At first she looks like any bride: wearing a white wedding dress with her face covered with the wedding veil and carrying a bridal bouquet. Except that she is no ordinary bride. She is being sold.
As she removes her veil from her face, her forehead appears marked with a barcode. Her left eye is badly bruised and a big scratch on her cheek is as red as a war wound.
The girl in the music video “Brides for Sale” is portrayed by Sonita Alizadeh, an Afghan teen rapper who sings in the video about the ordeal many girls in Afghanistan go through when are sold by their families to marry at an early age in return of money.
But why is she singing about this issue?
New developments and curiosities from a changing global media landscape: People, Spaces, Deliberation brings trends and events to your attention that illustrate that tomorrow's media environment will look very different from today's, and will have little resemblance to yesterday's.
How do you get your music? This is such a relevant question nowadays, since there are many ways to enjoy our favorite melodies: Do you buy physical copies (i.e., CDs - or vinyl for the essentialists amongst us)? Do you download your songs and singles? Or do you stream it directly from the internet? The music market is constantly evolving, and the way we consume music has a large impact in the industry’s revenues.
Last month, the International Federation of the Phonographic Industry (IFPI) launched its Global Music Report 2016, which outlines the state of the recorded music market worldwide. According to their own news release: “The global music market achieved a key milestone in 2015 when digital became the primary revenue stream for recorded music, overtaking sales of physical formats for the first time.”
Mark Mulligan, a media and technology analyst, put together in his Music Industry Blog, the following graph analyzing the numbers from the Global Music Report.
Difficult social problems are fiendishly difficult to communicate. For, these are issues about which experts disagree and citizen-voters, too. The causes are unclear, the solutions are unclear, and then there is the ideological deadweight that tends to drag meaningful debate and discussion all the way down to seedy depths. Above all, public debate on complex social problems also leads to framing battles: you frame the discussion to privilege the ‘solution’ you want. So, for instance: what do we do about homelessness in our cities? If you don’t want public funds spent on it, you frame it as an individual responsibility issue. You argue that the homeless need to pull themselves up by the straps of their dirty sneakers. If you want public funds spent on the problem, you frame the issue as a structural challenge. You ask for a focus on unemployment, targeted welfare schemes, improved care for the mentally ill and so on.
‘Chi-Raq’, Spike Lee’s new movie, tackles a horrendously difficult problem: the horrific and persistent gang violence in inner cities in the United States of America (and, by implication, several such places across the globe). His setting is the South Side of Chicago. The title of the movie is a play on Chicago and Iraq. The movie opens with these stunning statistics: while American deaths in the Iraq War between 2003 and 2011 came to 4,424, between 2001 and 2015 there were 7,356 homicides in Chicago. Think about that for a second: 7,356 homicides.
People, Spaces, Deliberation bloggers present exceptional campaign art from all over the world. These examples are meant to inspire.
With only a few months until world leaders gather to draft and sign a universal climate agreement in Paris at the COP21, an all-star lineup of music legends and celebrities have come together to record a new single to build awareness and support for action on climate change.
“Love Song to the Earth” was created to stress the importance of taking action to protect the environment but also to uplift listeners regarding environmental protection. The song hopes to empower people to take action rather than feel paralyzed by the enormity of climate change issues.
In addition to the single, executive director Jerry Cope also created a “lyric video” featuring film from around the world as well as scientists, celebrities, and people all around the world holding up signs reading “Keep it Safe,” and "It’s Our World”.
Love Song for the Earth will join The Climate Reality Project and Friends of the Earth as a partner for 24 Hours of Reality and Live Earth: The World is Watching on 13-14 November 2015. Fans are also encouraged to sign a petition to tell world leaders to “keep Earth safe at the global climate change negotiations."
The COP21, also known as the 2015 Paris Climate Conference, will, for the first time in over 20 years of UN negotiations, aim to achieve a legally binding and universal agreement on climate. The goal of the agreement, involving more than 190 nations, is to keep global warming below 2°C. COP21 will take place from 7-8 December 2015.
CSOs are also significant players in global development assistance, with the Organization for Economic Cooperation and Development (OECD) estimating that in 2011, USD$19.3 billion in official development assistance was channeled through CSOs.
The power of CSOs lies in their ability to facilitate conversations—between governments and citizens, between policy makers and vulnerable communities, and among citizens.
The right to Freedom of Assembly and Association is critical to making these conversations happen. Without the ability to congregate and create relationships, the ability of citizens and CSOs to mobilize around issues is obstructed.
Ryota Jonen of the Civic Space Initiative, argues that engaging citizens in the deliberative process and in decision-making process is critical to responsible public policy because, at the end of the day, if citizens are not involved, it is hard to know if policies are addressing their needs.
He also argues that for citizen engagement to be beneficial, information must be available to citizens. This information, though, doesn’t need to come in the form of reports and text-heavy dossiers that just “sit in the bookshelves”. Rather, creative storytelling through visual communication or music, is often more useful to sharing information
The festival criteria read that “by screening a diverse selection of high quality films that deal with pressing issues, and by organizing discussion panels with environmental experts, filmmakers and other stakeholders, the Festival seeks to promote dialogue and inspire Dominican viewers to adopt practices that will ensure the country’s environmental sustainability and health.” For a small Caribbean nation to take these issues seriously and attempt to educate its people using cinema was indeed commendable.
What I witnessed on landing in Santo Domingo was truly remarkable. There were filmmakers from all over the world, but also organizers of similar festivals from other countries. That is when I realized that environmental film festivals have now become a global movement with the intention of informing, influencing, and galvanizing people on critical environmental issues. While the first “environmental” films were produced back in the 1960s when the global environmental movement was in its infancy, there are now 30 or more international environmental film festivals held all over the world attracting hundreds of films and thousands of people. They cover issues such as clean water, sanitation, forests, biodiversity, sustainable consumption and climate change. Even more remarkable, most of these short films or documentaries are often produced on a shoe-string budget, but with an enormous degree of passion and perseverance to get the message across. What really impressed me was that although they dealt with critical issues facing us today, in most cases the messages were of hope and optimism!
I want to share with you some of the films that I watched:
I was about 13 years old when my family organized a trip to the village of Mpangou, in the Republic of the Congo. Travelling to the village was an event for us kids of the city – a new world. I remember packing our generators, cd players and speakers to bring a bit of our urban lives with us, and my mother telling us to buy candies and biscuits as gifts for the people. The road was full of potholes, and the men often had to push our cars forward through the mud, but at last, we got there.
When I was a child I lived in two worlds. The first world was a creative one, filled with music, a teeming treasure of sounds that stretched from church to nature. It included thunderous organ chords, melodious tube fiddles, and raspy frog choruses, to name a few. The other world I inhabited was more sober in nature, marked with political instability, hardships, and poverty. These two worlds came together in a loud cacophony that is my home country, Uganda.
“Growing up on the plantation there in Mississippi, I would work Monday through Saturday noon,” he said. “I’d go to town on Saturday afternoons, sit on the street corner, and I’d sing and play.
I’d have me a hat or box or something in front of me. People that would request a gospel song would always be very polite to me, and they’d say: ‘Son, you’re mighty good. Keep it up. You’re going to be great one day.’ But they never put anything in the hat.
But people that would ask me to sing a blues song would always tip me and maybe give me a beer. They always would do something of that kind. Sometimes I’d make 50 or 60 dollars one Saturday afternoon. Now you know why I’m a blues singer.”
-B.B. King, an American blues singer, songwriter and guitarist. He is widely regarded as one of the most influential blues guitarists of all time, inspiring countless other electric blues and blues rock guitarists
Ahmad Sarmast may owe his life to a fumble with his cellphone. He bent down in his seat to pick up his mobile just as a suicide bomber detonated his charge behind him at a music and theatre performance at the Institut Français d’Afghanistan in Kabul.
The founder and director of the Afghanistan National Institute of Music survived the December blast that killed one and injured more than 10. Dr. Sarmast suffered perforated ear drums and shrapnel in the back of his head. But the experience has not deterred him from his ambition of reviving and rebuilding Afghan musical traditions through establishing and leading the country's first dedicated music school.
“Music represents the right to self-expression of all the Afghan people,” he told me during a tour of the modest building in a suburb of Kabul where ANIM is housed.
The institute’s young musicians, many of them former street vendors or orphans, have toured the world to showcase Afghan music and present a more positive face of the war-torn country. An ensemble played at the World Bank in 2013 and went on to perform amid great acclaim at the Kennedy Center and Carnegie Hall in New York.