Visualising Women's Rights - visualisation en VWR Participant Profile: Farah Abdel Sater <div class="image-attach-teaser image-attach-node-82" style="width: 200px;"><a href="/content/vwr-participant-profile-farah-abdel-sater"><img src="" alt="Farah Abdel Sater" title="Farah Abdel Sater" class="image image-thumbnail " width="200" height="125" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p>Farah Abdel Sater, now 24, became involved in civil society at the age of 16 when she started teaching French to Palestinian refugees in Lebanon. Since then she has volunteered for a number of NGOs and projects advocating for social change in Lebanon. In 2009, she founded the <a href="" target="_blank">United Nations Youth Association of Lebanon</a> (UNYA Leb) in Beirut where she is the president today.</p> <p>In addition to her role there, Farah is engaged in many other activities such as blogging and journalism. Recently, she has been covering news on the protests in Cairo for Common Ground News. Farah applied to attend the Visualising Women's Rights in the Arab World (VWR) workshop because, although she has never focussed solely on women's rights, it is something she cares about deeply especially with regard to Arab women's involvement in the cultural and political sphere and the representation of women in the media. She finds it frustrating that although there are women occupying important positions as thought-leaders and change-makers in Lebanon, they are still portrayed as objects in the media, and their physical appearance is focussed on more than their achievements.</p> <p>Last year, she headed a campaign called<a href="" target="_blank"> She Blogs Lebanon</a>, an online campaign designed to rally young local female bloggers and journalists in paralel to UNDP's campaign around the right to nationality and full citizenship for women in Lebanon. Although the Lebanese constitution stipulates equality between the sexes, this is not upheld in many legal and cultural practices, says Farah. In the case of this campaign, women cannot pass their nationality onto their children or husband but a man can pass it on after a year of being married to a foreign women. She Blogs Lebanon ran for 3 months and included a Facebook profile awareness raising exercise as well as the blog.</p> <p>Farah applied to attend our workshop in Jordan with a solid campaign idea around the feminisation of the Arabic language. She says, “We have a very big problem in Arabic, it's very stiff, it's not evolving and I really want to see change.” While there are masculine and feminine forms of most employment titles, words such as “president” "depute" and “doctor” do not have a feminine version (normally created by adding the Arabic letter “T marbouta”) in the classical Arabic language used by the media and administrative authorities. Farah was inspired to create a campaign around this issue after an incident in a certain public office where she was looking for the president administrative person and couldn't find her because she thought she was looking for a man. "French and German languages have gone through changes, we should do the same, starting with the media” says Farah.&nbsp;</p> <p>In December, after the workshop, Farah has contacted Ms.Farah Salka, the head of <a href="">Nasawiya</a>, the Lebanon-based feminist collective, to partner on this campaign with her. She wants this campaign to be visual, possibly including animation. She has plans to use what she learnt at the VWR in multiple ways. She says “What I learnt was really life-changing. Now I know how I need visualisation, how much I can help the graphic designer in my organisation fine tune his ideas, “ which she says she is already doing through UNYA's development of an interactive, visual website showing data related to youth and civil education in Lebanon. She is also organising a training course in September for 40 to 50 youth from Europe and the Arab world on online ctivism and visualisation, for which she will be using Tactical Tech's toolkits as well as the skills she gained at VWR.&nbsp;</p> <p>Follow Farah on <a href="" target="_blank">Twitter</a> or read her blog, <a href="" target="_blank">Farah Has A Lot to Say</a>.</p> <p><em>Image: Supplied by Farah Abdel Sater. </em></p> </div> </div> </div> participants visualisation women's rights Mon, 07 Feb 2011 22:13:53 +0000 faith 83 at What happened at the Visualising Women's Rights workshop? <div class="image-attach-teaser image-attach-node-76" style="width: 200px;"><a href="/content/what-happened-visualising-womens-rights-workshop"><img src="" alt="jazz_hands.jpg" title="jazz_hands.jpg" class="image image-thumbnail " width="200" height="112" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p>“Inspiring”, “diverse”, “useful”, “new” “creative”, “fun”, “challenging” and “exciting” are some of the words used by participants of the Visualising Women's Rights in the Arab World (VWR) workshop, to describe their experience.</p> <p>Conceptualised and organised by Tactical Tech and hosted at the community-run <a href="" target="_blank">Feynan EcoLodge</a> in a remote location in the Jordanian desert, the workshop brought together 44 activists working on a variety of women's rights issues in the Arab region for a 3-day adventure of skill-share and learning around the subject of visual advocacy. Here, participants were able to escape their inboxes and everyday commitments, and enter a space designed to inspire creative thinking and problem-solving around campaigning. They explored how information and data can be visualised, through images, animation, info-graphics, and maps to communicate their issues clearly and impact their target audience.</p> <p><em>&nbsp;</em><img src="/sites/" alt="" width="525" height="295" /><br /><em>Remote and surrounded by a dramatic landscape, the workshop venue, Feynan Ecolodge. Photo by Sarah Rifaat.</em></p> <p>At the same time as learning through facilitation, participants were provided with the space and time to learn from each other and make the connections that are so vital to activist work. Ghaida'a Al-Absi who works on training women in new media in Yemen, and was sponsored by <a href="" target="_blank">Rising Voices</a> to attend the event, said that the participants “all have great experience, they are all creative and smart so it's great to be around them and learn from them.” On the second day of the event, she had already connected with another participant who will introduce her to the people behind the Cairo-based&nbsp;<a href="" target="_blank">Harassmap</a>&nbsp;to help her with her plans to implement her own project mapping sexual harassment on the streets of Yemen.</p> <p>The days began with a “sunrise circle”, an open forum for the group to come together, prepare for the day, and for announcements to be made. This was followed by the morning “plenary sessions” designed to involve the entire group in discussion and learning around evidence-based campaigning and initiate critical thinking about examples of visual campaigns and why they work. For example the “Visual Gallery” exercise, held in the courtyard of Feynan, got participants, in groups, to look at a selection of strong visual campaigns on a range of rights issues and analyse the components of strategy behind them.</p> <p>Maya Ganesh, who led this project and emceed the entire event, says that while participants responded emotionally to many of these images, “they also had to dig deeper and ask questions that reveal that it's not just about a pretty picture, it's not just about evoking emotions, but it's about being extremely strategic in who you're targeting, whose mind you're trying to change and who you're trying to persuade.” At the same time&nbsp;, this made participants examine the kinds of data and information used in these campaigns. She says: “For me it was really interesting to see people realising that, it's not only about scientific data and primary research but you can find data in the most unexpected places and play with very different kinds of data, bringing them together in a visual campaign. The possibilities are really endless.”</p> <p><img src="/sites/" alt="" width="525" height="295" /><br /><em>Discussion on the effectiveness of the campaign examples in the Visual Gallery.&nbsp;Photo by Samah Arafat.&nbsp;</em></p> <div>After the plenary session, and after a delicious organic vegetarian lunch, and maybe a cup of herbal tea prepared by the local Bedouin staff, participants spent the afternoon in one of the three tracks they had chosen to complement the campaigns they are currently working on or hoping to develop. The tracks were intensive hands-on practice sessions in the use of either geographical mapping, information design or imaging and animation techniques for campaigning. The facilitators for these tracks included: Tactical Tech's co-founders Stephanie Hankey and Marek Tuszynski leading Information Design, Southern African animator and social scientist, Tessa Lewin, and Egyptian art-activist, Sarah Rifaat, on imaging and animation, and mappers, Sandra Sudhoff from the German NGO,&nbsp;<a href="" target="_blank">CartONG</a>&nbsp;and, Abdelrahman, a blogger and techie from Egypt.</div> <p><img src="/sites/" alt="" width="525" height="295" /><br /><em>Participants on the imaging and animation track working on their animation. Photo by Sarah Rifaat.&nbsp;</em></p> <p>In the evenings, which were lit only by candlelight and a sky full of stars, people took part in organised activities or entertained the group with light photography, and singing and music led by those who'd brought along their instruments. On the second night, participants gathered in the Bedouin tent for a barbeque and bazaar where some set up 'stalls' to present and discuss their campaign idea with anyone who was interested. The last evening was spent doing a sunset hike and watching documentaries. The award-winning feature,&nbsp;<a href="" target="_blank">Budrus</a>, which highlights women’s role in the unarmed popular resistance movement in town by the same name in the Occupied Palestinian Territories was screened along with <a href="" target="_blank">The Kingdom of Women</a> produced by a Lebanese filmmaker, Dahna Abourahme, and Tactical Tech's <a href="" target="_blank">10 tactics for turning information into action</a>.</p> <p><img src="/sites/" alt="" width="525" height="295" /><br /><em>Light photography by Sarah Rifaat and Samah Arafat.</em>&nbsp;</p> <p>At the end of the three days, participants from the three tracks came together to present what they had been working on. Those from the animation track had already created their own short animations around issues such as domestic violence and marital rape. Razan Rashidi, a participant on the information design track who is Communications Officer and a member of the Gender Focal Team at <a href="" target="_blank">Unicef Syria</a>, had put together a presentation of her planned campaign to empower young girls to reclaim public spaces which are usually dominated by men in Syria. She says she had come to the workshop with a vague idea for a campaign “disturbing the norms of spaces” but had been inspired, by the example of the <a href="" target="_blank">Blank Noise campaign</a>, to get women to photograph their favourite public spaces in Damascus which they do not feel comfortable in because of their sex. Lana Al-Salem, who has an IT day-job and volunteers for Jordan based NGO, <a href="" target="_blank">Follow the Women</a>, in her free time, is planning to map the journey a group of women do every year as they cycle through Syria, Jordan, Lebanon and Palestine, raising awareness about how “the painfully slow peace process blights the lives of innocent women and children.” She wants to document the difficulties women encounter when trying to cross borders in this region.</p> <p>In the coming months, Tactical Tech will select ten campaigns to support through micro-grants. We will also be posting profiles of some of the participants and following up with information on their campaigns on the <a href="" target="_blank">Visualising Women's Rights website</a>.</p> </div> </div> </div> Feynan visualisation workshop Mon, 20 Dec 2010 15:43:19 +0000 faith 77 at Infographic: Israel-Lebanon Death Toll <div class="image-attach-teaser image-attach-node-41" style="width: 200px;"><a href="/content/infographic-israel-lebanon-death-toll"><img src="" alt="coffins.jpg" title="coffins.jpg" class="image image-thumbnail " width="200" height="82" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p style="margin-bottom: 0in;"><span style="font-size: small;"><span style="font-weight: normal;">This is an info-graphic produced by an independent graphic designer showing the comparison in the scale of deaths of Israeli, Lebanese, UN and Canadian troops during the conflict between Hizballah's paramilitary foces and the Israel Defence Forces in July 2006. Since it's formation in the 1980s the militarized and political group, Hizballah, has been committed to resisting the Israeli occupation of Southern Lebanon. In this info-graphic, each person killed during the Israeli-Lebanon conflict is represented by a single coffin. The graphic was updated daily during the conflict to include additional numbers of people killed. </span><span style="font-weight: normal;">The info-graphic is based on a simple count of statistics obtained from mainstream news media reports, and in particular the BBC. </span></span></p> <p style="margin-bottom: 0in;"><span style="text-decoration: underline;"><span style="font-size: small;">Why we like it: </span></span></p> <p style="margin-bottom: 0in;"><span style="font-weight: normal; font-size: small;">What is arresting about this graphic is that it presents a comparison in the scale of deaths on both sides of the conflict. It transforms a simple list of numbers into a graphic that reveals how severely the Lebanese population was affected as compared to others involved in the conflict, including UN and Canadian troops. Using the coffin as a symbol to represent the death toll is also sobering, challenging the common feeling of desensitization, or apathy, that is sometimes associated with numbers. </span></p> <p style="margin-bottom: 0in;"><span style="font-size: small;"><strong>Category:&nbsp;</strong>Visualisations about conflict in the Arab world.</span></p> <p style="margin-bottom: 0in;"><span style="font-size: small;"><strong>Year:&nbsp;</strong>2006</span></p> <p style="margin-bottom: 0in;"><span style="font-size: small;"><strong>Source:</strong>&nbsp;<span style="color: #0000ff;"><span style="text-decoration: underline;"><a href=""></a></span></span></span></p> </div> </div> </div> conflict Death Toll Infographic Israel Lebanon visualisation Mon, 20 Dec 2010 15:16:26 +0000 maya 42 at Infographic: A Year in Iraq <div class="image-attach-teaser image-attach-node-69" style="width: 171px;"><a href="/content/infographic-year-iraq"><img src="" alt="A Year in Iraq" title="A Year in Iraq" class="image image-thumbnail " width="171" height="200" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p><a href="" target="_blank">Enlarge this image</a>&nbsp;to see the full infographic.&nbsp;</p> <p>Iraq has been a deadly battlezone for over seven years and particularly for people in the military and police. This infographic, first published in the<a href="" target="_blank"> New York Times</a>,&nbsp;was compiled using data from the American and Iraqi governments and news media organisations (the <a href="" target="_blank">Independent Coalition Casualty Count</a> in particular). It reveals information on the type and location of each attack responsible for the 2,592 recorded deaths among American and other coalition troops, Iraqi security forces, and members of the Kurdish Peshmerga between 1 January and 31 December 2007.</p> <p><span style="text-decoration: underline;">Why we like it</span></p> <p>This graphic takes a vast amount of data that would otherwise be quite difficult to sift through and make sense of, and converts it into a one page visualisation. It uses different coloured icons and symbols to represent how different military personnel were killed on every day in 2007. It allows for comparisons between how different personnel have been vulnerable in Iraq. For example, just by scanning the visual it becomes evident that Suicide Bombs, emotive and much-talked-of in popular press, are actually one of the less frequent causes of attacks on personnel. However, while this infographic captures a great deal of information, it does make for difficult reading on a computer screen, given that it's densely packed together. A print-out or a poster, perhaps, would be a more useful document to look at.</p> <p>Category: Visualisations of Conflict in the Arab World</p> <p>Year: 2008</p> <p>By: Adriana Lins de Albuquerque and Alicia Cheng &nbsp;</p> <p>Source: <a href="" target="_blank">New York Times</a></p> </div> </div> </div> conflict Data Infographic Iraq visualisation Tue, 23 Nov 2010 16:31:49 +0000 maya 68 at Photography: The Blank Noise Project <div class="image-attach-teaser image-attach-node-59" style="width: 133px;"><a href="/content/photography-blank-noise-project"><img src="" alt="Blank noise image" title="Blank noise image" class="image image-thumbnail " width="133" height="200" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p>The idea that the way a woman dresses invites sexual harassment or rape is a familiar one. It is used as a means to undermine survivors' allegations in court cases, in the media and by perpetrators themselves to justify their actions.<a href="" target="_blank"> The Blank Noise Project</a> in India challenges these preconceptions, arguing that if this is really the case, then why do women in everyday, non-revealing clothing still have harassment stories to tell? It interrogates the normalisation of “eve-teasing” (term used in India to refer to public sexual harrassment of women) as something women should just ignore and learn to circumvent on the streets of India.</p> <p><span style="text-decoration: underline;">How it works</span><br />Women tell their stories of harrassment with images of the clothes they were wearing at the time, and of the places where it happened, which are publicised online via the Blank Noise <a href="">blog</a>, <a href="" target="_blank">Flickr,</a> tweeted under the hashtag #INEVERASKFORIT and used as supporters' profile photos on Facebook. Blank Noise also collects the garments people sent in city-to-city travelling art exhibitions in India. The garment, according to the Blank Noise Project, functions as a testimony to the assault, as “your truth, your witness, your evidence, your memory”, exhibited together to create a collective story for all women.</p> <p><img src="/sites/" alt="" width="400" height="300" /></p> <p><span style="text-decoration: underline;">Why we like it</span> <br />The campaign challenges the notion that a woman, how she dresses or where she goes can be blamed for her sexual harrassment. The garments that women have been harassed in are polled on the Blank Noise blog, and they range from button-up collared shirts and t-shirts to burkhas and saris. These are not mini-skirts and plunging necklines but everyday wear and the places where the harrassment occurs are not dark back alleys but busy streets. This evidence then automatically shifts the question away from women to the perpetrators and to Indian society's dismissal of this serious issue as 'normal' male behaviour.</p> <p>This campaign empowers women by urging them to turn the garment or the location, that they might ordinarily associate with shame and guilt, into a tool for raising awareness about an issue that affects all women. The visuals of the campaign work because they evoke the emotions and personal stories behind each woman's experience more than a graph of sexual harrassment statistics ever could. Blank Noise also organises street-based interventions and public actions to allow women to use public space more confidently.</p> <p><strong>Category:</strong> Visualisation of Women's Rights worldwide</p> <p><a href="" target="_blank"></a><strong>Year:</strong> 2003 - ongoing</p> <p><strong>Source:</strong> <a href="" target="_blank">Blank Noise Project</a></p> <p><strong>Links: </strong>Watch a <a href="" target="_blank">short video interview</a></p> </div> </div> </div> Blank Noise eve-teasing India sexual harrassment violence visualisation women's rights Mon, 11 Oct 2010 14:57:04 +0000 faith 60 at Photography: End Female Genital Mutilation <div class="image-attach-teaser image-attach-node-49" style="width: 138px;"><a href="/content/photography-end-female-genital-mutilation"><img src="" alt="Amnesty International&#039;s campaign against Female Genital Mutilation" title="Amnesty International&#039;s campaign against Female Genital Mutilation" class="image image-thumbnail " width="138" height="200" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p>This is one of a series of three posters for Amnesty International's campaign against female genital mutilation (FGM). The three different posters, each showing a different coloured rose, with different stitching, show the variations of FGM across the world.</p> <p>This campaign utilises one of the most evocative visual metaphors we have found thus far. The intent of the visual is clear: Amnesty wants to provoke an emotional response from the viewers so that they will pledge support for the campaign to bring a stop to this activity in countries where it is legal. The striking, high angle photograph of the rose draws the viewer in immediately only to reveal the distorted shape of the rose and the rough stitching holding its centre petals shut. Then it becomes quite obvious to the viewer as s/he scans the page that this is an advert about female circumcision and the rose is intended to represent female genitalia.</p> <p><em>(text at the bottom of the poster):&nbsp;Every year, two million girls suffer the pain of genital mutilation – a clear violation of their human rights. No government should continue to support this crime. Help us to stop violence against women. Give your support at</em></p> <p><span style="text-decoration: underline;">Why we like it</span></p> <p>This visual advert manages to do something quite fresh with the overused and very cliched symbol of female genitalia as flower. The fact that it is photographed, rather than animated or illustrated, drives the severity and harsh reality of this human rights issue home, without the need for gory images. The image of the soft and delicate rose, now maimed, stitched up and unable to exist in its natural state, really works to produce an emotional response from the viewer.</p> <p><strong>Category:</strong> Visualisation of women's rights worldwide</p> <p><strong>Year:</strong> 2007</p> <p><strong>By:</strong> Amnesty International Campaign created by advertising agency, Publicis of Stockholm, Sweden.</p> <p><strong>Source: </strong>&nbsp;</p> </div> </div> </div> female genital mutilation photography rose visualisation women's+rights Mon, 20 Sep 2010 06:24:54 +0000 faith 48 at Infographic: Women's Attitudes to Domestic Violence <div class="image-attach-teaser image-attach-node-33" style="width: 200px;"><a href="/content/infographic-womens-attitudes-domestic-violence"><img src="" alt="Gender Violence" title="Gender Violence" class="image image-thumbnail " width="200" height="126" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p>This info-graphic was presented as a screen shot in the Global Health Magazine.&nbsp;The graphic depicts figures as high as 90% (Jordan) of women aged 15-49 responding in the affirmative when asked if a husband or partner is justified in hitting or beating his wife under certain circumstances. The information in the graph comes from the UNICEF's Child Info website: Monitoring the Situation of Women and Children.</p> <p><span style="text-decoration: underline;">Why We like it</span></p> <p><span style="text-decoration: underline;"></span> Visually there is a nice play on the traditional pie chart with the jagged lines foregrounding the harshness of the subject. Furthermore, this visualisation communicates its message very quickly. Sometimes when creating info-graphics, people can get caught up trying to convey too much information, not being selective enough, and end up creating a very layered and confusing info-graphic which might take longer to absorb than an article on the subject. Visualisation should make the communication of information more effective not less!&nbsp;</p> <p><span style="text-decoration: underline;">What's wrong with this picture?</span></p> <p>This example shows why you have to be really careful when you are taking statistics and turning them in to information graphics. Whilst at first glance it's an interesting graphic, it really gives a false and confusing view of the issue. The graphic has been compiled from a small selection of UNICEF's dataset on the Child Info Website (<a href="" target="_blank">see the full list of countries</a>) but the title suggests that it speaks to the issue worldwide. It is also looking at the issue with a "western" lens; where are the statistics for the UK and US? It is also not correctly scaled (see Somalia looks larger than Ethopia although its percentage is lower) so it does not function effectively as a graph although it's been created to look like one. Lastly it's unclear whether the percentage is intended to represent the whole country or just a sample of women. In this case, more information needed to be included.</p> <p><strong>Category:&nbsp;</strong>Visualisations of women's rights worldwide</p> <p><strong>Year:</strong> 2009</p> <p><strong>By</strong>: Global Health Magazine</p> <p><strong>Source:&nbsp;</strong></p> </div> </div> </div> gender violence info-graphic visualisation women's rights Tue, 14 Sep 2010 22:47:53 +0000 faith 32 at Information Design: We the Women <div class="image-attach-teaser image-attach-node-36" style="width: 200px;"><a href="/content/information-design-we-women"><img src="" alt="wethewomen_img.jpg" title="wethewomen_img.jpg" class="image image-thumbnail " width="200" height="153" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p>To generate social dialogue on the ban against women driving in Saudi Arabia, Areej Khan, a Saudi artist and graphic designer living in the US, created this innovative sticker campaign.The project received news media attention in Saudi Arabia and in the US and created plenty of discussion online. "Most of the people participating on the Facebook page are against women driving," said Areej. "There’s back and forth and debate on the group. I had to be prepared that I can’t control what this is at the end. It’s about finding a solution as community, not what I think or am attached to."</p> <p><span style="text-decoration: underline;">How it worked</span></p> <p>The campaign revolves around a set of stickers, in the form of speech bubbles and bumper stickers, which Saudi men and women are encouraged to , fill in with their thoughts and display in public space, including, often on cars. To cultivate the online element of the campaign, supporters were encouraged to photograph what they write on their stickers and upload them to the project's Flickr set of download from Flickr“Declarations”, on the Facebook page or submit them anonymously.</p> <p><span style="text-decoration: underline;">Why we like it</span></p> <p>The success and reach of this campaign was driven mainly by the people who downloaded stickers and chose to express their thoughts on the issue. By focussing on a question, “to drive or not to drive”, rather than a static message about women's rights, the campaign enabled those against women drivers to get involved too which drew more attention to it. As Areej explains, although the project gets many comments opposing women driving in Saudi Arabia, "a lot of people say they think that will change soon, because of the voice given to women by projects like this."</p> <p><a href="" target="_blank">See a case study of this campaign</a> in 10 tactics for turning information into action.</p> <p><strong>Category:</strong> Visualisation of women's rights in the Arab World</p> <p><strong>Year: </strong>2009</p> <p><strong>By: </strong>Areej Khan (project director) and others</p> <p><strong>Source:&nbsp;</strong>&nbsp;</p> <p><strong><br /></strong></p> </div> </div> </div> Saudi Arabia stickers visualisation women's rights Mon, 23 Aug 2010 13:40:58 +0000 faith 31 at Animation: Lift the Siege on Gaza <div class="image-attach-teaser image-attach-node-53" style="width: 200px;"><a href="/content/animation-lift-siege-gaza"><img src=" shot 2010-09-23 at 10.02.56 AM.thumbnail.png" alt="Lift the Seige on Gaza" title="Lift the Seige on Gaza" class="image image-thumbnail " width="200" height="136" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p>As part of a larger campaign to demand that Israel lift the siege on Gaza, The Israeli Information Center for Human Rights in the Occupied Territories (<a href="" target="_blank">B’Tselem</a>) launched a short animated clip, “Lift the Siege on Gaza”. The animation, created by Alon Simone, challenged the effectiveness of this siege on the grounds that Israel's attempt to cripple Hamas is actually serving to enrich them. The animation shows how goods that are not allowed to enter Gaza from Israel are smuggled into the country from Egypt through tunnels where Hammas collects money on them.</p> <p><object width="480" height="414" data="" type="application/x-shockwave-flash"><param name="data" value="" /><param name="src" value="" /><param name="allowfullscreen" value="true" /></object></p> <p><span style="text-decoration: underline;">Why we like it</span>&nbsp;&nbsp;</p> <p>In just over 50 seconds the film communicates a pressing and controversial issue using a recognisable cartoon style seen regularly on television, but used here to tackle a serious issue. The colour and expression of the characters brings a different angle to a subject worn out in media and advocacy debate. The opening screen text, “The siege on Gaza brought Hamas to its knees, you think?” and the bouncing soundtrack, does what a body of text can't do. It creates humour, revealing the irony of Hamas benefiting from a scheme intended to injure them. It carefully uses the style to engage a certain audience but not to undermine the severity of the problem but points to the true consequences of the blockade, the people in Gaza are the only people to suffer, concluding that a “Siege doesn’t collapse a government a siege just makes people miserable.”</p> <p><strong>Source:&nbsp;</strong></p> <p><strong></strong><strong>Year:</strong> 2009</p> <p><strong>By:&nbsp;</strong><a style="text-decoration: underline; color: #998565;" href="" target="_blank">B’Tselem</a></p> <p><strong>Category:</strong> Visualisations about conflict in the Arab World</p> </div> </div> </div> animation conflict Gaza Hamas Israel video visualisation Fri, 20 Aug 2010 15:46:03 +0000 faith 30 at Maya Zankoul's comics <div class="image-attach-teaser image-attach-node-34" style="width: 200px;"><a href="/content/maya-zankouls-comics"><img src="" alt="maya_zankoul.png" title="maya_zankoul.png" class="image image-thumbnail " width="200" height="188" /></a></div> <div class="field field-type-text field-field-content"> <div class="field-items"> <div class="field-item odd"> <p>Lebanese graphic designer and illustrator Maya Zhankoul refers to her blog, <a href="" target="_blank">Amalgam</a>, as “a place to release the tensions created by daily hassles, or simply to tell stories of my daily life through fast illustrations.” She illustrates her thoughts, reflections and experiences from her life, often communicating important social issues. In an interview with us, she says: “The character is a presentation of myself, like an illustrated diary, where I tell stories of what happens to me during the day, mostly problems that happen during the day. Mostly Lebanese problems.” She goes on, “I started to draw these issues as a way to deal with them. It helped me start liking Lebanon much more. I hope these illustrations help people think about issues they forget or take for granted.” She discusses many issues that impact Lebanese society, but specifically her experiences as a woman in Beirut, for example “the overuse of using female bodies on billboards, the importance many Lebanese give to appearances, lifestyle and the way they act. Also, domestic workers and how its really a problem in Lebanon.”</p> <p>(see this full comic <a href="" target="_blank">here</a>)</p> <p><span style="text-decoration: underline;">Why we like it</span></p> <p>Maya's comics are a great example of the rich illustration talent of the Arab world. Through storytelling and building up a recognisable character, they encourage discussion around the issues she focuses on and they show how just by using a personal skill, without external resources, individuals can contribute to social critique and advocacy.</p> <p>Maya's use of local visual culture and metaphors in her comics situates her commentary in Lebanese culture and creates a shared sense of identity for Lebanese readers. However an outside reader can still relate to the issues she raises about women across the board. She tells us: “I really, really believe in this aspect of creativity and art. I don’t believe that art is something just to look at. I think we should use creative means to pass a message.”</p> <p>All Maya's work is published under a Creative Commons license and she now has two books of her work out.</p> <p><strong>Category: </strong>Visualisation to show social issues in the Arab World</p> <p><strong>By: </strong><a href="" target="_blank">Maya Zankoul</a></p> <p>Source:&nbsp;</p> <p><em>Look familiar? Maya Zankoul worked with us on the design for the Visualising Women's Rights project identity and this website!&nbsp;</em></p> </div> </div> </div> blog comics illustration Lebanon visualisation women in the media Fri, 20 Aug 2010 15:26:17 +0000 faith 29 at