Community Video


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Community Video in India

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Community Video

  1. 1. Commonwealth Educational Media Centre for Asia Democratic and Participatory Potentiality of Community Video in India Dr Ankuran Dutta Programme Officer CEMCA, New Delhi
  2. 2. Objectives  The purpose of this study was to examine the growth and development of community video in India and its’ impact in democratizing the community’s voice to point out existing challenges and opportunities.  This research explores a few initiatives of community video production in India and tries to identify the approaches of these initiatives.
  3. 3. Understanding Community  Our simple conceptual framework on the term goes with two phases- common and unity (common+unity)*, whether it may be of geographical, identical, cultural, virtual or homogeneity in speaking language and nature.  Indian community radio policy justifies with geographical community, but in case of community video, the scope is there to narrow down from geographical description. * Concept by Dr Anamika Ray
  4. 4. Understanding Community Video  Community media can be described as the tools of horizontal communication to gather and share information.  It is a podium to converse the issues of a particular community for overall development.  Community video is a development communication tool considering the objectives of the medium and is participatory in nature.
  5. 5. Community Video Initiatives in India  The concept of community video or participatory video was mainly evolved with the Fogo Process in Canada.  The community video emerged in India with the initiation of the Kheda Project.  This project was launched in 1975 and 607 community television sets have been installed in 443 villages of Kheda district of Gujrat
  6. 6.  Centre for the Development of Instructional Technology (CENDIT) started producing community based videos (may be) in the late eighties.  Video SEWA was first came into existence in 1984. Giving the technological training to the grassroots level people and advocacy the rural development remained as the center concepts from its very inception.
  7. 7.  Drishti was founded in 1993 by a team of media professionals eager to use their skills and passion to cultivate awareness of gender justice, grassroots development, and human rights in India.  Video Volunteers has been able to train 300 community producers. Excluding more than thousand online viewers, 300000 people attended 2200 time community video screening programmes.
  8. 8.  Digital Green has produced over 2,800 videos in more than 20 languages, reached 3,000 villages and over 330000 farmers.  Deccan Development Society, a Hyderabad based non-government organization, is one of the oldest community video producers, who began a series of video workshops for rural women in January 1998.
  9. 9.  Apna TV is founded in 2006 by Akshara, an NGO based in Mumbai that works for the rights of women.  Khobore Aamra is founded in 2009 by Child in Need Institute (CINI) based in Kolkata that helps mothers and children in India.  Hamaru Raibar is a community video project founded in 2008 by Himalayan Institute Hospital Trust based in Dehradun.
  10. 10.  Manyam Praja Video is a community video unit founded in 2006 by Laya in East Godavari, Andhra Pradesh.  Apna Malak Maa is a community video unit founded in 2006 in Ahmedabad, Gujarat by Navsarjan.  Aina is a Jaipur based community video unit founded in 2009 by Pravah, which is a Delhi based NGO.
  11. 11.  Samvad, this community video unit was founded in 2006 by Saath, an Ahmedabad based NGO.  Sangli Talkies was founded in 2009 by a voluntary organization Sangram that works in Maharashtra.  Hamari Awaaz is a Mumbai based community video unit founded in 2006 by YUVA (Youth for Unity and Voluntary Action) a non-profit human rights organization.
  12. 12.  Sakshi Media was founded in 2006 at Panchmahals, Gujarat by Yuvshakti, an NGO.  Apna Disha TV, is a project of Hope Foundation in Kolkata, founded in 2011, that works for 35 slums of WB.  Community Communicators is an organization based in Assam and since 2004 (renamed in 2013), the organization has been involved in different participatory communication including community video production.
  13. 13. Community Video Approaches in India  There are many approaches exist in producing community video in India. The approach of Video Volunteer is more activist in nature than a participatory one. On the other hand, the Digital Green’s approach is participatory based on co-learning objective.
  14. 14.  Approach of Dristi:
  15. 15.  Approach of Digital Green:
  16. 16.  Approach of Video Volunteer  The CVU produces one video magazine every eight weeks on different social issues. Topics are selected by an editorial board of community members, the CVU team and the NGO. One video magazine is screened every eight weeks month in 25 villages or Bastis (slums) and finishes off with calls for action.
  17. 17. Existing Approaches of community video production in India  Based on different approaches of community video production and delivery mechanism, the researcher has tried to identify five models. These models are fundamentally based on the motive or objective of video production and its’ process of production and distribution.
  18. 18. Model of activism for development
  19. 19. Model of Co-learning/ participation for community empowerment
  20. 20.  Model of establishing identity – The medium of video plays a significant role in establishing the identity of the small or minority communities in the common social dais.  Model of development process archiving – Archiving is an important objective of community media. Developmental activities and other good practices are recorded for future reference and encouragement.  Model of access to information – To access the information, community video is the best alternative in parallel to the traditional folk media for disadvantaged locations.
  21. 21. Proposed Model of Community Video Production in India  The pre-production should be based on the need identification  Production and post production will be done by the community under the supervision of experts, if needed  Dissemination and delivery will be of three tire – screening at community places – through networking of NGOs and – using New Media that includes social media platforms.
  22. 22.  The volunteers will not be salaried and they may be known as community video journalist and will work as stringers.  Community studio can be established and a community gate keeping system can be adopted  The produced videos will be exhibit at community hall or common place of the community and simultaneously should be uploaded in the social media platforms for worldwide exposition.  A very limited external funding is required, which can be arranged from the local Panchayets or government and from NGOs.
  23. 23. References  Balit, S. (2003). Foreword in Participatory Video: Images that Transform and Empower. New Delhi, Sage.  Balit, S. (2004, July). Communication for Isolated and Marginalized Groups Blending the Old and the New. Retrieved June 20, 2014, from  Berrigan, F. J. (1981). Community Communications: The Role of Community Media in Development. Paris: UNESCO.  Bessette, G. (2004). Involving the community: a guide to participatory development communication, International Development Research Centre, Penang, Malaysia.  Cadiz, M. C. (n.d.). Communication for Empowerment: The Practice of Participatory Communication in Development. Retrieved June 20, 2014, from  Choudhury, P. S. (2011). Media in Development Communication.Global Media Journal – Indian Edition, 2(2).  Community Video | Promoting Rights Through Media And Arts. (n.d.). Retrieved June 10, 2014, from  Community Media Models. (n.d.). Retrieved March 15, 2014, from  Contractor, N. S., Singhal, A., & Rogers, E. M. (1993). Satellite Television and Development in India: A Utopian, Dystopian, Neutral and Contingency View. In Perspectives on Development Communication (p. 243). Thousand Oaks, CA: Sage.  Crocker, S. (2003). The Fogo Process: Participatory Communication in a Globalizing World. In Participatory Video- Images that Transform and Empower (pp. 122-141). New Delhi: Sage.  Democratic Participant Theory. (2013). Retrieved June 24, 2014, from theory.html  Digital Green - Annual Report 2010-11: Our Progress. (n.d.). Retrieved June 12, 2014, from  Digital Green - Wikipedia, the free encyclopedia. (n.d.). Retrieved June 25, 2014, from  Digital Green Best Practice Documentation.(2011, June). Retrieved June 12, 2014, from  Digital Green Best Practice Documentation.(2011, June). Retrieved June 12, 2014, from  Digital Green.(n.d.). Retrieved June 10, 2014, from  Digital Green.(n.d.). Retrieved June 12, 2014, from  Dutta, D. (n.d.). Community Video Enhanching Community Participation and Development: A Case Study of the Community Video Model of Drishti, India (Unpublished Document).  Figueroa, M. E., Kincaid, D. L., Rani, M., & Lewis, G. (2002).Communication for Social Change: An Integrated Model for Measuring the Process and Its Outcomes. New York: The Rockefeller Foundation.  Film Features | Promoting Rights Through Media And Arts. (n.d.). Retrieved June 12, 2014, from
  24. 24.  Film Features | Promoting Rights Through Media And Arts. (n.d.). Retrieved June 10, 2014, from  Mac Bride, S. (ed.), (1980). Many Voices, One World: Communication and Society- Today and Tomorrow. Paris, France: UNESCO.  Ninan, S. (September 30, 1992). CENDIT scores with film series. Retrieved June 10, 2014, from  Odutola , K. A. (2003). Participatory use of Video: A case study of community involvement in story construction. Global Media Journal (American Edition), 2(2), Article 11. Retrieved from  Other Projects.(n.d.). Retrieved June 8, 2014, from partners/  Our Partners. (n.d.). Retrieved June 10, 2014, from  Press Releases.(n.d.). Retrieved June 25, 2014, from  Recognition And Awards. (n.d.). Retrieved June 10, 2014, from  Satheesh, P.V. (nd.). Participation and Beyond: Handing Over the Camera. Retrieved May 10, 2014 from  SCMRP.(n.d.). Retrieved June 9, 2014, from media-research-program/  Servaes, J. (2008). Communication for Development and Social Change. New Delhi, Sage.  SEWA Academy.(n.d.). Retrieved June 10, 2014, from  SEWA Video | Our Work.(n.d.). Retrieved from  SEWA Video | Our Work.(n.d.). Retrieved June 9, 2014, from  SOP. (n.d.). Retrieved June 12, 2014, from  Tufte, T., &Mefalopulso, P. (2009).Participatory Communication: A Practical Guide Book. Washington DC: The World Bank.  Videoactive Girls.(n.d.). Retrieved June 9, 2014, from videoactive-girls/  Videoshala E-CVUs.(n.d.). Retrieved June 10, 2014, from videoshala-e-cvus/  What is Video Volunteers?(n.d.). Retrieved June 10, 2014, from  White, S. A.; Nair, K. S. (1994).Cultural Renewal: An Operational Model for Sharing Diversity through Participatory Communication., Paper presented at the Annual Meeting of the International Communication Association, Sydney.
  25. 25. Thank You