Participatory Video

This book, by Shirley A. White, mentions PANI (Water) in the book.

The potential of new information and communications technologies is acknowledged by all today. This book examines the importance of participatory video as a catalyst for development. It shows how powerful video images have been used to promote changes in attitudes and social behaviour, helping communities identify development solutions that are within their reach. Video has been used to reach policymakers, to empower women and to rescue the culture and heritage of indigenous people. As a mediation tool, the power of video has been used to resolve conflicts, achieve consensus and find common ground for collective action. This book brings together practical information on innovative experiences with the use of participatory video. It contains a thoughtful analysis of some essential issues to be taken into account in planning and implementing video processes.

Participatory Video: Images that Transform and Empower
By Shirley A. White
Published by Sage Publications, 2003
ISBN 0761997636, 9780761997634
412 pages

From Video Voice Collective Blog:

Professor White’s book is an incredible contribution to practitioners of participatory video. It is one of perhaps 3-4 books written on this subject; an early adapter extraordinaire that is sure to be followed by a flood of books on participatory video in the coming years! Professor White’s book reminds us that we are arriving at a truly miraculous era of participatory media and culture. We have a lot to be thankful for because it has never been easier to collaborate, produce, and distribute videos with communities across the globe.

Supportive Men: the documentary

In Nepal, men and women are involved in various ways to shift norms and relationships toward gender equality. This documentary focuses on one community in Kapilvastu, Southern Nepal, to show how men and couples are changing the way they interact with one another to bring about social change, and also how men are supporting women’s movement for empowerment and gender equality. _____________________________________________________________________________________________ Mr. Dube is a young man in his late twenties who lives in Kapilvastu, Nepal. He has taken part in a gender equality training given by a local NGO, in partnership with an INGO. He is married and has two sons. In his small community, Mr. Dube has become an inspirational figure who has managed to change the behavior of not just the younger men, but also the older men of his community, who now cook, help with housework and childcare, and support their spouses in a way that was unthinkable...

Planet in Focus: 3rd World Water Forum - March 16 - 23, 2003

(Logo of the 2015 festival) 2004 Planet in Focus: 3rd World Water Forum - March 16 - 23, 2003 http://planetinfocus.org/ Martin Robertson reported on "Waterworks", the film festival held during the UN World Water Forum in Kyoto, Shiga and Osaka, Japan. He says: "...But by Saturday, some of the shorter docs received considerable feedback, especially “Pani” (directed by Sushma Joshi) with its clear reporting about local community good will projects floundering because of lack of preparedness in communicating to everyone involved about the reasons for decisions, gender and caste bias in the construction of committees, and secrecy about costs and funding." “Water Works” - A report by Martin Robertson Planet in Focus was represented twice in Kyoto at the World Water Forum this March with screenings and cultural programming. “Water Works” a mini event featured on three days with short video docs (schedule) accompanied by story telling and musical performanc...

INTERVIEW: Nabin Subba

This interview was published in the Nation Weekly magazine in 2004. KHULA MANCH Nabin Subba (35), the director of the acclaimed film Numafung, talked with Sushma Joshi of The Nation Weekly about his films, the Nepali independent film movement and his visions of nation-building. The Nation: How did Numafung come about? NS: During the pre-democracy days, I worked in journalism for almost a decade, first in Nepali Awaj for 3 years, and then in Deshantar for 5 years. I was doing mainstream reporting. Then I started to focus on art and culture, and later exclusively on film. I was dissatisfied with Nepali films, and would write critiques about them. I had long discussions with my filmmaker friends about making a film that would have a Nepali identity, but they all said it was not possible. They said it would not be commercially viable. So I said, okay, I will have to do it myself. The Nation: So you took it as a challenge? NS: Yes. I wanted to experiment with a Nepali form, one ...

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