3possible uses for entertainment, education, research, or consciousness-raising
.Within the South African context, this tool appears to offer exciting possibilities for use in a wide variety of situations: “In a space of 15 minutes, the voices of the poor or marginalized can be communicated to a wider audience” (Braden, 2003, p. 27).Implementing participatory video requires that the subject group be enabled torepresent and present itself, which in turn must be based on some degree and formof participation:
People at the grassroots are at the very bottom of society’s information hierarchy.They need to communicate their needs and concerns to people at all levels and toreceive many kinds of information but particularly from others whose experience isrelevant to their situation. This is a prerequisite to their full participation in society.(Stuart, 1989, p. 10)
While it is easy to see on paper that the
required for achieving this is critical,there are challenges in implementing this process by real people, in real situations,within the context of real time. An analysis of the Kayamandi participatory videoproject initiated as part of this dissertation within the context of both the historicaltradition of non-fiction film as a catalyst for change, as well as the context of other participatory video projects undertaken in South Africa and elsewhere, is intended toprovide a reference tool that will be of use to those considering their options for making their voice(s) heard. This analysis will consider issues of participation andcollaboration; representation and authorship; reflexivity and reception; the challengesof practical implementation of participatory video projects; and the potentialeffectiveness and applicability of participatory video within the South African contextas a means for effecting change by underrepresented groups.
1.2 Overview of the dissertation
This dissertation is based on a literature review, film and video viewings, and thedevelopment of a participatory video project in the Kayamandi informal settlementarea of the Stellenbosch Municipality in South Africa.The organization of the dissertation is based on the following sequence:
In terms of video for change in South Africa, edutainment examples found on the nationalbroadcaster are an important example, e.g. Soul City.