Toolkit: How We See It!

HOW WE SEE IT! A TOOLKIT ON PHOTOVOICE & CELLPHILMING AS PARTICIPATORY VISUAL METHODOLOGIES

CONTENTS Participatory Visual Methodologies: An Introduction

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Part 1: Visual Ethics

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WHAT ARE VISUAL ETHICS?

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STRATEGIES TO ADDRESS THE POTENTIAL RISKS

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Part 2: Photovoice

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WHAT IS PHOTOVOICE?

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WHY USE PHOTOVOICE?

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HOW DO YOU DO PHOTOVOICE?

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Before Taking the Photos

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Taking the Photos

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Working with the Photos

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Questions to start a discussion about the photographs

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HANDS FOR CHANGE: AN ADAPTED PHOTOVOICE ACTIVITY

Part 3: Cellphilming

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WHAT IS CELLPHILMING?

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A ‘NO EDITING REQUIRED’ (NER) APPROACH TO CELLPHILMING

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CELLPHILM STYLES

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CELLPHILM WORKSHOP

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STEPS FOR CREATING A CELLPHILM

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Part 4 Advocacy Through Participatory Visual Methods

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WHY ADVOCACY?

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HOW? PLATFORMS FOR ADVOCACY

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COMPOSITE CELLPHILM VIDEOS

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RESOURCES

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APPENDIX A: Conducting a Participatory Visual Methodologies Workshop: Establishing the Who, What, Where, and How

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PLANNING AND PREPARING THE WORKSHOP

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APPENDIX b: Photographs for Visual Ethics Training

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PARTICIPATORY VISUAL METHODOLOGIES: AN INTRODUCTION WHAT ARE PARTICIPATORY VISUAL METHODOLOGIES? Participatory visual methodologies refer to methodologies that engage and mobilize people at a grassroots level. Participatory visual methodologies can include many different techniques such as drawing, collage, participatory video, and digital storytelling, photovoice, and cellphilming.

These techniques enable people to express, share, and analyze their experiential knowledge of life and critically assess their circumstances. They can further be used to advocate for change. Using participatory visual methodologies typically shifts the boundaries of traditional approaches of doing research and working with communities, in that participants are directly involved in creating, analyzing, and mobilizing the research data and project findings. In this toolkit the use of everyday mobile technology, like cellphones and tablets, in participatory visual methodologies is presented as an accessible way to engage diverse communities in community-based research. The methods of photovoice and cellphilming are outlined in depth. Photovoice asks participants to take photos that illustrate a problem and who they would like things to change. The cellphilm method uses cellphones to create short videos to tell a story about a problem and advocate change. These methods can be used separately or used together in a complementary fashion.

Participatory visual methods are especially well suited for conducting research for social change.

The visual data – photographs + captions, cellphilm videos – can be curated to showcase the perspectives and ideas of participants and shared with different audiences to catalyze discussions and recommend actionable change. Typically, participants are central to the organization of these knowledge mobilization activities. They decide which images and cellphilms to include in the exhibition and who they should be shown to. Their involvement in the curation is also driven by ethics.

Since they own the visual products, they decide who it is safe to exhibit to. Furthermore, they are often well situated as community ‘insiders’ to know which of the themes and recommendations are most pertinent to show to whom. Project leaders can leverage their network and expert positioning to reach out to community leaders and decision-makers. Using the visual media to start discussions is an opportunity to build momentum from the project results and to explore with audience members how best to address a community or organization’s concerns in a concrete and context-specific manner.

The discussions further engage audiences as active participants in making change, expanding the project’s reach and impact.

How We See It! — A Toolkit

USING PARTICIPATORY VISUAL METHODS FOR SOCIAL CHANGE

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OVERVIEW OF PARTICIPATORY VISUAL METHODS

1.

Decide on a topic that is relevant for the group.

2.

Decide if the project will use photovoice, cellphilm method or both.

3.

Decide on a suitable focus or prompt. A prompt situates the participants as experts and guides them on what to make their photographs/cellphilm about. Rather than seeking one concrete answer, a prompt should inspire participants to think about multiple, intersecting or even contradictory perspectives on the topic and how it impacts them/their community.

Thus, a prompt tends to be open ended and use accessible language. It may be a question or theme that participants can explore using the visual method. If, for instance, you want to start discussing issues around safety and security ask participants to take photographs that explore issues of safety in their everyday lives.

4.

Identify different audiences that might benefit from seeing the visual media that the participants are going to create. Along with sharing their media with others in the participant group, a project might ask participants to create photographs and/or cellphilms with a target group in mind, such as peers, community members or policymakers. The decision will relate to the objectives of the project and should be made with the participants. If you plan to share the photographs with others, you will need to obtain signed consent forms from all participants.

Identifying potential audiences at this stage in the process – before making the media will guide their decision-making and help them decide what to create to speak to potential audiences and if they want to stay anonymous or not.

5.

Choose a time frame for the visual-production session and the areas where photos and/or video can be taken.

6.

No person should be photographed or filmed without giving their informed consent. Lead a discussion with the participants on how and why people could be harmed and prepare a document that explains the purpose of your participatory visual project and how the visual media will be used. Participants should always provide their consent to share their visual media with audiences and be fully informed about any risks that might be involved in doing so. A template for asking consent to take a picture is available on p. 8.

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Discuss the photographs and/or cellphilms that the participants create as a group. This is participatory analysis. The discussion can focus on identifying common themes, ideas, and recommendations for change.

8.

Decide who should see the visual media and how best to curate the media to spark discussion on the community issues and social change.

9.

Decide how participants can safely and actively be included in the sharing of the visual media.

This might include having participants host or lead discussions at a community exhibition.

When sharing the visual media and the project findings online, the project can pre-record participants’ reflections on the project and/or their visual media.

10. Use the photographs/cellphilms to help share the project findings with audiences. Start a larger conversation about what was learnt through the project and what needs to happen next in terms of social change.

How We See It! — A Toolkit

Every participatory visual method, depending on the visual medium and technology being used, is different; however, there are some common features to them all. These can be summarized as involving participants in deciding on the focus on the visual production, creating the visual data, interpreting the visual data, as well as discussing and sharing the visual data with others. The structure of the participatory process is generally organized as follows:

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PART 1

VISUAL ETHICS WHAT ARE VISUAL ETHICS?

Figure 1: Exhibiting photos following visual ethics principles in Lucknow

Have participants take some time to view the photographs, then discuss the photos. This visual ethics discussion hopes to ensure all participants have considered the risks and benefits of identifiable images. Participants have the right to choose to identify themselves or not in their photos or cellphilms. They also can ask others for their informed consent to be in their photographs and cellphilms.

Ownership as a feature of visual ethics is multi-faceted and can be complicated. Participants should be considered the primary owners of the visual media they produce during participatory visual projects. They obtained the consent of anyone featured in the media and they choose to share their photographs and cellphilms with the project. Where possible, they should have the ability to change their mind and retract their media from the project.1 Discussing the potential audiences early in the process will help participants decide if it is safe to identify themselves and others in their photographs and cellphilms. Potential audiences include the project team, other participants, friends/family, policy makers and community leaders, and the public. It is also best practice to practice ongoing consent by checking in with participants throughout the project, during the creation of any public exhibitions, before sharing any images or video online, when using participatory visual methods.2 1 2

When visuals have been published in print or online the project may have difficulty removing the participants’ contributions. This limitation should be made clear in any ethical discussions and consent forms.

Situations will, of course, vary. We have added phrases like ‘where possible’ to indicate that the issues may be blurry. The key point is for the team to reflect on what practices will best align with the rights of the participants. Ideally the ‘photo subjects’ who agreed to be in a picture would also have this right.

How We See It! — A Toolkit

Ethics means doing the most good and the least harm. It is important to consider the rights of the people involved, when taking photos and creating videos.

Thus, visual ethics includes providing participants with options or strategies to support the creation of impactful and anonymous visual data. One way to support participants to think about their decisions when taking photos or making video is to exhibit a collection of carefully chosen photographs that show different types of photo subjects (objects, places, and people who are to varying degrees identifiable) (for examples see Appendix B). Hang the photographs on a clothesline.

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Some Visual Ethics Questions to Discuss • Is this photograph or cellphilm OK to view publicly? Why or why not?

• Do you think this person knows they are being photographed or filmed?

• How might this persons’ consent be obtained before the photograph/recording takes place?

• Is this photograph or cellphilm revealing someone? Why or why not?

• What could you do to take a picture or cellphilm less revealing?

• How do visual ethics link to human rights?

Note: Not all photographs or cellphilms without people in them are necessarily anonymous.

An item of clothing, a bruise on an arm, or a landmark, for example maybe very revealing.

STRATEGIES TO ADDRESS THE POTENTIAL RISKS Potential Risks Participants, particularly those who are young, female, trans or gender queer, may be at risk of physical harm or threat when using tablets, cameras, or smartphones in the community. Participants may also be at risk of psychological harm in discussing difficult issues that threaten the status quo or disrupt normative power structures (e.g., gender, sexuality, racism, decolonization, distribution of resources, employment rights, resource extraction).

Strategies for Mitigating Risk 2. Make sure the participants have had visual ethics training. They should be sensitive to the local context and whether it is appropriate to take photographs or make videos in public spaces.

3. Be sensitive and aware that participants may have personal experience with trauma associated with issues such as migration, sexual violence, or other potential prompts.

4. Get the proper and necessary permissions from people in charge before conducting the workshop (e.g., local government, elders).

5. Make sure that prior to taking a photo or filming everyone involved fully understands what they are participating in, who will see the photograph, why and the implications of the intended photograph.

6. Make sure that before you post any images online that you have everyone in the pictures’ permission and that both you and they understand that once it is online you will have no control on what happens to the image.

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1. Stay in groups when using the equipment.

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Example of Getting Consent Before taking pictures or filming someone or their property, you may read them the following statement or allow them to read the statement on their own. The template (shown below) can be adapted to include an opportunity to share the picture or video online.

• Make sure the person really understands what is happening.

• Getting written consent is ideal.

• Anyone who signs the document and agrees to participate should receive a copy of the statement.

• When written consent is not possible obtain clear verbal consent that is witnessed and recorded (e.g., using a cellphone).

• The last line of the paragraph could be changed to read: The photograph/video may be posted on a project website, on social media, online exhibition, or online archive. By giving permission to share this photograph/video online, I understand that this will be shared publicly for anyone to potentially see.

May I take your picture?

_______________________________________ Signature ________________________________________ Date

How We See It! — A Toolkit

I, ________________________________________ (print name), give my permission for a photograph/video to be taken of me for use in the Name of Project (insert Workshop and/or Monitoring exercise), taking place at INSERT LOCATION, INSERT DATE. (Include if relevant: This photograph/video will be displayed at INSERT WHERE PHOTO WILL BE DISPLAYED at the INSERT LOCATION, INSERT DATES). It will be used for educational purposes only (adapt to the context you are using it for). No further use of this photograph/video will be made without my permission. It will not be posted on a website anywhere without my permission

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PART 2

PHOTOVOICE WHAT IS PHOTOVOICE? Photovoice is a visual methodology that uses photography to record reality, communicate events and attitudes, and prompt discussion. Photographs can open access to knowledge and stimulate awareness about sensitive social issues, which are often hidden and not talked about openly.

Discussing photographs can also build connections between people.

WHY USE PHOTOVOICE? Using photography, participants can document and represent how they see the world around them.

They can also depict situations that may be difficult for them or people in general to talk about. The photographs can give them the opportunity to share their perspective or point of view with their peers, community members, and with people who can assist towards disrupting the social status quo. Participants own their photographs and decide how they should be used to support the project’s objectives. Using photovoice always intends to bring about some form of positive social change.

Fully charged tablets or cellphones. Participants may use their own, but to increase access and participation it is helpful for the project to provide enough devices for participants to work in small groups of 2-5 people.

• Big sheets of paper or poster boards • Glue or Prestik for mounting photographs •

Pens or coloured pencils to be used for writing about the photographs when mounting

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A portable printer (optional or have photos printed out at a photo studio)

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Permission forms: 1) Consent Form to participate in the photovoice workshop 2) Media Release Form to show photographs publicly

How We See It! — A Toolkit

Materials Required for a Photovoice Workshop

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HOW DO YOU DO PHOTOVOICE? BEFORE TAKING THE PHOTOS Step 1: Engaging with photos: Get participants interested in taking pictures.

• Engage the participants in a brief discussion about photovoice and taking pictures. For example, what is a problem in your community that effects your ability to [go to school/find work/access healthcare]? How are girls/boys/women/men treated differently in your community? How does stigma effect your access to [school/housing/healthcare]?

• Let the participants know that they are the ones who are going to be taking the pictures.

Figure 2: Clockwise from left, “Marriage is not consent,” “Physical inability to have sex doesn’t make you any less a man,” “Period may hurt but silence about menstruation hurts more.”

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• You can show the whole group some examples of photos that have been taken in their area and say a little bit about each photo. The photos don’t have to be on the same topic, but they should be relevant to the participants.

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Step 2: Introduce the prompt: • The prompt guides what participants take pictures of (e.g., ‘Feeling safe/ feeling not so safe’, or ‘Challenges and solutions to addressing GBV’. Typically, everyone in the group uses the same prompt but can interpret it very differently.

Step 3: Introducing the device you will be using.

• Demonstrate the basic functions of the camera participants will be using (e.g., Locate the camera app located in the mobile phone/table. Explain how to zoom in/out. Locate the gallery of stored photographs). Provide the participants with a chance to experiment with the camera. Be prepared to help when required.

Step 4: Visual Ethics • The photographs participants take belong to the person that took it.

• Introduce the ethics of taking pictures. You might want to have examples ready so that you can give clear guidance about taking ethical photos (see examples in Appendix B). For example, there will be fewer ethical concerns if: - The goal of visual ethics training is to reflect critically on what is OK—and not OK—to photograph, the importance of asking permission to take someone’s picture, and some different options for filming in ways that increases anonymity.

- The photographer can take pictures of inanimate objects.

- Pictures of people can be taken in a way that makes it less likely that it will identify them (e.g., hands or silhouettes).

- One strategy that has been highly effective at maintaining participants anonymity and still creating highly provocative photographs is having participants exclude their faces and focus on their hands (See for example Hands for Change activity on p. 15).

Avoid photographing members of the public or community members who are not part of the photovoice workshop. If taking photos of people outside the workshop, make sure to obtain their signed consent to do so.

How We See It! — A Toolkit

Always ask permission. Ask even within the workshop. Ask permission to take photos in public places such as shops.

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TAKING THE PHOTOS Step 5: Take Photos • Send the participants off in groups (2-5 people) to take photographs. Ask them to take a picture of their group as this will give them practice and make it easier to match the participants with the photographs.

• Instruct them on how many pictures they should take (no more than 15-20 for the whole group).

In a single group, each person should get the chance to take at least two pictures.

• You will also have to let the participants know where they can go to take pictures (outside, or in the workshop room) and the length of time they have. They should be given at least 30-40 minutes to take their pictures.

WORKING WITH THE PHOTOS Step 6: Preparing the photos for the participants to work with • Make hard copies of the photographs (print them out using a portable printer or have them printed out at a local establishment). They might also be downloaded onto a laptop and displayed through a projector.

Step 7: Looking at the photos • Provide each group with their own photographs and let them look through them and enjoy them.

You might want to do a ‘walk about’. Hang all the pictures on a clothesline and invite everyone to walk around to get an idea of the photos.

• A caption is a short description of 10-15 words about the photograph: • It may take the form of ‘I took this photo because ….’

• Avoid single word captions.

• The attached staged photo is captioned: “These people raped the girl because they have HIV/ AIDS. They are not educated about HIV/AIDS.”

Figure 3: “These people raped the girl because they have HIV/AID. They are not educated about HIV/AIDS”

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Step 8: Creating captions for the photos

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Step 9: Discussing the photos When images have been captured, the photographs become the topic of discussion, which naturally opens a dialogue about the issues addressed or depicted.

QUESTIONS TO START A DISCUSSION ABOUT THE PHOTOGRAPHS • Describe what you see in this photograph.

• What is your reaction to this photograph?

• Can you think of positive alternatives to what is shown in the picture?

• Can you imagine showing the picture to other people? If yes, to whom and why?

If not, why not?

• Do you think showing this picture to others can lead to positive changes?

If so, how? (or: why or why not?)

Step 10: Creating a photo narrative [sometimes called a poster narrative]

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• Hand out paper or sheets of cardboard and pens and allow time for the group or individuals to mount the photos of their choice. They should also write relevant comments next to the photos.

Usually in this photo narrative they choose 8-10 photos (maximum) to mount. They usually will include a title for their photo narrative.

Figure 4: Photo-narrative depicting youth in crisis regarding sexuality, offering a few examples of the issues they may face.

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Step 11: Presenting the photo narrative to the rest of the group • In the safety of the workshop session, each small group should present its photo narrative to the whole group.

• Encourage other groups to listen to their peer’s presentations and raise questions and comments about the photos.

Figure 5: Photo-narrative depicting women claiming freedom from gender-based violence.

Step 12: Exhibiting: Making photos public through curated exhibitions [SEE PART FOUR]

ANALYZING THE PHOTOS USING THE ‘SHOWED’ METHOD The following discussion questions called SHOWED were developed by a visual researcher, Caroline Wang, based on her work with women living in rural areas of China.

• What do we See (or how do we name the problem)?

• How does the story relate to our lives?

• Why does this problem exist? (What are some of the root causes?)

• How might we become empowered now that we have a better understanding of the problem?

• What can we do about it?

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• What is really Happening?

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HANDS FOR CHANGE: AN ADAPTED PHOTOVOICE ACTIVITY The Hands for Change activity is an adaption of photovoice that is shorter in length and has the immediate result of creating an exhibition ‘on the spot.’3 Participants are asked to position their hands artistically to create symbolic meaning regarding a social phenomenon or issue (e.g., depicting consent or solidarity) in their community. The activity requires photos be printed out immediately so that participants can write their message about the theme or topic on the photographs. Therefore, you need to have a photo printer and permanent markers (e.g., Sharpies) on hand for this activity.

Figure 6: “Consent is beautiful”

Participants or the facilitator take the image of the participant’s hand(s). Use a photo printer to print the pictures on site. Then, participants write the caption directly on the photograph or on a separate piece of paper. Then the photos can be displayed on a clothesline.

Materials Photo printing paper; cartridges; sharpies (permanent markers); clothespins and clotheslines.

Equipment

Space The space should have a stable wall or poles where a clothesline can be tied. The space should also have power outlets to connect the printer and charge cameras.

Figure 7: (Above and below) Displaying hands from change photographs on a clothesline

Facilitators Ideally there are two facilitators to keep the activity moving.

Participants Participants can participate in the photo activity as a group (2 or 3 sets of hands together) or individually, whichever they prefer. Participants do not need literacy skills to take part in this activity.

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MacEntee, K., Labacher, L. & Murray, J. (2011). Girls use digital photography to speak out about sexuality and HIV. Girlhood studies: An interdisciplinary journal, 4(1), 156-167.

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Digital cameras, tablets, or iPads; and one or more photo printers.

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Time The Hands for Change activity might be conducted within flexible times throughout the duration of a workshop or simply when participants have the chance, such as during session breaks.

Reflecting on the activity An optional activity would be to have participants view all the images produced and reflect on what they see: • What are the main messages?

• Are there any surprises?

• Who should see this exhibition?

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• Do you have any ideas on what you could do to educate others about the topic?

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PART 3

CELLPHILMING WHAT IS CELLPHILMING? Cellphilming (from combining the words cellphone and film) is the act of taking a short video (typically between 1-5 minutes) with a cellphone, tablet, or other mobile device. The goal of making a cellphilm is for participants to represent their ways of looking at a particular issue in their everyday lives.

When screened to targeted audiences of stakeholders, cellphilms can be highly effective at sparking discussions on social change.

A ‘NO EDITING REQUIRED’ (NER) APPROACH TO CELLPHILMING The cellphilms can be edited using specialized software on a mobile phone or a computer, however, a NER approach or a ‘one-shot shoot video’ is a very efficient and accessible approach for supporting community engagement. The approach does not take as long as using editing software. If editing is required, there are several online and easy-to-use video editing applications for hand-held devices that may also be explored.

To use the NER approach, the mobile device requires a ‘pause’ function in the video application.

Press record to film the first scene and pause the record when the scene is finished. Un-pause to film the second scene and pause when finish. Un-pause to film the third scene, and so forth. Only after all the scenes have been recorded does the videographer press stop record. If the scenes are filmed in sequence, the result of this NEW approach is a multi-scened cellphilm with no post-filming editing required.

How to use the ‘One-Shot shoot video’ The one-shot shoot video refers to filming the entire cellphilm in one continuous shoot. No pausing or post-filming editing is used. It is helpful for groups to have a clear plan of their cellphilm prior to filming using this method.

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Much of the material for this section of the guide comes from Thompson, J. Mitchell, C. & Starr, L. (2019). Cellphilming: A Tool for Addressing Gender Equality. -Facilitators’ Guide. Ottawa, ON: CODE.

How We See It! — A Toolkit

How to use the NER approach

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CELLPHILM STYLES There are many different styles or genres to choose from that can produce meaningful and impactful cellphilms.5

Some questions that might influence choice of style: • What is the purpose of the cellphilm?

• Who is the audience for your cellphilm?

• How long will your cellphilm be?

Melodramatic Stories: Melodramas typically involve participants acting out a dramatic narrative relevant to the theme or prompt. This style, often including a distinct beginning, rise in action, and conclusion/resolution, still aim to fit within the short timeframe of a cellphilm –between 1-5 minutes.

Media Message Cellphilms are short (sometimes only 30 seconds long) videos inspired by Public Service Announcements (PSAs).

They typically address a very specific issue (e.g., early marriage, access to sanitary napkins, domestic violence) and conclude with a very clear message or slogan calling for a specific action.

PROJECT THEMES AND PROMPT EXAMPLES FOR CELLPHILMS • Sexual and Reproductive Health Rights - How does menstruation impact your life?

- Early marriage and the impact on young people today.

- Combatting Gender-based Violence • HIV/AIDS - Stigma in my life - Challenges and facilitators of accessing services in my community.

Video Capsules

using a documentary style.

How We See It! — A Toolkit

are short interview videos where one person answers another’s questions. These video capsules are usually no more than a minute to 90 seconds long and can be used in a variety of ways: as introductions, as summaries, as a ‘sound byte’ insert between cellphilms during a screening.

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Cue card format expresses all the main ideas in a series of short phrases or terms written on paper or cue card.

The camera focuses on flipping through the cards to tell a story.

Monologues use the idea of just one person speaking (and are often the same genre as vlogs)

Talk Shows and Interviews build on the television genre of ‘experts’ being interviewed about their experiences.

Investigative journalism

Thompson, J. Mitchell, C. & Starr, L. (2019).

CELLPHILM WORKSHOP Creating Small Groups Typically, people work in small groups to make cellphilms. Having some male groups, some female groups and some mixed groups creates for interesting cellphilms. People may also want to group up with people in their age group. The idea of dividing groups in this way is to capture particular social perspectives on a societal issue. When an issue is highly stigmatized participants may prefer to work independently to make their cellphilm and a facilitator can help with filming if it is required.

Materials Required • Fully charged tablets or cellphones. Participants may use their own devices, but to increase access and participation it is helpful for the project to have enough devices on-hand for participants to work together in small groups • A large memory card • Permission forms: 1) Consent Form to participate in the cellphilm workshop 2) Media Release Form to show cellphilms publicly • Photographs, string, and clips for Visual Ethics Training (more information below) • Paper and pencils/markers to make a storyboard • Flipchart paper, markers, and tape or sticky tack for making notes during discussion • Digital projector and speakers for screening cellphilms

STEPS FOR CREATING A CELLPHILM A prompt helps ensure that the cellphilms created during a workshop explore a particular topic or theme. Developing a prompt can be done before the workshop starts or at the beginning of the workshop involving the participants through a brainstorming session and/or discussion. It is important that the topic reflect the group’s interests and abilities and relates to the overall purpose of the project.The actual prompt is more specific than the overall topic and refers to the specific phrasing that will guide everyone’s production. Typically, a prompt is open-ended to invite multiple interpretations from different participant groups to reflect on their lived experiences and social contexts.

Examples of Prompts • Feeling safe and not so safe • Challenging gender inequality in my life • What is it like to be a girl/boy/woman/man?

• Identifying the gender gaps and how to close them

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Step 1: Choosing a topic and prompts

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Step 2: Learning to use the device Review the record function on the device being used, the record, pause, and stop record functions, as well as where the video file will be stored so that participants can record and then review what they have filmed. Make sure that everyone knows how to do shoot-pause-shoot and stop record so that they can do No Editing Required (NER) (see page 13). Dialogue can be difficult to capture on mobile devices. Ensure that everyone knows the locations of the microphone on the device and how close they need to stand to someone for the microphone to clearly capture what the person is saying—it’s closer than you think!

Step 3: Visual ethics training Issues of visual ethics are complicated. You may want to discuss visual ethics in relation to specific images and ask participants to identify what might be some ethical concerns in relation to the images (see Appendix B). There are video strategies that can be used to help participants maintain anonymity in their cellphilms:

A ‘No face’ Approach To increase anonymity in cellphilm-making, a ‘no faces’ approach promotes creativity and abstract thinking. It includes: • Filming objects and things • Filming scenes or buildings without people in them • Filming people from a distance so that no one is recognizable • Filming parts of the body, such as hands and feet • Filming people’s shadows, or from behind • Filming hand-written signs, or making a cue card video • Using sound to convey a message (e.g., a scream off camera)

Always ask permission. Ask even within the workshop. Ask permission to make cellphilms in public places such as shops. workshop.

The goal of visual ethics training is to reflect critically on what is OK—and not OK—to film, the importance of asking permission to film, and some different options for filming in ways that increases anonymity.

Step 4: Brainstorming Story Ideas The work is typically done in small groups of 4-6 people. Groups brainstorm story ideas in response to the prompt. Anyone can write these ideas down on a paper so everyone can see and remember them.

Once a few ideas have been stated, the group should narrow down the possibilities for what they may want to film. One way is to have each person vote for their favorite topic. Sometimes it just happens by consensus that everyone likes one idea.

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Avoid filming members of the public or community members who are not part of the cellphilm

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• If you go with voting, give each participant a colored sticker to vote with. Each participant could also use a marker to make an X on their preferred topic.

• Make a note of any props, costumes, ideas for dialogue, music, or sounds that you need in each scene.

• You can even make a note of the type of filming you will do to capture this scene (e.g., close-up, panorama, holding phone above looking down).

• As part of brainstorming choose a genre: a media message, melodrama, talk show, etc.

Step 5: Creating a Storyboard A storyboard is a planning activity that groups use to plan or sketch out their ideas and place them in a detailed order before they begin filming. The storyboard typically includes a title at the beginning and credits at the end. This step helps groups start to think visually about their cellphilm. This is one of the most important parts of the cellphilm activity. It can be difficult for some groups, and it will take time.

• Make sure the story connects back to the prompt/topic.

Figure 8: “Listen to what disabled people say!” A participant-produced policy poster

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• If there is time, each group can share their storyboard ideas with the larger group for feedback.

This might require making time for groups to edit or revise their storyboard before going out to film.

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Step 6: Filming • Make sure everyone knows how to use the basic functions of the mobile device before filming cellphilms. When filming the actual video, think about the following: • Not everyone has to be in front of the camera. People can help plan and direct the cellphilm or they can hold the camera, prepare the materials, or plan the sounds for the film.

• What location will you choose?

• Will there be any interference with sound?

• Are other groups filming close by? Will you be able to hear them?

• Make sure that there are no passers-by.

Since the films are very short, groups should be encouraged to film them several times. One piece of advice: ‘Practice, practice, practice!’

Tips on Storyboarding • Try to have a short title • Create powerful take-away messages: - The last scene could include a written message ‘Get rid of gender violence’ - If it is a personal story: ‘This is what I hope people will learn from my story’

It is very important for participants in a workshop get a chance to screen their cellphilms to the whole group. The first screening should be entirely celebratory! While questions for clarification may be needed, avoid any in depth discussion of the quality of the filming (e.g., it was too shaky, the acting was too dramatic). Have another discussion to identify possible audiences for the cellphilms screening: • What would be the purpose of showing the cellphilms to different audiences?

• Are there particular cellphilms that should definitely be shown?

• Are there certain cellphilms that should not be shown?

• Would showing any of these cellphilms put the filmmakers at risk with certain audiences?

How We See It! — A Toolkit

Step 7: Viewing the Cellphilms

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Step 8: Reflecting on the Cellphilms There can be several different layers of reflection, including having cellphilm-producers reflect on their own cellphilm productions, reflect on each other’s’ cellphilms, and having the wider audiences view and reflect on the cellphilms as well.

The following questions are effective in reflecting on cellphilms: • What do you like best about the cellphilm?

• What is the message and why is it important?

• Who should see these cellphilms and why did you choose this audience?

• How does the cellphilm help to address a particular problem or concern in relation?

• What would you do differently next time?

How We See It! — A Toolkit

Step 9: Screening Cellphilms [See Part Four]

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PART 4

ADVOCACY THROUGH PA R T I C I PAT O R Y VISUAL METHODS “Visual imagery is at the heart of humanitarian and human rights activism.”

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WHY ADVOCACY? A key strength of participatory visual methods such as cellphilming and photovoice, is that they are modes of inquiry and representation as well as modes for reaching many audiences – Knowledge mobilization. The idea is that displaying the media productions can create spaces for dialogue with different audiences (peers, communities, policy makers). A photo or cellphilm with a message can move audiences to both see, feel and act!

HOW? PLATFORMS FOR ADVOCACY One of the most important uses of photos and cellphilms is that they can provoke dialogue amongst various audiences (e.g., peers, family, community groups, policy makers) when they are carefully and artfully displayed. An exhibition or screening can be in person and include hanging photographs and/ or narratives like in a gallery. An exhibition or screening could also be virtual and hosted on a project website or shared over social media.

Some tips • The photographs, photo narratives and cellphilms belong to the participants who made them.

Always seek participants’ permission to share their photographs, narratives and cellphilms prior to screening outside the project group.

• Invite people to the exhibition/screening through flyers, radio, email, social media, and letters sent to their homes.

• Where possible, include a title for the exhibition or event and a short explanation or curatorial statement. Providing some background on the project (e.g., aims and research questions) in the community with specific participants can help audiences interpret what they are viewing.

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Sandra Ristovska (2021) Seeing Human Rights: Video Activism as a Proxy Profession. MIT Press.

How We See It! — A Toolkit

Exhibitions and screenings (in person and virtual)

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Specific For Cellphilm screenings • Where possible, arrange the seating in theatre style. This helps to give the process a more authentic sense of a serious viewing of the cellphilms.

• If possible (and the technology is available), the cellphilms should be screened on a large screen (using a projector or a large-screen TV), with an external speaker.

• Before the screening of each cellphilm, someone (e.g., project facilitator or participant) from the group should introduce their cellphilm by stating its title and a short summary.

• Once all the cellphilms have been screened it is important to have a question-and-answer period. Questions and comments about the theme and issue addressed in the cellphilm should be encouraged and discussed.

• The focus of the discussion should be on the topics, content and ideas represented in the video and overall, the successes of the video. The people who made the cellphilms can then provide final concluding comments.

A note on exhibitions and screenings • It is important to discuss the ‘making public’ with the participants ahead of time.

- What will happen at the event? Who will be there?

- What do the participants want the audience to learn?

- What do the participants consider the challenges?

• Not all participants will want to be part of a community screening or exhibition. For example, some youth may feel that there are intergenerational concerns. Older adults may be more interested in only sharing their productions with immediate family but not in a public event.

When participants have their own cellphones to store and access their own photos/cellphilms, they can easily share their creations with peers and family with the productions they have created.

This respects issues of ownership. To support participants in personal sharing, you can role-play or practice sharing amongst the participant group first. This is especially helpful if the topic is highly stigmatized or contentious. Participants should never feel pressure to show their photos or cellphilms to people that they feel might react negatively to the information.

‘I showed my cellphilm (on how to report rape) to my parents.

They said they are happy about the work we are doing because in their days they were never taught anything about rape. They also said they didn’t know the steps I introduced to them of what to do after being raped and ways that rape can be minimized.’

How We See It! — A Toolkit

Personal (one-on-one) sharing of photos and cellphilms

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Participant-produced policy posters for sharing photos A policy poster is a participant-produced artefact made up of visual images (drawings and photos) and a media message. Policy posters can be exhibited ‘as is’ or produced as flyers for broader circulation.

Participant-produced action briefs Action briefs are short, targeted documents that map out a particular social issue (researched by the participants and complementing visual images) that typically offer brief, clear and persuasive recommendations for change. Participants could include photos, stills from cellphilms, or even embed video clips of their work. The briefs can be produced in hard and soft copy in preparation for dissemination.

Figure 9: Example of a participant-produced policy poster—“Listen to disabled people” in Vietnamese

‘I have an action brief called Don’t take girls for granted. I took it to my aunty living in Port Elizabeth. My aunt was in an abusive marriage and end up being divorced. My aunt said she is happy that I know these things at an early age because when she got married, she was told to be submissive and accept everything her husband is doing. I told her that we are working as a group, and we are doing this because we are concerned about our community. I also said, we as the group realized that nothing is being done in our community, so we are hoping to make change’.

How We See It! — A Toolkit

“I have an action brief called My Stuff My Privacy and a cellphilm Rape is Real which I have on my cellphone. I showed it to my parents. They said I must continue working with the group. By staying in the group, I will be able to advise other children that are not allowed to share their views to speak out and break the violence silence”

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Figure 10: Example of a participant-produced action brief –“We are the victims of our ‘protectors’?

Who could one trust?’

Composite Cellphilm Videos

As a production, the composite videos might include additional footage (shots or photos of the setting, along with process footage) to help introduce the project and support different audiences to interpret and be persuaded to take action. Ideally, participants are centrally involved in deciding what cellphilms are included in the composite but depending on the video editing experience of the group a third-party editor may be required. The video should always be approved by participants before screening to ensure their voices and ideas are accurately represented. When the composite video is ready, it can be screened much like a cellphilm screening. Participants and project facilitators can work together to introduce the project, and the video. After the screening, a co-facilitated discussion invites audiences to explore how the information presented in the composite impacts their understandings and future actions.

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https://participatorycultureslab.com/2019/04/26/videos/ https://youtu.be/qeGDTbN3XMI

How We See It! — A Toolkit

A composite video is a researcher-generated production which brings together some (or all) of the participant cellphilms in one video, allowing for either facilitated sessions with various audiences or web-based. Composite videos highlight the project data (the cellphilms) and findings, and often make recommendations.7,8

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RESOURCES HEAIDS COP. (2011). Using a different lens for HIV and AIDS Education: Research Method and Pedagogy Using Participatory Visual Methodologies. HIV and AIDS Education Research Chair. ISBN: 978-0-62051569-6. Retrieved from https://www.heaids.ac.za/site/assets/files/1233/using-a-differentlens.pdf.

Thompson, J. Mitchell, C. & Starr, L. (2019). Cellphilming: A Tool for Addressing Gender Equality.

Facilitators’ Guide. Ottawa, ON: CODE. https://participatorycultureslab.com/wp-content/ uploads/2019/09/cellphilm.guidebookfinal.pdf

How We See It! — A Toolkit

Vanner, C., Ezcura Lucotti, M., Khan, F., Lamb, P., Mitchell, C., Nyariro, M., Raissadat, H. & Sadati, H. (2019). Creating Circles: A Handbook on Art-making with Young People to Address Gender-based Violence. Montreal: Participatory Cultures Lab, McGill University. https://participatorycultureslab. com/wp-content/uploads/2019/03/cwc.handbook.interactive.pdf

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APPENDIX A

CONDUCTING A PARTICIPATORY VISUAL METHODOLOGIES WORKSHOP: ESTABLISHING THE WHO, WHAT, WHERE, AND HOW We included this section for anyone who uses this guide and is going to lead a participatory visual methodologies workshop with others.

Who? • Who is the workshop for?

• Who are the participants?

What?

• What are the participants’ cultural attitudes towards art, participation, being photographed/ filmed, as well as to the issues being addressed in the workshop (e.g., sexuality, gender-based violence, inclusion).?

• What are the ages of the participants? Is there a wide range to cater for?

• What are the physical conditions of the workshop?

• What are the participants’ expectations?

Where?

• Where is the workshop taking place?

• Is the space physically and socially accessible to participants?

• Does the space allow for small group work (e.g., access to safe outside spaces? Quite breakout areas for filming?)

How We See It! — A Toolkit

• What kind of health conditions disabilities will be represented in the group?

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How?

PLANNING AND PREPARING THE WORKSHOP Workshop facilitators organize the workshop, prepare the room and the resources that will be used during the workshop and support participants in doing the participatory visual work and exploring the project themes. When there are 8+ participants, it is helpful for a workshop to have 2 or 3 facilitators working as a team.

Workshop Facilitators Should: • Help participants feel confident and empowered to engage.

• Ensure that there is trust and respect among participants. Ask participants if they feel safe and comfortable with the activity. If not, be sure to provide the participants with more explanation and support in the group you are co-facilitating.

• Ensure that the materials are clear, easy to use, and that participants become familiar with how to use them.

• Be prepared to adapt as necessary to the situation (e.g., perhaps participants can share the materials and technology).

• Facilitators are there to support participants to creatively explore and direct their own media creations.

Prior to the Workshop it is Important to: Ensure that everyone in the workshop is consenting to participate and is there because they chose to be there. It is also important that everyone is welcomed into this space regardless of their gender, race, sex, class, abilities, ethnicity, and religion.

Work collaboratively. As a facilitator you understand who you are working with, what prompt or themes you will likely explore, the instructions you will give, how you will handle questions and ambiguity among team members and how you will assure that participants with differing experiences can join the activities in a manner that is appropriate to them. Everyone can be assigned a distinctive role in contributing to teamwork.

Discuss the participants’ needs and interests. Make sure that all participants are engaged in the activities. Give participants additional support if they require it. For participants who do not wish to participate, give them the right to decide, and respect their decision.

Whose voices are being heard, and whose are not?

In some contexts, and groups, individuals with particular social identities tend to feel more comfortable in answering for their group, and in speaking publicly (e.g., boys and men, white people, able-bodied people). This means that ‘othered’ voices and perspectives tend to be heard less often, even when they make up the majority in the workshop. The intersectional aspects of social identities are dynamic and complicated. It is the facilitator’s role to be sensitive to these dynamics and create space for minority or marginalized voices, without being tokenistic.

How We See It! — A Toolkit

Have open conversations about what those participating want to achieve. Differences in opinion can be addressed and discussed before the workshop gets underway. Keep expectations about the workshop’s outcomes realistic and achievable.

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A goal of these participatory visual methodologies is to model what equality can look like and ensure that everyone is heard, but especially the voices of those typically excluded being recognized as leaders in addressing these serious issues.

Encourage people creating the photovoice images and cellphilms to consider questions such as: • What are the explicit issues being represented in the photovoice or cellphilm?

• What do you think about the issues in the photovoice or cellphilms?

• In the photovoice or cellphilm, who is often portrayed as a victim? As the perpetrator? As the change agent? What does gender have to do with it?

• How do these scenarios reflect (and reproduce) real life? What stereotypes are being enacted?

How does the photovoice or cellphilm challenge norms or stereotypes?

Make sure that the space is Accessible

Quiet

Spacious

How We See It! — A Toolkit

Safe

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APPENDIX B

Figure 11: Photographs of people at a distance so that no one is easily recognizable; Photographs of scenes or buildings without people in them at all.

How We See It! — A Toolkit

PHOTOGRAPHS FOR VISUAL ETHICS TRAINING

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How We See It! — A Toolkit

Figure 12: Photos of people in a shadow or taken from the back; Photos of unidentifiable body parts, things.

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