with change worked really well. I really liked the social issue of climate change. that it was a real story and performance linked to the loss and damage theme of climate change and social discrimination.

Thanks for your leadership in Any story that deals with complex delivering this. The story and the level questions is very useful and of emotion of the actors was amazing. important.

To bring concepts to new audiences, art must be a part of any kind of mass education […].

–

Maybe not directly about climate change, but more to the diﬃculties that communities face and to look at it with a critical eye.

The way you ﬁrst get to know everyone's story meant that when it was time for the audience to make a decision on their future you know (to some extent) what the consequences for each would be.

–

It provides a site speciﬁc case in Bangladesh highlighting ﬂood issue and population density.

–

We get to learn about their needs and how they are trying to deal with it. We were able to get a closer observation of what was going on […] and could analyse if they are doing the right thing, and provide them with solutions and advice.

Thank you for the wonderful work! I would love to show your play at one of our meetings.

– The Pot Gan had a direct impact on the audience on many levels, through the directness of the questions that were posed to the audience and the way the audience got involved in a real life scenario that was being acted out. The experience was much more impactful, compared to other forms of media.

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

What did you enjoy (or not enjoy) about the performance?

Participant No.

Appendix 3: continued

–

I come from a mountain ecological region, so I learned more about climate change impacts on lowland areas.

Not so much learned, but really brought home the impacts on individuals and the hard choices involved.

–

It was very practical. I thought cleaning the drains was always the best thing to do and everyone would be better because of it. I did not realise what the 'negative' eﬀects could be for others.

I learned to see the life of the poor in Bangladesh from a diﬀerent perspective, from theirs. Not sure I would say that the performance relates exclusively to climate change, it was one out of many issues raised.

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

–

By thinking of similar opportunities.

My experience of the Pot Gan is inspiring, this kind of thing should be moved ahead and also shown in bigger platforms than CBA10, probably some documentation and sharing among interested people can be an approach to make it more popular and win recognition in more countries. Also, someone can initiate similar approaches in other countries as well. It is a well appreciated act, and I wish it will be more popular in future.

I always look at more out of the box options, but this method was new to me.

–

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

PAGE 81

It was such an amazing performance and such a great tool to communicate the complexities of climate and development, as well as the diﬃcult decisions that people take every day. Theatre performance is a great way to tell stories, it communicated the complexity of climate change very well. I felt part of the decision-making process through the audience participation, it was engaging.

The characters [in the Pot Gan] were believable and engaging. The screen with English subtitles made it easy to follow even though I do not speak Bengali.

Really enjoyed how the performance focused on the interconnected nature of many of the problems those in slum areas are facing. But, the audience interaction left me feeling like the situation was hopeless and could not be solved as we could not come up with a solution.

–

The quality of the acting, the music and the dilemma that the audience was brought in to debate.

72 - 77

What did you enjoy (or not enjoy) about the performance?

Participant No.

Appendix 3: continued

–

It highlighted to me that there are non-traditional ways of bringing climate change problems to light. It shows how problems that might not necessarily be viewed as related, in fact are.

Anything that genuinely engages people is the way to help them learn.

Understanding the issues that underlie decisions and how climate change drives these root causes is critical to addressing climate change. The Pot Gan was very eﬀective in explaining very complicated and complex ideas simply.

It confronted people with a 'real situation' they had to deal with in that moment, rather than an abstract idea to develop for the future.

Do you think performances like the Pot Gan are a useful way to build awareness on climate change? Please explain.

–

It showed how climate change might not always be the only problem.

It is much more relatable.

–

The tensions over potential uses for land, and the strength of ties and responsibilities to their old communities was really interesting.

–

The performance made me realise that not only professionals working within the ﬁelds of adaptation or development need to make crucial decisions, but that every stakeholder (including every family that lives in a slum) has to make such decisions when it comes to climate change issues on a very regular basis.

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan? Please expand.

Absolutely. This is something people can either identify with or learn a great deal from, as they may not have the perspective of those aﬀected on the ground themselves.

We need to focus on the everyday rather than the bigger picture. These local stories are very powerful. If we do not put people at the core of communication we are leaving them behind. By focusing on the lived experience, the Pot Gan is communicating the actual realities of local people, rather than perceived realities from outsiders.

It clearly reveals the tensions between dealing with present, pressing issues and future-oriented climate thinking, and thereby makes even clearer that work is needed on both fronts. So, it makes the link between development and climate change very obvious.

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please explain.

–

I have tried to tell stories on climate change in an engaging way, but have been limited by language. But, the Pot Gan can work in many languages as the performance in Bengali was accompanied with English subtitles so everyone could easily follow it.

I work with [an NGO], we are constantly looking at new ways of communicating decision making, the complexity of disasters and development, and understanding how people face climate change. We are currently undertaking research on local perceptions of risk, we have been struggling with methods to communicate these ﬁndings. The data either loses the localisation and the everyday realities or is so focused that it does not speak to the replicability or complexity of the issues. Using interactivity like in the Pot Gan could help with this. I think this approach has so much potential.

I am still studying, so the format of how I can present my work is deﬁned relatively clearly.

Has the Pot Gan made you think diﬀerently about how to communicate your work? Please expand.

Appendix 4: Online survey results for public event at Manchester Museum (results for open-ended questions) Participant No.

Does your work focus on climate change and/or development?

What did you enjoy (or not enjoy) in particular?

Were the discussions during the event useful? Why or why not?

Yes

–

There were some issues that made it difficult to hear from the back. Also, it was difficult to read the subtitles so it would have been useful if the screen could have been higher. Some of the event staff were also setting up their kit behind and beside us which was really quite distracting.

–

Interesting approach to look at climate change, it was thought provoking and diﬀerent.

I think they were good, but the questions could have been answered in more detail. My understanding of research is that it should have a purpose beyond academia, I would have liked to have seen more of an intention from the research that the results would actually be used to help make a diﬀerence. For example, perhaps trying to screen this to a wider audience, such as those involved in making policy in Europe and at multi-national summits.

82 PAGE

Do you think events (like the screening of the documentary) and videos (like the recorded performance of the Pot Gan) are a useful way to build awareness on climate change? Please expand.

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please expand

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the event? Please expand

–

The focus on family stories within the same slum really worked.

The Pot Gan was brilliant. It was a great way to learn about climate change, bringing local voices and culture to the fore, to show how the urban poor are impacted. The documentary material was very strong too.

Without focusing on those living on the frontline of climate change, how else could people from the UK get any inkling of life in a Dhaka slum prone to ﬂooding?

I learned about how the slum developed, the life of those living there, the impact of ﬂooding, the way the slum is 'managed'.

It is a great way to gain insight into how climate change aﬀects people at an individual level and in particular regions of the world.

I think using accessible language is really important when talking about these kinds of projects.

–

Absolutely, it personalises the experience so viewers cannot just shrug it off as 'those people over there'. It makes the stories come alive. I think the Pot Gan is definitely an interesting way of presenting it and obviously speaks to the Bangladesh people. Perhaps with a Western audience, it might be worthwhile extending the first documentary we watched to include interviews (if permissible with some of the people). While focusing on everyday experiences does personalise this issue, the Pot Gan specifically to some extent acts in the opposite way to generalise it again (i.e. while I know the characters were based on specific individual stories, they could in fact be anyone in those slums). What touched me the most was that Joanne shared a diary entry about a woman she met during her research: that was one woman with a real struggle. That is what made those everyday experiences come alive and made me want to do something to combat climate change for these people.

Provides a diﬀerent perspective to why climate change is important (i.e. it is touching real people's lives).

PAGE 83

Appendix 4: continued Participant No.

Does your work focus on climate change and/or development?

What did you enjoy (or not enjoy) in particular?

Were the discussions during the event useful? Why or why not?

–

Some of the discussions went on for too long.

–

Yes

The venue was perfect and the information about the Pot Gan event was explained in detail by Dr Jordan. Keep up this great work.

–

84 PAGE

Do you think events (like the screening of the documentary) and videos (like the recorded performance of the Pot Gan) are a useful way to build awareness on climate change? Please expand.

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please expand

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the event? Please expand

–

It brings it to a wider audience.

It made me think more about living with climate change and in such poverty. I think more solid conclusions and practical advice could be given to the audience rather than just telling a story.

It makes it more emotional, real and easy to relate – to feelings we all experience and to put ourselves in their shoes.

I did not know the size of homes, the expense of renting in a slum...

After having seen the documentary and the photographs, it told stories on many different levels 1) on how this was impacting the people/community in Dhaka and 2) on hearing more in-depth details about ownership of the land, the rent they pay per month, details not seen but told in words by the speaker. I thought the problems discussed were smaller and easier to fix, in fact they are much bigger issues on so many different levels, it is amazing how these people live to survive! I've always been brought up to understand to never litter the streets or the world I live in and to respect it, as I respect people and animals alike. I hope more showings of this documentary or live dramas are done in the slums of Dhaka, letting them know that they are being heard [...]. Let's hope that the politicians and Prime Minister Abdul Hamid, can hear or see this too! All people need to work together to solve climate change.

Yes, every body has to live there every day over – and over again, some worse than others. It is only until we see disaster after disaster by climate change that is sometimes brought on by mans own hand that it becomes a warning sign to us that this has to stop and only then by working together as a nation/community will we ever repair the damage that is being done. The saying is: you reap what you sow [...] Earth gives so much yet it asks for little in return.

–

PAGE 85

Appendix 5: Online survey results for public event at Rich Mix London (results for open-ended questions)

Participant No.

Does your work focus on climate change and/or development?

What did you enjoy (or not enjoy) in particular?

Were the discussions during the event useful? Why or why not?

Yes

It was like weaving an intricate tapestry on climate change. It was accessible to the layperson and not bogged down by academic jargon.

They were short and to the point and connected back well with the material presented.

Yes

The event was, for me, a complete success. From the Bengali food, to the venue, to the ﬁlm, to the Q&A's, you deserve an awful lot of credit for it. The Q&A sessions with Joanne and Saleem were brilliant, their responses were considered and insightful. I really enjoyed the screening of the short ﬁlm itself, too. Huge congratulations on how well it went and the best of luck moving forwards with this study and your future plans to see performances in the UK. It really is a brilliant example of public engagement with climate change through a unique cultural means!

It was an open dialogue between those on stage and the audience, which made for a very inclusive and engaging atmosphere which meant we were part of the discussion, as everyone needs to be regarding a topic such as climate change.

How accessible the researcher, Joanne was and the interactive nature of the experience. Thank you for sharing the research experience in a creative, inspiring and hospitable way. The event was accessible and open to all. Thank you for sharing your work in this way and for staying long after the event was over to talk more, your passion is obvious Best wishes and continued success.

–

Yes

The event was wonderful. The videos, The discussions informed us further the welcome food, the re-enactment by into the why's of how the research was the students and the Q&A afterwards. It presented and gave context. was so interesting to see how academic research could be presented in an alternative way. Thank you for all the work you are doing within this ﬁeld Joanne.

There were really nice touches to the – evening, from the slideshow of photographs playing as you came in, the coloured bracelets given out to connect to the story in the Pot Gan and the Bengali food served, especially given the time and length of the event. The researcher, presenters and comperes were very engaging, I enjoyed the variety. Would have been interested to hear more of the stories about the diﬀerent ways people had been impacted by the ﬂooding.

86 PAGE

Do you think this event was a useful Do you think that focusing on the way to build awareness on climate 'everyday' experiences of those change? Please expand impacted by climate change is an eﬀective way of communicating the issue? Please expand

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the event? Please expand

Has the event made you think diﬀerently about how to communicate your work? Please expand

There was a good mix of academic and public audience and the fact that it reached to both ends is telling.

As someone who uses ethnographic – methods in my research, I really liked your emphasis on the everyday and ordinary practices.

Will deﬁnitely think of more creative methods.

It is diﬀerent. Compared to a lecture at a university that the general public have little to no awareness about, this was in a performance space in the middle of a vibrant part of London in Shoreditch, making climate change an engaging and accessible topic.

It strips back the numbers and focuses predominantly on the humanity of the issue, which has a far more emotional impact on the audience. Too emotional however, can be overwhelming and result in the audience switching oﬀ. This version of the everyday struck a perfect balance between the two.

I had previously no awareness of Pot Gan, so did not know of the impact a play about climate change could have on communities in Bangladesh, as the concept itself resonates so well with them.

I study Climate Change: History, Culture and Society at King's College London and as a student with limited scientiﬁc exposure, my approach is more social, cultural and humanities based. Engaging with the public, on a local to regional to national to global level has been the approach I wanted to take, with the best methods to communicate through a means that they are already inﬂuenced or engaged with. The example of Pot Gan in Dhaka is an absolutely brilliant example that it can work, which gives me an awful lot of enthusiasm moving forwards.

The use of a mixture of media allowed for climate change themes to be communicated in an accessible way.

Communicating the lived experiences of households in ﬂooded communities allowed the audiences to connect with [the research participants] in an empathetic way.

The experience allowed the audience to understand how climate change means different things to different communities depending on education, culture and political context. It highlighted the tendency for western cultures to project their own perceptions of climate change onto those who experience and understand climate change in ways that differ from our own.

It highlighted the importance of maintaining a critical awareness of exercising a 'duty of care' for the community which you are studying. The event inspired thinking around involving the community directly in the research in a way that directly beneﬁts them. It has changed the way I think about research. I thought about it as an activity whereby one extracts data and takes it away with the idea that it will be returned to the community indirectly. I now embrace the idea of involving the community in situ, in the hope that it adds value in a more immediate way.

It was interactive, involving ﬁlm, photographs, live discussion and performance. This is so much more interesting, sincere and moving than reading a research paper or report on climate change.

It shows the daily impacts of climate change, where these people's everyday activities, some of which are similar to ours are being aﬀected, in which we can begin to start to understand.

As an MA Fashion futures student (fashion and sustainability), I have been studying climate change and know a little, but it was very interesting to hear ﬁrst hand how it is aﬀecting people.

Absolutely! The work has made me revaluate how I can best present my research for my thesis I have to do later this year. I plan to focus on fashion supply chains and climate change and climate refugees, and I am already starting to think how to best present my research in a way that various contexts and cultures of people can understand and have access to.

It made me think more about some of the knock on eﬀects of ﬂooding that I had not considered before (skin disease, children drowning). This event re-energises me to keep engaging with it and keep trying to strive to do more.

I think lots of people see climate change as some vague thing in the future, and talking about the everyday experiences shows that it is happening now and exactly how it is impacting people.

The knock on eﬀects of ﬂooding (see previous answer).

Part of my role is in academia in mental health and it has made me wonder whether there are similar ways to communicate our research in ways that are more accessible to the general public.

PAGE 87

Appendix 5: continued

Participant No.

Does your work focus on climate change and/or development?

What did you enjoy (or not enjoy) in particular?

Were the discussions during the event useful? Why or why not?

Yes

It was a lovely event. It is an amazing project, the ﬁlm was fascinating. Thank you.

Interesting to hear other people's thoughts.

Yes

I really liked the diversity of the methods used. I would have liked if there was more time to hear a more substantive analysis of the lived experiences.

More time was needed to inspire follow up questions and get more of a debate going.

I enjoyed watching the documentary at the end, it was a bit tricky to follow everything that went on before, but it all made sense in the end! The live Pot Gan performance by the school children was a great idea but it was diﬃcult to actually hear what they were saying. I really liked how the drama in the Pot Gan was left unﬁnished and then it was 'Over to you... what would you do?'

The technological hiccups aside, I found the idea of presenting research ﬁndings in such a diﬀerent format really inspiring. My background is in transplant immunology and it would be brilliant to try some of the methods you used here.

Yes

Very interesting and engaged audience. The wide variety of backgrounds of Well done Joanne! participants.

Yes

The discussions with both Saleem and Joanne asking each other questions was very interesting, as was the documentary itself. Just having a conversation like that worked really well.

The Wi-Fi was not best equipped for the volume of traﬃc for the audience polling, but it was a good way to see the audience participate.

Yes

"The diﬀerent modes of presenting that were used, ranging from audience interaction, Q&A, documentary, skit of Pot Gan style performance with school children and the opportunity to speak with Joanne afterwards. The uniqueness of the event and the passion shown."

Very interesting to present the idea of how academic research can actually impact and empower the people the research is about, in this case, Bengali slum dwellers and the use of stories to present a more personal and less discussed side of climate change. It left me wondering how can we do this more in academia? How can Joanne reach more people with her documentary and/or events? This was quite an exclusive event, most people will be 'converted' to the arguments around the impacts of climate change, can a diﬀerent demographic be reached?

Yes

I enjoyed the mixture of discussion, Q&A, performance and the food was amazing! I was hoping we would get to see the entire Pot Gan being performed live, although the documentary was a good insight into it.

More time for Q&A would have been beneﬁcial.

88 PAGE

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the event? Please expand

Has the event made you think diﬀerently about how to communicate your work? Please expand

If a climate change denier attended I think it would sway them, but I do not think someone with those views would have attended in the ﬁrst place.

This is the only way to make the issue immediate and personal, as global scale problems are diﬃcult to express.

I was already aware of the severe issues of ﬂooding and how these were exacerbated in Bangladesh. Though, my knowledge of these issues was increased and deepened.

This way of communicating climate issues through the arts rather than traditional methods used in academia or sciences is something I have been trying to think about in my own work, and it was great to see this put into practice so successfully.

It would be very good in schools.

It brings the focus back from 'weather' to the social inequalities that it acts on.

It was in line with lectures I have been having this year, but the speciﬁc stories I heard were new.

Not diﬀerently, but it reminded me that I should not give up on trying to ﬁnd ways to use non-traditional approaches.

It was a fantastic event, though I am not sure if it reached people that are not aware of climate change. I certainly think the Pot Gan format would be a useful way to build awareness.

I imagine people are bored of being lectured about how terrible climate change is and that makes them stop hearing it after a while. Telling human experiences against the backdrop of climate change makes it more palatable than an out and out sermon of what we should be doing.

I was impressed by the ingenuity [of informal dwellers], raising the bed with bricks, tying the baby to the bed to deal with ﬂoods.

I worked in cancer research and I agree that the research output can be extremely dry and inaccessible to the lay person. Using various techniques, like the marbles, the wristbands and the marked out spaces within the room, all helped us to personally relate to the plight of Bangladeshis. The Pot Gan itself is a fabulous idea - the fact that essentially the same format can be used for academics to slum dwellers speaks for itself. Well done!

Sharing research visually is far more eﬀective than in written form and live discussion is better than viewing something passively.

Ordinary people can relate to the issues better.

–

I will try to use innovative communication tools.

I liked how audience members were able to discuss their own experience of climate change and I think the fact alone that it now ﬂoods in Dhaka one in every ﬁve years rather than one in twenty years as was in the past is a shocking statistic to many present.

The focus on those that live on the frontlines of climate change makes you more empathetic.

It gave me a greater understanding of climate change and its linkages to development and poverty.

[…] It relates many issues into one key message.

Yes, but the event reached a relatively small number of people. Documentaries and ﬁlms are a great way to build awareness.

To personalise a topic that is usually discussed in an objective and scientiﬁc way.

I learned about issues around land I will think of more inclusive ways of tenure that I was not aware of. I presenting research. would have liked a brief introduction of the political climate in Bangladesh in relation to climate change.

Yes and No - Yes, because it is an insight into how people on the ground are experiencing climate change. No, because it seemed to me that the audience was made up of people already aware of climate change.

More human and relatable, stories and narratives are powerful in communicating issues to wider audiences.

Again, yes and no. No, because I am already studying climate change! Yes, because of the suggestion to think about climate change from the viewpoint of social justice rather than weather events.

Not applicable to me, but I do think that more approachable ways of communicating this type of work need to be used, and I think that theatre/performance is an excellent place to start.

PAGE 89

Appendix 5: continued

Participant No.

Does your work focus on climate change and/or development?

What did you enjoy (or not enjoy) in particular?

Were the discussions during the event useful? Why or why not?

100

Yes

The documentary, Q&A sessions and the food.

I had never before thought about land tenure and its eﬀects on climate change adaptation. However, I was expecting the event to talk more about the community in Dhaka and less about the process of creating and disseminating the Pot Gan.

101

Yes

I really enjoyed the format of the event, showing the documentary, the question and answer discussions, interactiveness and the Bengali food. Thank you for doing this.

I already knew about the subject (climate change) so I think those question and answer sessions were not useful.

102

That the event was interactive and The discussions allowed you to know diﬀerent methods were used during where people's minds are where climate the event so that we could further change is concerned. understand the conditions of the urban settlement that the research was based on e.g. showing the audience the average size of a house and the size of the family who lived there.

103

Yes

The description of the situation in Bangladesh (not exactly enjoy) was informative and interesting. I also liked the techniques that were used during the event, for example having the ﬂoor space of an house in a slum measured out on the stage.

I felt the focus could have been more on the people in the slums, could you have had a video linked to the slum in Bangladesh during the event? Also, would be interested to know if many ﬂights were taken to carry out the project.

104

Yes

Quite traditional!

In-depth and speciﬁc.

105

I would have preferred the ﬁlm to be shown ﬁrst... I thought it was unnecessary to provide food at the event. I just lived in Ethiopia and India for nine years and watched a lot of NGOs, do a lot of talking, spending money and little else. Excuse me if I am being sceptical.

It was okay, most people [who attended] were young and optimistic.

106

This was a fascinating event. It explored the real and tangible impact of climate change in Dhaka slums. It emphasised that climate change is not 'experienced' in isolation but makes existing difficulties worse. It also a social justice issue. Rich people like us are making poor people even worse off by living high-carbon lifestyles. We all need to do more (or less, when it comes to flying!). The Q&A at the end was the most interesting part. I liked seeing the drama and the film. Great food too.

It gave me a new perspective to think about climate change and touched on some interesting points. There were more questions from the ﬂoor at the end, it would have been good if it had of went on for a bit longer.

90 PAGE

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the event? Please expand

Has the event made you think diﬀerently about how to communicate your work? Please expand

Very interesting perspective, integrating arts into climate change awareness.

See previous answers.

Had never thought about land tenure rights and climate change adaptation before.

Great reminder that we owe it to share our research with the communities where it was conducted.

Climate change is a specific phenomenon that intersects with factors affecting already vulnerable populations, as well as their actions to work out solutions as well as the conflicts that arise.

See previous answers.

I thought climate change only, or mainly, impacted the rural populations. I did not know it also was an urban problem.

I loved that the project went back to the [research] participants in the community with the results as well as other groups.

It encouraged interaction, although there could have been more, but time was limited.

It shows how everyday lives are aﬀected […]. It should encourage people to move towards making a change.

While I am not aware of all the diﬀerent and sometimes unique experiences of countries being aﬀected by climate change, I was not surprised by it and I think it is a very important issue.

–

I like the idea of solidarity with people experiencing the impacts, it is a good way of putting it. I would have liked to have heard more discussion on the presenters' position[ality] [...].

It was a brave thing to do! I will try to do more public engagement.

The project established cultural links between the UK and Bangladesh, which changes knowledge dynamics.

–

The problem is that we are the converted, the informed. You have to go into schools, colleges and the community to really inform.

It means they have a consciousness at least. I hated the word slum being used so much by everyone. There are so many areas in the world called slums by our terms, but in my experience the people do not think of it in the same way.

The monsoon has always been a problem, but that it was so much worse for them.

–

How about putting a two min version of the ﬁlm as part of the pre-roll at Rich Mix cinema screenings for a couple of weeks and get the message out to an audience not expecting to see something about climate change?

As part of a wider package, yes. It makes it more real rather than just being statistics about C02. Useful to show that climate change is real and impacting on lives right now. I also liked the point made by Joanne about the justice and inequality implications of climate change. Climate change is a problem primarily or historically caused by the North and felt by the South... Social justice is an important aspect of climate change.

The point that climate change makes existing problems worse. It is not 'a problem' per se, people do not wake up and think 'damn climate change'. This can perhaps change the way we might think of climate change.

I work for WaterAid and communicating about climate change is going to become increasingly important, this makes this event hugely relevant. We work in Bangladesh and have told stories about climate change before, but not like this. I think our programme staﬀ in Bangladesh would be very interested in the Pot Gan approach.

PAGE 91

Appendix 5: continued Participant No.

Does your work focus on climate change and/or development?

What did you enjoy (or not enjoy) in particular?

Were the discussions during the event useful? Why or why not?

107

Yes

The live reading of the script.

I felt there was too much focus on the nature of the method of dissemination and not enough discussion on other issues, particularly the de/re-politicisation of aid which is relevant when talking about land rights in Bangladesh.

108

Yes

The short skit narrating the story of Hena and the death of her child.

Kept the audience engaged.

109

Too much food served during an event about developmental issues.

Lived experience with details of individual events such as tying the baby to the bed, was useful to convey the key message.

110

Yes

–

111

Yes

It highlighted the possibility of tackling climate change through art methodologies. Thank for sharing such wonderful research.

I think people felt committed to the reality of Dhaka.

112

The interaction with Joanne after the main event, being able to chat informally allowed me to understand the issues in more depth.

–

113

Yes

Interactive, engaging way of reaching out to a wide audience about the reality of climate change impacts on the ground. Thanks for organising such a stimulating and inspirational event.

The discussions were engaging, useful and added ﬂavour to the event.

114

–

115

Yes

–

116

–

92 PAGE

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the event? Please expand

Has the event made you think diﬀerently about how to communicate your work? Please expand

Telling real and everyday life stories Eﬀective in raising awareness. is one way of 'bringing the message home' about how important it is to do something about climate change, but it still leaves the audience with a sense of 'well, what can I do?' I would like to understand more on whether it helped the respondents in Dhaka to remedy the situation in any way? Or was the Pot Gan an entertaining story in which they can recognise themselves? Not withstanding that recognition can be important too.

–

I am already aware of many diﬀerent ways to communicate my work.

Multimedia approach.

It will help in creating better adaptation policies where the voice of the people who are most impacted by climate change can be brought into the narrative.

–

Find the unconverted and raise their awareness.

Makes the issues seem real and tangible with the focus on human experience.

I have worked in Bangladesh for 5.5 years with development and climate change projects.

–

It showed the emotional impacts on real people.

It appeals to our empathy.

–

It allowed me think about methodologies I can use, like art and theatre.

–

Yes, I think there were some important messages that came across about the complexity of climate change impacts. For example, how climate change is bound up with other socio-political challenges being faced by vulnerable communities and that it forces complex choices to be made as a result.

It allows people to relate more to what is happening.

Maybe not new, but it stimulated a reconnection to the way I was working, learning and relating previously.

We talk a lot about how to really get the learning from our work across to clients, partners and a wider audience. This is a great challenge and often approached too formally. The event was a fantastic example of how less formal, more interactive communication can have a more eﬀective inﬂuence on the audience, as well as reaching to a wider audience in terms of stakeholders and geographical reach.

Yes, and I think it would be great to have some showings of the Pot Gan performance in London.

It is a very powerful way of getting the issues across, climate change is such a complex topic but this really made it tangible.

–

The Pot Gan and the movie are unconventional, but are very powerful tools to communicate the eﬀects of climate change. I think it would be important to also brieﬂy explain the processes that lead to climate change so that those causing emissions can better understand why their lifestyle is causing climate change somewhere else on this planet.

–

PAGE 93

Appendix 6: Online survey results for documentary and video of Pot Gan performance viewed online (results for open-ended questions) Participant No.

Does your work focus on climate change and/or development?

Which Pot Gan videos have you watched online?

Did you enjoy the videos? Please expand

117

Yes

Documentary

It provided a sense of what the conceptual and technical concept of climate change means in real terms and it brings one back to the essence: that we need to start tackling development and climate change with huge eﬀorts. Congrats! Continue your work, it is very valuable!

118

Yes

Not speciﬁed

–

119

Pot Gan performance

–

120

Yes

Pot Gan performance

–

121

Yes

Not speciﬁed

–

122

Yes

Pot Gan performance

–

123

Yes

Documentary

The research, the project and the way the community was integrated throughout the process.

124

Yes

Not speciﬁed

–

125

Not speciﬁed

–

126

Yes

Not speciﬁed

–

127

Yes

Documentary

–

128

Yes

Documentary

I am currently doing my MSc at GDI and before I came to the university, I watched Joanne Jordan's video. It was a great performance. I liked how the project focused on working with university students, this has helped enhance their knowledge on conditions in their own country even more. I was really impressed, as this is what I had in mind when I decided on my masters programme, analysing and understanding local contexts and assisting the community [...], helping them realise their own capacities. I really value her approach, working in the ﬁeld and using local methods to help transform existing inequalities. This is something that I would like to do one day.

129

Not speciﬁed

–

130

Yes

Not speciﬁed

–

131

Yes

Documentary

–

132

Yes

Documentary

The fact that the Pot Gan was presented to a variety of audiences, it was particularly interesting to see the opinions of people from diﬀerent walks of life.

133

Yes

Not speciﬁed

–

134

Yes

Not speciﬁed

–

135

Yes

Not speciﬁed

–

94 PAGE

Do you think documentaries, performance theatre and other audio-visual methods are useful ways to build awareness on climate change? Please expand

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please expand

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan video(s)? Please expand

See previous answer. And, it reaches the non scientiﬁc public.

Yes, otherwise it remains conceptual and complex.

It showed the real consequences visually. One knows that fatalities due to ﬂooding occur, but seeing the mother with the child who fell of the bed carves a vivid picture into one's mind, and it does in such a diﬀerent way.

–

It reaches less literate audiences in a more profound way.

–

Yes! I believe that research is very important, but It counters the idea of abstract academic communicating research findings to a wider research findings, communicated through audience is often rather difficult, as people are complicated sophisticated language. expected to have a certain academic background themselves. Using performance theatre, which is part of the local culture to illustrate issues of climate change, turns a highly academic subject into a language that is understood by a broader audience. Moreover, it allows the community to not only understand the issues, but also allows them to potentially use research findings as a tool to demand actions from local and national governments.

I was really shocked about the way in which mothers would ties their baby [to the bed] to avoid it falling into the water. I knew that it was not safe in an environment where houses are under the impact of ﬂooding, but the fact that you cannot even provide security and safety for your baby or children made me realise how desperate many people feel in providing for future generations.

–

It allows the community to relate to and understand the issue of climate change rather than being excluded from the research.

–

Easily accessible to the general public, academics and policy makers

Often the eﬀects of climate change are presented as something that will occur in the distant future, current eﬀects of climate change on everyday lives may inspire more action.

It contextualised the scientiﬁc eﬀects of climate change from a development perspective.

–

PAGE 95

Appendix 6: continued Participant No.

Does your work focus on climate change and/or development?

Which Pot Gan videos have you watched online?

Did you enjoy the videos? Please expand

136

Documentary

–

137

Yes

Documentary

Being able to watch and see the researcher involved with this work, actively out in the ﬁeld collecting their research and engaging with the communities involved in the topic.

138

Not speciﬁed

–

139

Yes

Documentary & Pot Gan performance

I read the whole script (booklet) in English ﬁrst, which helped to get an idea of the whole thing, then watched bits of the live performance and the whole documentary. I would have liked to have seen more of the interaction with the audiences, the discussions and the participation, especially what the slum dwellers themselves made of it.

140

Yes

Documentary

Great to see scientists developing things outside of the academic arena!

141

Yes

Not speciﬁed

–

142

Yes

Not speciﬁed

–

143

Yes

Documentary

–

144

Yes

Not speciﬁed

–

145

Yes

Documentary & Pot Gan performance

I really appreciate this way of rising awareness in people about climate change eﬀects, wish to work on this issue if I get any opportunity. Thank you very much.

146

Yes

Not speciﬁed

–

147

Yes

Not speciﬁed

–

148

Yes

Not speciﬁed

–

149

Yes

–

150

Yes

Pot Gan performance

The issues were perfectly staged and the acting was outstanding.

151

Yes

Not speciﬁed

–

152

Yes

Not speciﬁed

–

153

Not speciﬁed

–

154

Not speciﬁed

–

155

Yes

Not speciﬁed

–

96 PAGE

Do you think documentaries, performance theatre and other audio-visual methods are useful ways to build awareness on climate change? Please expand

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please expand

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan video(s)? Please expand

See previous answer. And, it reaches the non scientiﬁc public.

Yes, otherwise it remains conceptual and complex.

It translates the academic research into a more easily understood medium. The use of documentary and theatre is far more engaging than reading a paper. Being able to see the researcher and the speciﬁc location of the issue makes you more aware of the problems and solutions.

It reinforces that this is just a way of life for so many people. Climate change is often and easily considered something that will affect us, not something that is affecting many people globally. The direct demonstration of something that is happening now really emphasises the importance of the issue. It is good that these issues are being presented in new ways, but I feel it is a rather apolitical stance. As social scientists and researchers we have to engage with the difficult political issues of corruption and lack of democratic structure. That is the elephant in the room!

I had not realised how much these communities are aﬀected by the water levels and how resilient they are against it. The building of house on stilts and even living in and remaining in houses that are ﬂooded by modifying things, such as raising the beds was a very hard hitting image.

–

As one of the commentators says, theatre and visual communication can be a much more powerful and accessible means of communication. Theatre is a much more visceral and emotional medium.

Yes, because it brings home the eﬀects of climate change on people, but it depends on what message you are trying to communicate. I think this Pot Gan is powerful in depicting the everyday problems, but it does not necessarily point to the things we can do about it. Will everyone just go home from the performance and carry on as before, just being a bit more aware, but still powerless to change?

I have often wondered how the poorest people manage when there is ﬂooding in Dhaka, so seeing that people have to raise their furniture and tie string to babies was new to me. Also I was not aware that some people try to the block drains - one of those perverse local outcomes that needs to be addressed from a more structural perspective.

It is another way to talk about scientiﬁc knowledge, a way to reach non-academic arenas.

It creates a direct link with people […].

I really enjoy the strength of this work going from a scientiﬁc analysis to a dissemination activity.

–

Yes, obviously because public awareness is key to reducing vulnerability and the eﬀects of climate change. These kinds of documentaries and performance theatre and all related methods help to make people understand their vulnerabilities, as well as how much they are capable of reducing their risk to the eﬀects of climate change.

By focusing on everyday experience of climate change, we can easily understand how people are eﬀected […].

–

If we can have more of these types of performance, everyone will know how climate change is impacting on us and how our work could minimise our loss due to climate change.

Climate change is a huge thing. Work like this cannot minimise its eﬀects, but a collection of this type of work can make a diﬀerence. So we should at least try.

I know the issues, but others could beneﬁt from this video.

–

PAGE 97

Appendix 6: continued Participant No.

Does your work focus on climate change and/or development?

Which Pot Gan videos have you watched online?

Did you enjoy the videos? Please expand

156

Yes

Documentary

I enjoyed the whole documentary especially transforming the scientiﬁc ﬁndings to the local people and creating the awareness about climate change.

157

Yes

Not speciﬁed

–

158

Yes

Not speciﬁed

The plays were in the local languages, the aﬀected people related to it and the presentation itself gave them a platform to discuss and face it together. Brilliant way to share research.

159

Yes

Not speciﬁed

–

160

Yes

Documentary

–

161

Yes

Documentary

Excellent effort which has huge potential to be upscaled and replicated... It validated the facts: that most vulnerable people either choose or are forced to live in the most vulnerable locations. Poor communities can offer the best solutions to solve their problems. Politics, larger societal or governance related issues can overshadow intra household level conflicts [...].

162

Yes

Pot Gan performance

–

163

Yes

Pot Gan performance

–

164

Yes

Not speciﬁed

–

165

Yes

Not speciﬁed

–

166

Yes

Not speciﬁed

–

98 PAGE

Do you think documentaries, performance theatre and other audio-visual methods are useful ways to build awareness on climate change? Please expand

Do you think that focusing on the 'everyday' experiences of those impacted by climate change is an eﬀective way of communicating the issue? Please expand

Did you learn anything new or change the way you think about climate change, particularly in the context of Bangladesh, as a result of the Pot Gan video(s)? Please expand

[...] Documentaries, performance theatre and other audio-visual methods have been used in Bangladesh for a long time. Though, the media and the format has changed, but still it inﬂuences all categories of people. You will have more audiences if you release an excellent and well performed drama compared to an academic journal. So, I support this innovative initiative.

By focusing on the 'everyday' experiences of – those impacted by climate change is an effective way to find out the adverse effects they are facing due to climate change in different seasons. We can find some answers of how their life style and occupations are changing, how they are adapting this situation and so on... Resilience is often used to refer to the ability of natural systems to return to a healthy state following a change. Pot Gan can create awareness to the people about climate change and make them concerned about learning and adapting to change and enhancing the resilience of a community. [...] ICT will be a better option as most of the people in urban areas having a smart phone (at least a phone) with internet facilities.

–

Message via video is powerful […].

–

Seeing is believing. There is scope for learning from each other through visuals and story telling, it can make a bigger psychological impact for bringing about change […].

The poor know their own problems best and how to deal with them […].

It has again validated my own experiences and lessons learned from various development projects dealing with governance, livelihoods and lately institutional and community resilience.

–

PAGE 99

Appendix 7: Additional project feedback Participant No.

Name

Organisation

Interview transcript

167

Ms Ummay Somaiya

MSc Student, University of Dhaka

We are studying theatre and performance so we only know about climate change from what we see on TV or in the papers. We live in Dhaka, but we were unaware of the problems caused by climate change, and how it affects slum dwellers until we did research to develop the story of the Pot Gan.I am portraying a woman named Hajera [in the Pot Gan], who we met during the research in the slum. Hajera is suffering from a skin disease caused by water, I had no idea contaminated flood water could impact people in this way. You cannot learn like this in the class room. It is different when you see the impacts up close like this, when you play a person you have met for several weeks in rehearsals and then go on stage and try to tell her story (University of Dhaka, April 23 2016).

168

Professor Tom Inns

AHRC judging panellist, Glasgow School of Art

The film shone out from all the other films as a dynamic piece of practice-based research. The film captures the entirety of the research process – unlike other films that only showed the output or the discourse that the research stimulated, Joanne’s film really got under the bonnet of the actual research itself (The Mancunion, February 9 2018).

169

The NCCPE Judges Panel (2016)

100 PAGE

The panel were impressed by the strength of personal commitment animating the project and the powerful personal responses encouraged in the participants through the use of the Pot Gan theatrical medium.

Appendix 8: Registration list for Pot Gan performance at the 10th International conference on community-based adaptation to climate change (names and email addresses removed) Job Title/subject Area

Organisation

Job Title/subject Area

Organisation

Student

Independent University, Bangladesh

Volunteer

Independent University Bangladesh

Professor of Political Science

Vanderbilt university, USA

Save the Children International, Mozambique

Ecosystem-based Adaptation project

International Union for Conservation of Nature, Nepal

African Climate Change Resilience Alliance, Acting Coordinator India Adaptation Strategy Head

World Resources Institute, India

Monitoring and Evaluation

National Trust for Nature Conservation, Nepal

Researcher

International Institute for Environment and Development, UK

Resilience Advisor

American Red Cross, Kenya

Lecturer

University Eduardo Mondlane, Mozambique

Programme Manager

Irish Aid, Ethiopia

Project Coordinator

Concern Worldwide, Bangladesh

Disaster Risk Reduction Advisor

CARE international, Pakistan

Research Fellow

Overseas Development Institute, UK

International Coordinator Africa Climate Change Resilience Alliance

Oxfam Uganda

Documentation and Communication Oﬃcer

Federation of Community Forest Users, Nepal

Gender Equity and Social Inclusion

National Trust for Nature Conservation, Nepal

Consultant

World Bank

Head of Programme

Bangladesh Centre for Advanced Studies, Bangladesh

Research Associate

Bangladesh Centre for Advanced Studies, Bangladesh

Chief of Field Oﬃce

United Nations Children's Fund, Bangladesh

Programme Coordinator

International Centre for Climate Change and Development, Bangladesh

Resilience Program Oﬃcer

ActionAid International, Ethiopia

Community Women's Leader

ActionAid Bangladesh

Senior Manager, Ecological Conservation and Development

Caritas Bangladesh

ActionAid Bangladesh

Development Advisor

Professor

Department of Urban and Regional Planning, Bangladesh University of Engineering and Technology

Deutsche Gesellschaft für Internationale Zusammenarbeit GmbH (GIZ), Germany

Community worker

Homeless People Federation Philippines Inc.

Volunteer

WorldFish, Bangladesh

Chief, disaster risk reduction section

United Nations Children's Fund, India

Ecosystem-based adaptation project partner

Machhapuchhre Development Organisation, Nepal

Monitoring, Evaluation and Learning Specialist

USAID, Bangladesh

Chief, ﬁeld services

Centre for Environmental and Geographic Information Services, Bangladesh

United Nations Children's Fund, Spain

Communications Assistant

Natural Resources Defence Council, USA

Assistant Country Director

United Nations Development Programme, Bangladesh

Head of Climate Change Department

Ministry of Land, Environment and Rural Development, Mozambique

Oﬃcer

International Centre for Climate Change and Development, Bangladesh

Gender, Resilience and Disaster Risk Reduction Advisor

ActionAid Australia

Civil Engineer

Researcher

UNEP Regional Climate Change Coordinator

European Bank for Reconstruction and Development Environmental Researchers, Bangladesh United Nations Environment Programme, Thailand

Executive Body (Communication) Independent University Bangladesh Volunteer

PAGE 101

Appendix 8: continued

Job Title/subject Area

Organisation

Job Title/subject Area

Organisation

National Coordinator of the Global Environment Facility, Small Grants Programme

United Nations Development Programme, Barbados

Coordinator

Population Health and Environment Ethiopia Consortium

Resilience Policy Advisor

Irish Aid, Ireland

Climate change policy lead

Irish Aid, Ireland

Research Fellow

Institute of Development Studies, UK

Event Manager

Amy Gibson Events, UK

Disaster Risk Management Coordinator

International Federation of Red Cross and Red Crescent Societies, Malaysia

Assistant Forest Oﬃcer

Ministry of Forests and Soil Conservation, Nepal

Chief of Party, climate change adaptation

FHI 360, Uganda

Head of Climate Programme

Thomson Reuters Foundation, UK

Strategic Advisor

Mahila Housing Self Employed Women's Association Trust, India

Member

Panchase Protection Forest, Nepal

Section Oﬃcer

Ministry of Population and Environment, Nepal

Project Coordinator

United Nations Women, Bangladesh

Agriculture and Food Security Advisor

Embassy of Ireland, Malawi

Gather Knowledge

Independent University Bangladesh

Content Manager

International Centre for Climate Change and Development, Bangladesh

Technical Oﬃcer, disaster risk reduction

Bangladesh Red Crescent Society

International Program Manager

Danish Family Planning Association, Denmark

PhD Student

Western Sydney University, Australia

Researcher

International Institute for Environment and Development, UK

Communications Coordinator

International Centre for Climate Change and Development, Bangladesh

Country Director

Near East Foundation

Associate, Climate Change

Business for Social Responsibility, USA

Bangladesh Rural Advancement Committee

Resilience Programme Manager

ActionAid International, UK

Manager of the Adaptation Programme

United Nations Framework Convention on Climate Change, Germany

Programme Oﬃcer

HELVETAS Swiss Intercoooperation, Bangladesh

Planning Oﬃcer

Department of Forests, Ministry of Forests and Soil Conservation, Nepal

Technical Advisor, forecast-based ﬁnancing

Red Cross/Red Crescent Climate Centre, Bangladesh

Research Student

Birkbeck, University of London, UK

Senior Coordinator

International Institute for Environment and Development, UK

Project Coordinator

Red Cross Climate Centre

Student

Independent University Bangladesh

Coordinator, disaster risk reduction and climate change adaptation

Practical Action Bangladesh

Head of Climate Change Adaptation Unit

United Nations Environment Programme, UK

Camp Alatoo, Kyrgyzstan

Former Intern

International Centre for Climate Change and Development, Bangladesh

General Manager

Tamalpais Community Services District, USA

Programme Head

Practical Action Bangladesh

PhD candidate

University of Sheﬃeld, UK

Programme Oﬃcer

ActionAid Bangladesh

Country Director

Islamic Relief Bangladesh

Country Representative

United Nations Women, Bangladesh

102 PAGE

Appendix 8: continued

Job Title/subject Area

Organisation

Job Title/subject Area

Organisation

Research Oﬃcer

International Centre for Climate Change and Development, Bangladesh

Assistant Planning Oﬃcer

Ministry of Forests and Soil Conservation, Nepal

Senior Research Fellow

International Institute for Environment and Development, UK

Senior Project Oﬃcer, integrated climate risk management

United Nations Development Programme, Nepal

Environment Programme Analyst

United Nations Development Programme, Nepal

Research Associate

International Centre for Climate Change and Development, Bangladesh

Project Coordinator

Concern Worldwide, Bangladesh

Coordinator, youth programme

International Centre for Climate Change and Development, Bangladesh

Director of Programmes

Reproductive Health Uganda

Program Manager, Climate Change and Disaster Resilience

Islamic Relief Bangladesh

Assistant Director

Department of Environment, Bangladesh

Social service, volunteer

Managing Director

Small and Medium Enterprise Foundation, Bangladesh

Rural Development

Concern Worldwide, Bangladesh

Deputy Director

International Centre for Climate Change and Development, Bangladesh

Volunteer

International Centre for Climate Change and Development, Bangladesh

Department of Environment, Ministry of Environment and Forests

Senior Technical Advisor

Red Cross Red Crescent Climate Centre, South Africa

Lead Technical Specialist, National Adaptation Plans

United Nations Development Programme, India

Professor

Tribhuvan University, Nepal

Programme Oﬃcer, local climate adaptive learning facility

Ministry of Federal Aﬀairs and Local Development, Nepal

City Project Coordinator

Sikkim State Disaster Management Authority, Government of Sikkim, India

Canaan Urban Development Program Manager

American Red Cross, Haiti

Climate Change Project Coordinator

The Nature Conservancy, Papua New Guinea

Manager, North India projects

The Evangelical Fellowship of India Commission on Relief, India

Associate Programme Oﬃcer

United Nations Framework Convention on Climate Change, Germany

Professor

National Central University, Taiwan

Climate Change and Resilience Team Leader

CARE International, UK

Director

Conselho Municipal da Cidade de Pemba, Mozambique

Deputy Director

Assistant Professor

BRAC University, Bangladesh

Independent Consultant

Member of Steering Committee

Federation of Community Forest Users, Nepal

Climate Change Adaptation Specialist

CARE Nepal

Knowledge Network Coordinator, Asian Cities Climate Change Resilience Network, India

National Institute of Urban Aﬀairs, India

National Coordinator

United Nations Development Programme, East Timor

Disaster Risk Reduction Specialist

Adventist Development and Relief Agency, Nepal

Program Oﬃcer, climate change and freshwater adaptation

World Wildlife Fund, Nepal

Regional Coordinator

Watershed Organisation Trust, India

Policy Advisor, climate change, adaptation and urban transformation

German watch, Germany Climate Change Specialist Plan International, Thailand

Project Manager

iDE Bangladesh

District Forest Oﬃcer

Department of Forests, Nepal

Project Oﬃcer

Eagles Relief and Development Programme, Malawi

Project Oﬃcer, Energy

Practical Action, Bangladesh

Lecturer

College of Natural Resources, Royal University of Bhutan

Urban Manager

Oxfam, Bangladesh

PAGE 103

Appendix 8: continued

Job Title/subject Area

Organisation

Job Title/subject Area

Organisation

Community representative

Lumanti Support Group for Shelter, Nepal

Member-in-charge, climate change

All India Women's Conference

Researcher

International Centre for Climate Change and Development, Bangladesh

Policy and Research Oﬃcer

ActionAid Myanmar

Executive Director

African Centre for Trade and Development, Uganda

Programme Manager

ActionAid, Bangladesh Country Representative

American Red Cross/ International Federation of Red Cross and Red Crescent Societies, Bangladesh

Team Leader, urban management of internal migration due to climate change

Deutsche Gesellschaft für Internationale Zusammenarbeit, Bangladesh

Technical Staﬀ

Institute for Environmental and Social Transition, Vietnam

Programs Director

Adventist Development and Relief Agency, Vietnam

Director

Volunteer

International Centre for Climate Change and Development, Bangladesh

Fellow

Bangladesh Centre for Advanced Studies, Bangladesh

Post-doctoral Fellow

Vanderbilt University, USA

Regional Change Lead for Resilience

Oxfam Great Britain, Philippines

Programme Coordinator Agriculture

Self Help Africa, Zambia

Associate Campaign Representative, International Campaign

Sierra Club, USA

Manager, humanitarian response, disaster risk reduction and climate justice

ActionAid, Bangladesh

International Institute for Environment and Development, UK

Programme Advisor

Programme Manager, Energy Eﬃciency

Mahila Housing Self Employed Women's Association Trust, India

United Nations Development Programme, USA

Vice Chancellor

Programme Associate

United Nations Development Programme, Bangladesh

Independent University Bangladesh

Economic Adviser

Economist

Ateneo School of Government, Ateneo de Manila University, the Philippines

Embassy of Ireland, Uganda

United Nations Industrial Development Organisation

Project Lead

The Evangelical Fellowship of India Commission on Relief

Director

Prakriti Resources Centre, Nepal

Programme Manager, water and sanitation

Mahila Housing Self Employed Women's Association Trust, India

Community Worker

Homeless Peoples Federation Philippines Inc.

Programme Development and Monitoring and Evaluation

Director

International Development Enterprises, Nepal

Climate Adaptation Specialist

FHI 360, Uganda

Knowledge Service Coordinator (Operations)

Practical Action, Bangladesh

Coordinator, climate technology centre and network, Asia Paciﬁc area

United Nations Environment Programme, Thailand

Senior Technical Advisor

Chemonics International Inc., Mozambique

Managing Director

Rahimafrooz Renewable Energy Limited, Bangladesh

Coordinator, resilience and climate change

CARE Bangladesh

Professor of Business Strategy and Sustainability

Green Mountain College, USA

Head of Program Quality, Learning and Research

Islamic Relief Bangladesh

Planning Oﬃcer

Ministry of Forest and Soil Conservation, Nepal

Communications Associate

International Centre for Climate Change and Development, Bangladesh

Executive Oﬃcer

Ministry of Federal Aﬀairs and Local Development

Regional Programme Coordinator, African adaptation learning programme

CARE International, Kenya

Advisor

104 PAGE

Irish Aid

Appendix 8: continued

Job Title/subject Area

Organisation

Job Title/subject Area

Organisation

Programme Manager, Disaster Risk Reduction and Climate Change Adaptation

Practical Action, Bangladesh

Research Fellow

Bangladesh Centre for Advanced Studies, Bangladesh

Programme Oﬃcer

Embassy of Ireland, Vietnam

Documentation, Monitoring and Evaluation Oﬃcer

Lumanti Support Group for Shelter, Nepal

Project Coordinator

Da Nang Climate Change Coordination Oﬃce, Vietnam

Operations Coordinator/Climate Change Focal Point

The International Federation of Red Cross and Red Crescent Societies, Malaysia

Research Associate

Bengal Institute for Architecture, Landscapes and Settlements, Bangladesh

Coordinator, urban climate change programme

International Centre for Climate Change and Development, Bangladesh

Policy and Program Oﬃcer

Department of Foreign Aﬀairs and Trade, Australia

Coordinator

Intern

International Centre for Climate Change and Development, Bangladesh

International Institute for Environment and Development, UK

Researcher

International Institute for Environment and Development, UK

Director, global population and environment program

Sierra Club, USA

Vulnerability Advisor

Embassy of Ireland, Mozambique

Deputy Regional Director

Western Regional Forest Directorate

Chairperson

Panchase Protection Forest, Syangja District Chapter, Nepal

Communications for Development Specialist

United Nations Children's Fund, Bangladesh

Program Director

Rupantaran, Nepal

Deputy Country Director

HELVETAS Swiss Intercooperation, Bangladesh

Fellow

Bangladesh Centre for Advanced Studies, Bangladesh

Executive Director

Bangladesh Centre for Advanced Studies, Bangladesh

Program Oﬃcer, Advocacy

Islamic Relief Bangladesh

Program Coordinator

Islamic Relief Bangladesh

Interim Project Coordinator, ecosystem-based adaptation in mountain ecosystems

United Nations Development Programme, Nepal

Project Manager

Islamic Relief Bangladesh

Managing Associate, climate resilience practice

World Resources Institute, India

Urban Specialist

United Nations Children's Fund, East Timor

Advocacy Associate

Women's Environment and Development Organisation, USA

Nepal

Climate Change Specialist

United Nations Development Programme, Bangladesh

Environmental Specialist, local governance and community development program Project Oﬃcer

Christian Aid

Senior Project Oﬃcer

ICLEI – Local Governments for Sustainability, Bangladesh

Assistant Country Director

United Nations Development Programme, Nepal

Urban Management Specialist

RTI International, USA Programme Manager

Researcher

International Institute for Environment and Development, UK

Global Network for Disaster Reduction, UK

Associate Director for research and innovation

Red Cross Red Crescent Climate Centre, USA

Emergency Oﬃcer

United Nations Children's Fund, Bangladesh

Senior Lecturer

Independent University Bangladesh

National Network Coordinator, Asian Cities Climate Change Resilience Network

Mercy Corps, Indonesia

Student

Roskilde University, Denmark

Programme Head, disaster risk reduction and climate change adaptation

Practical Action, Bangladesh

Programme Coordinator

ICLEI Local Governments for Sustainability South Asia, India

Student

Independent University Bangladesh

PAGE 105

Appendix 8: continued

Job Title/subject Area

Organisation

Fellow

Bangladesh Centre for Advanced Studies, Bangladesh

Events Coordinator

International Centre for Climate Change and Development, Bangladesh

Programme Manager

Irish Aid, Lesotho

Student, climate adaptation

University of Oxford, UK

Deputy Director General

Department of Forests, Ministry of Forest and Soil Conservation, Nepal

Lecturer

Independent University Bangladesh

Senior Advisor on poverty

Embassy of Ireland, Vietnam

Executive Director

SOS Sahel Ethiopia

Global Technical Advisor

United Nations Development Programme, Thailand

Research Assistant

African Centre for Technology Studies, Kenya

Program OďŹ&#x192;cer, knowledge management

Islamic Relief, Bangladesh

Senior Lecturer

Makerere University, Uganda

International Centre for Climate Change and Development, Bangladesh

Secretary General

Tarayana Foundation, Bhutan

National Steering Committee Member

Dedicated Grant Mechanism, Indonesia

Regional Facilitator and Executive Director

SLYCAN Trust and Southern Voices Programme, Sri Lanka

Research Consultant

Columbia University, USA

Programme Coordinator

CARE Denmark/Southern Voices on Adaptation, Denmark

Website planning and content manager

International Institute for Environment and Development, UK

Research Agronomist

University of The Gambia

Programme Coordinator

West Bengal Accelerated Development of Minor Irrigation Project, India

Independent University Bangladesh

Deputy Manager

ActionAid, Bangladesh

106 PAGE

Appendix 9: Eventbrite registration list for public event at Rich Mix London (information listed for those that provided their background information. In some cases, only partial information is available. Names and email addresses have been removed) No, of tickets

Gender

Age

Job title

Organisation

Ethical Apparel Africa

University of Leeds

UK Department for Business, Energy and Industrial Strategy

Living Maps

Policy Connect

Student

King’s College London

King's College London

King’s College London

BBC Media Action

Medact

King's College London

King’s College London

University College London

Tower Hamlets Green Party

Ecoactive

BBC Media Action

Tower Hamlets Green Party

Student

King’s College London

University College London

Female

Theatre maker

Blooming Ludus

Male

Chair

Green Party, Tower Hamlets

Male

Senior Lecturer

University College London

Female

Postgraduate student

King’s College London

Female

Climate Adviser

Department for International Development

Male

Policy Analyst

Department for International Development

Female

Student

King’s College London

Female

Masters student

King’s College London

Male

Scientist

Birkbeck, University of London

PAGE 107

Appendix 9: continued No, of tickets

Gender

Age

Job title

Organisation

Female

Paralegal

Bindmans LLP

Female

Specialist Clinical Photographer

National Health Service

Female

Casting Assistant

ARQU

Female

Trustee

Dawliﬀe Hall Educational Foundation

Female

Project Manager

BBC Media Action

Female

Education oﬃcer

EcoACTIVE

Female

Workshop leader

EcoACTIVE

Female

Administrator

EcoACTIVE

Male

Director

Islamic Relief UK

Female

Student

London School of Economics and Political Science

Male

Student

London School of Economics and Political Science

Female

Student

London School of Economics and Political Science

Female

MSc student

London School of Economics and Political Science

Female

Student

London School of Economics and Political Science

Female

Events Fundraising Oﬃcer

CARE International UK

Male

Student

London School of Economics and Political Science

Female

Student

London School of Economics and Political Science

Male

Student

London School of Economics and Political Science

Female

Policy Analyst, water security and climate change

WaterAid

Male

Architect

East Architecture Ltd

Female

Student

University College London

Female

Student

London School of Economics and Political Science

Female

MSc student

London School of Economics and Political Science

Female

MSc student

London School of Economics and Political Science

Male

Student

London School of Economics and Political Science

Female

Student

London School of Economics and Political Science

Female

Operations manager

EcoACTIVE

Female

Student

London School of Economics and Political Science

Male

Student

London School of Economics and Political Science

Male

Student

London School of Economics and Political Science

Female

Student

London School of Economics and Political Science

108 PAGE

Appendix 9: continued No, of tickets

Gender

Age

Job title

Organisation

Female

Sen teacher

Barnet Southgate College

Male

Student

London School of Economics and Political Science

Male

Student

London School of Economics and Political Science

Female

Volunteer

Redbridge Children's Centre

Male

Postgraduate student

London School of Economics and Political Science

Female

Student

London School of Economics and Political Science

Female

Student

London School of Economics and Political Science

Male

Student

London School of Economics and Political Science

Male

Economist

Department for International Development

Female

Paralegal

Female

Student

National Film and Television School

Female

Humanitarian Media Trainer

BBC Media Action

Female

PhD candidate

University of East London

Female

Communications oﬃcer

Barnet Council

Female

Student

SOAS, University of London

Female

Student

University of Westminster

Male

Editorial Board

Dhaka Tribune

Male

Book Editor

Dorling Kindersely

Male

Policy and Research Oﬃcer

London borough of Hounslow

Male

Bangladesh Researcher

Amnesty International

Female

Project Oﬃce Manager

Freelance

Female

Student

King’s College London

Male

Teaching Fellow

Royal Holloway, University of London

Female

Professorial Personal Assistant

King’s College London

Male

Architect

Hallmark Estates

Female

Student

University of Sheﬃeld

Female

Researcher

King’s health partners, women’s health division,

Female

Student

University of Kent

Female

Student

University of Manchester

Male

Postgraduate student, Environmental Policy and Regulation

London School of Economics and Political Science

Female

MSc student

London School of Economics and Political Science

Female

Student

London School of Economics and Political Science

PAGE 109

Appendix 9: continued No, of tickets

Gender

Age

Job title

Organisation

Female

Director of Communications and People

Ashden

Female

Student

University College London

Male

Student

UAF

Male

Research Fellow

University of Westminster

Female

Media and campaigns

Food and Drink Federation

Female

Sustainability Executive

Food and Drink Federation

Female

Urban Project Graduate

Female

Graduate Policy Advisor

Department for International Development

Female

Programme Manager

Climate and Development Knowledge Network

Male

Consultant

Sow Grow and Reap

Female

Solicitor

Allen and Overy

Male

Adaptation student

Female

Researcher

The Carbon Foundation of East Africa

Female

Events manager

Landscape Institute

Female

Social Worker

Limehouse Children’s Contact Centre

Female

Monitoring and Evaluation Coordinator

Climate and Development Knowledge Network

Male

Analyst

IBM

Female

Consultant

Spark

Female

Consultant

Abchurch

Female

HR assistant

Greenpeace UK

Female

Crisis response coordinator

British Red Cross

Female

Senior philanthropy oﬃcer

The climate group

Female

Journalist

BBC

Female

Account manager

Oomph! Wellness

Female

Ethical trade coordinator

Primark stores Ltd

Female

Freelance ﬁlmmaker

Freelance

Female

Communications

Global Witness

Female

Student

University College London

Male

Master's student

University College London

Female

PhD student

University of Bonn

Female

Student

King’s College London

110 PAGE

Appendix 9: continued No, of tickets

Gender

Age

Job title

Organisation

Female

MA Student

Goldsmiths, University of London

Male

Climate Consultant

Acclimatise

Female

Senior Consultant

Acclimatise

Female

Student

London School of Economics and Political Science

Female

Travel Blogger

A Girl Who Travels

Female

Architect

Aca

Male

Head of Climate Change

Adam Smith International

Female

Producer

The Wild Collective

Female

Volunteer

Shelter

Male

Director

My Green Bag

Male

Director

Outpool Ltd.

Male

Graduate student

London School of Economics and Political Science

Male

Consultant Physician

King's College Hospital

Female

Research fellow

Overseas Development Institute

Female

Strategic Partnerships Manager

Department for International Development

Female

Consultant

International Institute for Environment and Development

Female

Business Support Manager

MS Society

Female

Supporter Care Advisor

WaterAid

Female

Storyteller

Freelancer

Male

Advocacy Operations Oﬃcer

Tearfund

Female

BD Partnerships

GlobalGiving

Male

Analyst

J.P. Morgan

Female

Senior Manager

Oxfam

Male

Bar staﬀ

Lord Morpeth pub

Female

Musician

Independent

Female

Student

University College London

Female

Web Developer

Fac

Female

Campaigns Coordinator

Islamic Relief

Male

Chair

Green Party, Tower Hamlets

Female

Programme oﬃcer

WaterAid

Female

Engagement Coordinator

The Challenge

Female

Audiologist

National Health Service

PAGE 111

Appendix 9: continued No, of tickets

Gender

Age

Job title

Organisation

Male

Student

University of Manchester

Female

Policy Adviser

UK government Department for Digital, Culture, Media and Sport

Female

Session Worker

Ecoactive

Female

Marketing Manager

AdColony

Female

Student

University of Westminster

Female

Interpreter

Language connect

Male

Paralegal

Garden Court Chambers, London

Male

Engineer

BuroHappold Engineering

Female

Student

University of East Anglia

Male

Analyst

IBM

Female

Policy oﬃcer

GMB

Female

Trader

Société Générale

Female

Junior Doctor

National Health Service

Female

Architect

TM architects

Female

Marketing

LCF

Female

Student

Cisi

Female

Student

London School of Economics and Political Science

Female

Registered nurse

St Georges Hospital

Female

Research Oﬃcer

BBC Media Action

Male

Student

King's College London

Female

Lecturer

Royal Holloway University of London

Male

Student

King's College London

Female

Trustee

Transparency International

Male

Campaign Coordinator

Stamp Out Poverty

Female

Networks and communications

Stamp Out Poverty

Female

Consultant

Itad

Female

Human Resources Administrator

Wateraid

Female

Student

London School of Hygiene and Tropical Medicine

Female

Programme Manager

Department for International Development

Female

Student

London School of Hygiene and Tropical Medicine

112 PAGE

Appendix 9: continued No, of tickets

Gender

Age

Job title

Organisation

Female

Journalist

Metro

Female

Trainee Clinical Psychologist

Female

Assistant Buyer

River Island

Female

Humanitarian Adviser

UK Med

Female

MA Student

King’s College London

Female

Student

King's College London

Male

Student

King’s college London

Male

Student

King’s College London

Female

Student

King's College London

Male

Postgraduate student

King's College London

Female

Communications Specialist

Natural Resources Institute, University of Greenwich

Female

Student

King’s College London

Female

Policy advisor

Oxfam

Female

Student

King’s College London

Female

Cashier

LDL

Male

Social Media Manager

WaterAid

Female

Student

Humanitarian and Conﬂict Response Institute

Female

Student

King’s College London

Female

Student

King’s College London

Male

Head of Operations

Gleam Futures

Female

Doctor

Open University

Female

Student

Goldsmiths, University of London

Female

Lecturer

Kingston University

Female

Program manager

Root Camp

Male

Head of Insight

World Wildlife Fund

Female

Lecturer

King's College London

Female

Artistic staﬀ

Chickenshed theatre company

Female

G/SEC

Fenchugonj Degree College, Alumni Association UK

Female

Retired

Female

WaterAid

PAGE 113

For further information on the project bit.ly/GDIpotgan #GDIpotgan @JoanneCJordan @GDIpotgan Joanne.Jordan@Manchester.ac.uk