In our continuous effort to transfer our Participatory Video expertise as a tool to improve research, engagement, impact and social change, Spectacle over the years has trained hundreds of researchers and has always tailored its training courses to the needs of our trainees. We believe that video is a tool that researchers should not feel afraid to use as a support for their documentation, data analysis and dissemination of results.
In recent years we have developed our methods in a range of projects, using remote work environments to reach out to participants in different parts of the world and adapt to circumstances when travelling is not possible or too costly.
We have evolved a hybrid model to merge the best of what we learned about in-person and remote training. In-person camera production workshops is the best setting for hands-on practical experience and to have access to professional equipment. Remote training is an efficient and cost effective way to learn and collaborate on video editing projects, allowing participants to acquire new skills from home.
We have recently been asked to design a hybrid bespoke training programme for the Hutton Institute in Aberdeen, where we have delivered a 2 day in-person Participatory Video workshop to a group of 11 researchers. Social researchers from the institute, all planning to include video in their ongoing and future projects, have learned how to use video to document and support investigations and explored the use of participatory video tools for research.
Building on our 30+ years experience in community based video and thanks to our successful experience in pioneering the use of remote participatory video we have designed a hybrid bespoke training programme in two phases.
During the first phase we have delivered a 2 day workshop: Spectacle brought to the Hutton Institute in Aberdeen our equipment, including a range of professional camera types, mics, lights, and tripods etc., to run an intensive introduction to the use of video tools.
In two days, along with demystifying the technology and learning how cameras work, we have shared tricks to work as a team, giving the opportunity to acquire hands-on experience on how to film interviews, document events and locations and approach visual storytelling in the context of research.
All attendees have really valued the way Spectacle delivered a great quantity of technical knowledge in a relatively short time, with practical exercises that are fun and illustrative of all the challenges involved in video making. The learning experience is designed so that it can be applied in any research field: assuming no prior knowledge, using transferable skills to establish a creative environment where everyone can develop new skills and feel confident that their ideas matter.
The training programme will continue on Zoom with remote video editing sessions, a tool we have successfully included in our participatory practice as well as in our training activity. We will deliver a series of short modules exploring editing softwares, workflows, tools for editing and methods to enhance editorial collaboration and participation.
All participants will be able to attend from their own computer and review in their own time the recordings of the training sessions in case they miss one. Our online participatory video editing, successfully applied in a range of projects, allows editorial control to be shared either among researchers engaged in the same project or with research participants.
If you want to learn more about our training courses and our offer, please visit our website or contact us at training@spectacle.co.uk. If you are a member of a research group and want to bring our training to your institution, we are happy to illustrate our bespoke training offer and discuss the content that best suits your needs. All our training can be entirely in person, remote or hybrid, and can include follow up tutorials, troubleshooting and project support as well as video editing support for participatory video projects and short documentary productions.
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We are very happy to present the results of a recent collaboration that Spectacle has undertaken with Luisa Enria, an anthropologist at the London School of Hygiene & Tropical Medicine, helping her produce a collaborative documentary film project built around her research on epidemic management in Sierra Leone.
In January 2022, Luisa attended one of our courses for Anthropologists and Social Researchers with no prior knowledge in video-making. In just over a year Luisa and her co-directors Abass S. Kamara, a field epidemiologist, and Mohamed Lamin Kamara, a civil society activist, set up a local video advisory group, documenting with them places, events and protagonists of the epidemic response to Ebola and the more recent epidemics, including COVID-19 and measles, in Sierra Leone.
The result was the documentary film TARMA: Communities on the Frontlines of Epidemic Response. Spectacle supported Luisa in planning, developing and editing the documentary and we are proud to share with our audience and the general public a powerful account of community response to health challenges.
TARMA: Communities on the Frontlines
In 2020, as COVID-19 spread across the world, many of us had to adapt for the first time to pandemic living, taking measures to protect ourselves and our loved ones from the virus. In countries like Sierra Leone, in West Africa, as the pandemic hit, communities already knew what to do. They had been there before. In 2014-16 Sierra Leone experienced a devastating epidemic of Ebola. Amidst immeasurable losses, across the country health workers and citizens built systems to fight future diseases and foster trust amongst the population. TARMA tells the story of how ordinary citizens and local responders, from surveillance officers and doctors to traditional healers, chiefs, and civil society activists, came together during Ebola and subsequent epidemics to develop locally led solutions.
Humanitarian organisations often say that “epidemics begin and end in communities”, however responses to health emergencies in practice remain too often very top-down and rely on one-way communication with affected citizens. This fails to recognise the knowledge and expertise that already exists at local level. Set in Sierra Leone’s Northern District of Kambia, the documentary centres on the experiences of local responders, as we hear their memories of past outbreaks and follow them into the field as they search for and respond to new diseases. TARMA foregrounds the storytelling of Kambians from different walks of life, without a voiceover narrative so as to offer a direct testimony of the lessons they have learned that might help people across the world to prepare for future emergencies.
Bringing together all the different voices involved in epidemic response, the documentary shows how dangerous it can be to ignore local knowledge and the transformative potential of local leadership in building trust in times of crisis. Collaboration is not always easy, however and ‘community’ is never homogenous or without conflict and disagreements. Through the narration of Morris Bompa, an experienced traditional healer who participated in the Ebola response, we also see the tensions involved when different ways of seeing the world collide. By highlighting these negotiations, the documentary is intended to stimulate debate and discussions around questions of power and the challenges involved in daily efforts to come together in times of crisis.
Making TARMA
Due to pandemic restrictions Spectacle has started developing a range of strategies to translate into a remote work environment its participatory video tools and practice. Supporting long term research projects as well as providing research groups with video making skills that can be used in their research, Spectacle’s approach is to find practical solutions to effectively transfer the skills needed to work together as a group on a film project. Spectacle, through remote workshops, has successfully trained and supported local groups as well as dozens of researchers who gained working skills in shooting and editing video. With Luisa, Spectacle developed a bespoke set of interventions that were tailored to her specific needs as her research and film project progressed.
After attending Spectacle’s video training course, Luisa contacted Spectacle’s team asking to support her and her collaborators, none of whom had any experience in video making, to document and story tell their experience of the recent pandemics in a documentary film that could work both locally and internationally, confronting policy makers, health workers, NGOs and local communities with first-hand accounts of what happened. The film would have also served the purpose of bringing the particular experience that Sierra Leone had to the wide international audience, attempting to highlight the complexity of local responses and the importance of collaboration to overcome the health crisis.
With Mark and Michele’s precious advice, Luisa returned to Sierra Leone in March 2022 for four months of research and filming. The initial planning for the documentary drew on the experience that Luisa, Abass and Lamin had developed working together for almost a decade of research into local experiences of health crisis and emergency response in Kambia. The three of them brought their diverse perspectives as a social scientist, a field epidemiologist and a civil society activist. They decided to establish a Community Advisory Group (CAG), which met every other week in Kambia to debate ideas for the film, including selecting people to interview, deciding on locations and key activities to film. The team wanted to capture a wide range of voices and to give a flavour of what it means to do the work of epidemic preparedness every day. They travelled far and wide across the District on motorbikes and boats, joining District vaccination campaigns and measles surveillance activities or walking deep into the forest with Morris Bompa the traditional healer.
After filming, Luisa and Sallieu Kamara, a member of the CAG with interest in filming, attended Spectacle’s Video Editing course, aiming at understanding video editing in terms of process that can, through specific workflows, be shared within a group, improving the ability to analyse material while moving forward the editorial process. Spectacle has then offered technical support in setting up the editing project, allowing Luisa to work in her own time towards a fine cut in collaboration with local partners. Working along with our Spectacle’s professional editor and anthropologist Michele de Laurentiis, and with the supervision of our director Mark Saunders, Spectacle helped Luisa and her collaborators to achieve incredible results, giving birth to an engaging and informative film that has already been shown locally to stakeholders and is now ready to begin its journey spreading its messages all over the world.
Film Preview Screening in Kambia
The finished film was first shown in March 2023 in Sierra Leone at a community preview screening in Kambia, attended by all who participated in the film, the CAG and the public. A week later, the CAG travelled to Freetown to present the film at the Emergency Operations Centre of the Ministry of Health and Sanitation where the preview sparked fascinating discussions about opportunities but also significant challenges of better integrating local knowledge, including that of traditional healers, in how we think about epidemics and how we design responses to them.
The Community Advisory Group in Freetown for the film preview screening
Panel Discussion after Film Preview Screening at the Ministry of Health’s Emergency Operation Centre in Freetown
Spectacle has been for 30+ years at the forefront of Participatory Video, supporting local communities, activists and grassroot organisations to produce their own videos. Over the last year we have helped the FAO – Food and Agriculture Agency of the United Nations collecting stories of unsung heroes facing the challenges of climate change, biodiversity loss, and multiple forms of malnutrition in their communities. Our Participatory Video expertise helped local activists from all over the world produce short videos telling their stories and sharing their ideas and efforts for sustainable nutrition and climate change mitigation in their communities.
The project ‘Stories from local heroes fighting climate change, biodiversity, and malnutrition crises’ has allowed young people from Nepal, Nigeria, Kenya, Ecuador and Venezuela to be trained in using their phones as cameras, learning how to document their life and tell their stories of activism. Through a series of initial online training sessions, Spectacle helped participants develop their skills and storytelling techniques.
In tune with our ethos and practice, all participants have learned videomaking techniques and have been allowed to direct the way the stories were developed and presented, engaging them with all phases of the video production, from filming to editing.
Climate change, biodiversity and nutrition – Helping local heroes tell their stories
Spectacle facilitated a series of workshops that allowed Apollo from Kenya, Evelin from Venezuela, Dennis from Ecuador, and Dominic from Nigeria , develop, shoot their film and direct the editing of their stories. Their 4 videos will help FAO bring to the wider public the voices of those who have direct experience of the impact of climate change and inspire other local actors with ideas on how to contribute to a better and more sustainable world.
We are proud to share here the 4 videos that were the final result of the Participatory Video process.
Apollo: Helping family farmers save food in Kenya
Dennis: Going organic in Ecuador
Dominic: Regenerative agriculture and food security in Nigeria
Evelyn: Sowing satisfaction – Dorka’s family garden
We welcome any opportunity to explore collaborations with research groups, NGOs and local communities to facilitate Participatory Video projects and develop participant-led video production.
Read more about our participatory model and past projects.
In August 2020, in collaboration with the Rostock based group Lichtenhagen im Gedächtnis , Spectacle developed and ran an archive-based two-day participatory workshop. This project is part of the run up to the 30th anniversary of the Rostock Pogrom in 1992.
The project’s events, which were held online due to the pandemic, included a public premier of a new fully German version of ‘The Truth Lies in Rostock’. The screening was followed by a Q&A with director Mark Saunders, which focused on the participatory production process through which the film was created. For more about the process or the archive footage, see the bottom of this post.
This screening also launched a unique workshop designed to connect Rostock’s past, present, and future.
The Truth Lies in Rostock
This 1993 film depicts the events which occurred in August 1992, at the Lichtenhagen estate in Rostock, in the former East Germany. Over the course of three nights, a fascist crowd assembled. The police withdrew as the mob petrol bombed a refugee centre and the home of Vietnamese guest workers while 3000 spectators stood by and clapped.
The film uses material filmed from inside the attacked houses and interviews with anti-fascists, the Vietnamese guest workers, police, bureaucrats, neo-nazis and residents. Through these perspectives, a story of political collusion and fear unfolds.
Thirty years later the question has become, how can the memory of the ‘Lichtenhagen Pogrom’ help fight new waves of fascism in Germany?
Participatory Video Workshop
This two-day participatory video workshop offered the chance for young adults from Rostock to dig into the film’s questions about the nature of fascism, racism, and the roles and responsibilities of the city, state, and federal governments.
By working with archive footage and filming a live commemorative demonstration, the workshop was designed to bridge the past and present issues of racism and anti-racism in Rostock. The workshop’s second aim was to offer new skills in media and filmmaking to these young adults.
The workshop launched the weekend of August 20th. A group of young Rostockers were split in two groups, one working with archive footage, and one filming the live demonstration.
Before the workshop began, Spectacle digitized a portion of our extensive archive footage from 1992. The material selected was of the anti-nazi demonstration that followed the pogrom. This group worked with Spectacle to edit a new short film from the material.
Meanwhile, the rest of the participants went as a small group to film an event which echoed the archive material – the Lichtenhagen Commemorative Bicycle Demonstration. This group of participants learned about filming techniques and edited footage from the demonstration into a short film which focused on the landmarks which have been built to commemorate the events thirty years before.
Read more about the project from the German perspective.
The Aims of the Project
Provide a safe space for reflection about the events in Lichtenhagen, specifically for different groupings that were involved in the events at the time. This includes, but is not limited to the Vietnamese community in Rostock, some of whom had to fear for their lives and lost their homes in the events, and Rostock residents, some of whom were appalled at the unfolding events and other who were cheering at, or maybe even participating in the attacks.
Provide skills training in workshops, teaching participants how to use video cameras, record sound, and conduct interviews.
Potentially encouraging dialogue between diverse groups and contributing to a more sustainable community through a process of reconciliation.
Preserving the oral history of the 1992 events by creating Zeitzeugen (witness/bystander) documentation for future generations, through the production of a series of films including original as well as new footage. These footage shot in these workshops will be made available online as well as on DVD and can be used to educate younger generations.
The Archive
Spectacle has an extensive archive of footage from Rostock between 1991-93. The archive grew out of a programme of participatory video workshops run by Spectacle. After the unification of Germany, all the East German media outlets were taken over or replaced with Western media. Spectacle’s series of open workshops were designed to establish an independent, community-based media group in Rostock and to document the effects of unification on the city.
All participants in the workshops were beginners, with little experience in photography or filmmaking. The practical exercises concentrated on how the unification was changing the physical urban landscape. At the close of the first sessions, each participant was interviewed about their experiences as well as their hopes and fears of “Die Wende” the unification of Germany.
One of the objectives of the workshops was to establish a community media group to that end we formed the Jako Media Co-op. Just six months later Jako E.V. and Spectacle would rejoin to make ‘The Truth Lies in Rostock’.
The production process created over 200 hours of footage that did not appear in the final edit of the film. These scenes of daily life in 1991-1993 have become an historic archive of the city at that volatile time. The aim of the 2020 project was to re-work and revisit this archive together with a new generation of Rostockers who were not even born at the time of the pogrom.
Reinventada, a participatory video project for LSE
The Project
Spectacle is currently a partner in a research project developing a groundbreaking remote PV method. The research project Reinventada is funded by the London School of Economics (LSE) Knowledge Exchange and Impact Fund (KEI). It investigates the condition of displaced and migrant women, especially mothers and heads of household, living in disadvantaged neighbourhoods of Medellin (Colombia).
The Garcia sisters, Celmira and Elicenia
The research was initially planned to produce a participatory documentary on women’s ‘right to the city’ in Medellin. However, as soon as the pandemic crisis exploded, being well aware that women are amongst the most affected groups of people during emergencies and disasters, we were able to create a remote participatory project that investigates the impact of COVID-19 on participants’ everyday lives in poorer areas of the city.
The Beginning
Started in May 2020, the project was originally planned to be conducted face-to-face, but was forced online due to the pandemic. It is led by dr. Sonja Marzi, the Principal Investigator from the Department of Methodology at LSE, as well as supported on the ground by two Colombian partners: Maria Fernanda Carrillo, a sociologist and filmmaker, and Lina Maria Zuluaga, anthropologist.
Dr. Sonja Marzi, Principal Investigator of the project
The aim of this research project is to create a documentary filmed and edited by the women themselves to depict their daily lives during the pandemic.
Online Participatory Video
We began initially by training the participants on how to best use web platforms and available technology. We set up weekly ‘Zoom’ meetings that served as an online space for workshops on filming techniques and how to use their smartphones to capture high quality video. Zoom meetings became the workshop space where all production and editorial decisions were discussed and made in consensus. The production meetings are chaired by participants on a rotating basis. We discussed film content, planned shoots, reviewed and critiqued the footage together, and collaborated on editing the final documentary.
Demetria, chairing a meeting
The groundbreaking project has successfully adapted Spectacle’s Participatory Video methods and techniques to an online environment. The short documentary Reinventadas was released at the end of 2020 and premiered in film festivals in 2021.
Collaborative editing process
Watch the Final Film
Visit our vimeo channel to see examples of Spectacle’s past PV work.
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We are pleased to announce that after a few months of filming and collecting stories from Battersea residents, we are ready to screen our project to the public!
Memories of Battersea is a video oral history project run by Spectacle and part funded by the Wandsworth Grant Fund. The project gave young adults from Battersea the opportunity to be trained in film-making while producing short films about their neighbourhood, collecting memories from elder Battersea residents, bridging intergenerational gaps and engaging with the history of their borough.
The screening will take place on Monday, 15th October at Senior Citizen Club 234 Carey Gardens London SW8 4HW.
4.30pm – 5.30pm – walking tour of the Carey Gardens Estate with Mark Saunders – filmmaker, Brian Barnes – mural artist and Nick Wood – architect
5.30pm – 7.30pm – screening and discussion with contributors and filmmakers
Memories of Battersea is a video oral history project run by Spectacle and funded by the Wandsworth Grant Fund. The project gives young adults from Battersea the opportunity to be trained in film-making while producing short films about their neighbourhood, collecting memories from elder Battersea residents, bridging intergenerational gaps and engaging with the history of their borough.
In this video, we meet Mohamed Ali, a local community organisation founder and Battersea resident who immigrated from Somalia with his family in the late 90s to seek a better life away from the on-going Somali civil war.
Mohamed Ali, local Battersea resident and founder of Elays Network.
Mohamed spends his time working in the R & E Centre on St Rule Street in the SW8 area. He started Elays Network to work primarily in youth development and education but as the organisation expanded, they began to involve men and women of all ages in various activities, focusing on building bridges between the migrant communities and the host communities.
Most recently some of the organisation’s women came together to curate an event called Somali Women in the Arts which saw them exhibit their artwork, from paintings to poetry, in the Battersea Power Station.
Somali Women in the Arts exhibition, held at the Battersea Power Station.
He talks about his early experiences adjusting to life in London, the urban development and gentrification in Battersea and its impact on the lower and working class, the establishment of the Somali community within the borough of Wandsworth and how he founded Elays Network. He also relives some key events of how Elays has helped to strengthen and and bring together the Battersea community, as well as suggesting how the migrant and host communities should move forward in becoming a better integrated, accepting and united society.
Spectacle has a long history of establishing and supporting participatory community media workshops and a large number of our productions have adopted participatory video (PV) techniques and ethos, resulting in an excellent track record of high quality, award-winning TV documentaries, short films and powerful campaigning videos. We are happy to inform everyone interested in applying a participatory media approach into their community based projects, that it is now possible to share Spectacle’s experience taking part in our Participatory Video Workshop (PVW).
Spectacle has made extensive use of Participatory Video as a successful strategy to involve communities in production processes, allowing people to produce knowledge about themselves rather than being represented – and often misrepresented – by outsiders.
Recently one of the films that Spectacle produced through participatory techniques has been re-screened on the Pepys Estate: “Poverty and the Media: the tower”. The film shows the way in which local residents have felt misrepresented by the BBC ’s program The Tower: A Tale of Two Cities. The BBC’s program intended to document the transformation of the Lewisham council estate into a chic development and the alleged clash between rich newcomers and poor long term residents. Spectacle, was commissioned by the Rowntree Foundation to develop a participatory video project in the Pepys and other estates in the area: “Poverty and participation in the Media“. At the time the BBC project begun, Spectacle was already organizing video workshops that focused specifically on the way mainstream media (mis)represent poverty. In our film Pepys residents have filmed each other while commenting on the effects the BBC’s program had on their lives. Spectacle’s “Poverty and the media: the Tower” illustrates the advantages of a participatory approach, highlighting the local dynamics in a way that is factually accurate and respectful of people’s feelings, intentions and views on the world they experience.
Following the very positive feedbacks from residents and in order to meet the growing demand from community based researchers to be trained to lead participatory projects, we are happy to inform you that we are now offering a Participatory Video Workshop (PVW). Our PVW is addressed to social workers, NGOs’ and charity organization’s staff that are engaged in community development and empowerment, artists and, in general, anyone who wants to integrate participatory methods in their own projects. Based on our long experience, the PVW will provide you with practical and transferrable knowledge on video techniques, and train you on how to engage your stakeholders in participatory productions.
The PVW is designed as 3 day immersive experience that will allow you to use participatory methods in documentation, evaluation and research. If you and your staff are particularly interested in specific topics, we are happy to bring our workshop to you and tailor it to your specific needs.
Please, find here our workshop description or get in touch for further information.
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