This book is about using video in rural interventions for social change.
It gives a glimpse into the many creative ways in which video can 
be used in rural development activities. Capitalising on experience
in this field, the book aims to encourage development professionals
to explore the potential of video in development, making it a more 
coherent, better understood and properly used development tool
– in short, filming for rural change.
The Technical Centre for Agricultural and Rural Cooperation (CTA) was established in 1983 under the Lomé
Convention between the ACP (African, Caribbean and Pacific) Group of States and the European Union Member States.
Since 2000, it has operated within the framework of the ACP-EU Cotonou Agreement. CTA’s tasks are to develop and
provide products and services that improve access to information for agricultural and rural development, and to strength-
en the capacity of ACP countries to acquire, process, produce and disseminate information in this area. CTA is financed
by the European Union.
CTA, Postbus 380, 6700 AJ Wageningen, The Netherlands  /  www.cta.int
The Food and Agriculture Organization of the United Nations (FAO) leads international efforts to defeat hunger. Serving
both developed and developing countries, FAO acts as a neutral forum where all nations meet as equals to negotiate agree- FILMING FOR RURAL CHANGE
ments and debate policy. FAO is also a source of knowledge and information. It helps developing countries and countries
in transition to modernize and improve agricultural, forestry and fisheries practices and ensure good nutrition for all. Since
it was founded in 1945, it has given special attention on developing rural areas, home to 70% of the world's poor and hun-
gry people.
FAO Headquarters, Viale delle Terme di Caracalla, 00153 Rome, Italy  /  www.fao.org VIDEO IN
Deutsche Gesellschaft für Technische Zusammenarbeit (GTZ) is an international cooperation enterprise for sustainable DEVELOPMENT
development with worldwide operations. GTZ promotes complex reforms and change processes, often working under
difficult conditions. Its corporate objective is to improve people’s living conditions on a sustainable basis.
GTZ GmbH, Postfach 5180, 65726, Eschborn, Germany  /  www.gtz.de
Wageningen University and Research Centre (Wageningen UR) provides education and generates knowledge in the field Rico Lie and Andreas Mandler
of life sciences and natural resources. It aims to make a real contribution to improving the quality of life. For Wageningen
UR, quality of life means an adequate supply of safe and healthy food and drink, and the chance to live, work and play in a
balanced ecosystem with a large variety of plants and animals.
Wageningen UR,  Hollandseweg 1, 6706 KN Wageningen, The Netherlands  /  www.wur.nl 
ISBN: CTA 978 92 9081 424 5; FAO 978 92 5 106333 0
VIDEO IN
DEVELOPMENT
FILMING FOR RURAL CHANGE
Rico Lie and Andreas Mandler
CTA FAO
CTA Headquarters FAO Headquarters Contents
Agro Business Park 2 Viale delle Terme di Caracalla
6708 PW Wageningen 00153 Rome
The Netherlands Italy
Tel: (31) 317 467100 Tel: (39) 06 57051
Fax: (31) 317 460067 Fax: (39) 06 57053152
cta@cta.int FAO-HQ@fao.org Acknowledgements v
www.cta.int www.fao.org
GTZ Wageningen UR Introduction 1
Deutsche Gesellschaft für Technische Wageningen University and Research Centre 
Zusammenarbeit (GTZ) GmbH Hollandseweg 1
Dag-Hammarskjöld-Weg 1-5 6706 KN Wageningen
65760 Eschborn The Netherlands PART 1 A typology of the uses of video in development 5
Germany Tel: (31) 317 484310 Video for awareness raising and advocacy 7
Tel: (49) 6196 79 0 Fax: (31) 317 486094 Video for stakeholder engagement and action 13
Fax: (49) 6196 79 1115 office.cis@wur.nl Video for capacity building 17
www.gtz.de www.wur.nl Video for reporting and data collection 28 
©   CTA and FAO 2009
PART 2 Guidelines for the uses of video in development 33
All rights reserved. Reproduction and dissemination of material in this information product for educational or other
non-commercial purposes are authorised without any prior written permission from the copyright holders provided the Designing video interventions 33
source is fully acknowledged. Reproduction of material in this information product for resale or other commercial Producing videos 34
purposes is prohibited without written permission of the copyright holders. Applications for such permission should be Sharing and using videos 37
addressed to the Chief, Electronic Publishing Policy and Support Branch, Communication Division, FAO, Viale delle
Terme di Caracalla, 00153 Rome, Italy or by e-mail to copyright@fao.org.
PART 3 Examples of video projects 39
CARENAS, Bolivia 39
ISBN: CTA 978 92 9081 424 5; FAO 978 92 5 106333 0 Digital Green, India 40
Programa Cambio Rural, Argentina 42
Manyam Praja, India 43
Editing and production: Kay Sayce, Words at Work, London, UK NOWEFOR, Cameroon 44
Design: Paprika, Annecy, France
Printer: Information Press, Oxford, UK RIPS Coastal Livelihoods, Tanzania 46
Siella Mineral Lick, Ghana 47
Voluntary Farmers Associations, Turkmenistan 48
Cover photograph: Tim Hetherington/Panos Pictures WARDA Rice Videos, Africa 49
The designations employed and the presentation of material in this information product do not imply the expression of PART 4 Resources 51
any opinion whatsoever on the part of the Food and Agriculture Organization of the United Nations (FAO) or the
Technical Centre for Agricultural and Rural Cooperation (CTA) concerning the legal or development status of any Bibliography 51
country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The Web sources and organisations 57
mention of specific companies or products of manufacturers, whether or not these have been patented, does not imply
that these have been endorsed or recommended by FAO in preference to others of a similar nature that are not
mentioned. The views expressed in this information product are those of the authors and do not necessarily reflect the
views of FAO or CTA. Acronyms and abbreviations 59
iii
VIDEO IN DEVELOPMENT ACKNOWLEDGEMENTS
Filming for Rural Change
Boxes Acknowledgements
1 Awareness raising: International Year of the Potato This publication was initiated by Sarah Bel (formerly at CTA, now at ILO) and then developed through
2 Awareness raising: CESPA, Mali the joint efforts of Clare O’Farrell and Oriana D’Angelo Gargano (FAO), Vincent Fautrel (CTA),
3 Awareness raising: ‘Black Gold’ Joachim Hofer (GTZ), Rico Lie (Wageningen UR) and Andreas Mandler (consultant). 
4 Awareness raising: The Hub
5 Advocacy: Rural plant clinics It evolved from a range of activities, starting with several meetings between CTA and FAO in 2006 and
6 Awareness raising and advocacy: Manyam Praja Video, India 2007 on the use of video in rural areas. In early 2008, a short questionnaire was circulated among video
7 Stakeholder engagement and action: NORMA, Asia experts and practitioners. We wish to thank all those who responded to this request and gave us some
8 Stakeholder engagement and action: Visual Problem Appraisal insight into their work. The survey helped us shape the general outline of the book.
9 Capacity building: Pedagogía Audiovisual
10 Rural learning: Rice videos, Africa Further interviews were conducted with practitioners to obtain more detail on projects and
11 Rural learning: CARENAS, Bolivia methodological experiences, and these provided the basis of much of the information in the boxes in 
12 Rural learning and reflection: NOWEFOR, Cameroon this publication. Special thanks to all those who participated in these interviews.
13 Rural learning: Zooming-in, zooming-out
14 Rural learning: Digital Green, India After a period of desk research and more interviews via email, a 2-day ‘writeshop’ was held at FAO in
15 Exchange of experiences and reflection: Sharing filmed stories via mobile phones Rome in September 2008 to discuss the diversity of approaches and experiences with practitioners. 
16 Exchange of experiences and reflection: Embedded filming for social change We wish to thank Riccardo del Castello (FAO) for facilitating the event, as well as all those who
17 Exchange of experiences and reflection: IRAM, Cuba participated in it. These included: Daouda Diagne (FONGS Action Paysanne, Senegal), Anne Lothoré
18 Exchange of experiences and reflection: Study visit on marketing and commodity trade (Inter-réseaux Développement Rural, France), Aurélian Mbzibain (agro-economist, Cameroon),
19 Reporting: ‘Building against the Tides’, Cambodia Antonello Proto (video producer, Italy), Djibril Sanogo (Jades Production, Burkina Faso) and 
20 Reporting: Participatory video for monitoring and evaluation Loes Witteveen (Van Hall Larenstein University of Applied Sciences, The Netherlands). We would 
21 Data collection: Qualitative research also like to thank Ataharul Chowdhury (University of Natural Resources and Applied Life Sciences,
22 Data collection: A winning farmer-researcher-extension worker partnership Austria) for checking the bibliography, and Loïc Colin and Vincent Petit (both at e-Sud Consulting,
23 Participatory diagnosis: IRAM, Mali France) for their valuable input. In particular, we wish to thank Ricardo Ramirez (consultant, Canada)
and Paul Van Mele (WARDA, Benin) for reviewing the manuscript.
iv v
VIDEO IN DEVELOPMENT INTRODUCTION
Filming for Rural Change
Making videos for development is fun.
Video is a powerful medium that can be produced at low cost 
and yet has the potential to reach a mass audience. You can use it in remote 
areas to raise awareness of an issue that concerns the local community, INTRODUCTION
or you can put it on YouTube and reach the world!
The aim of this book is to foster enthusiasm for making the production and use of video an integral part
of development activities. With digital video making becoming more accessible and more widely used 
in development work, it is time to reflect on how it is being applied to promote development and to
elucidate some guidelines for its future use in this field.
The book was written mainly to
inform rural development
professionals, practitioners and
decision-makers in a variety of
organisations – from NGOs and
farmer associations to government
departments and research and
educational institutions – about 
the diverse uses of video in
development. Specifically, it seeks
to give decision-makers greater
insight into the subject in order to
support decisions on the strategic use of video in development. As such, it draws extensively on practical
experiences to illustrate the potential of this powerful communication tool for development.
Background
Video has been used in development for more than 30 years, but only with the advent of digital video
The power of moving images to inform, educate and entertain has long been has filming and editing equipment become affordable and easier to use. Despite the consequent increase
recognised, but only since digital video equipment became widely available has the
technical process of producing video become less complicated and more accessible. in the use of video in development activities, however, there is very little information on the practical
More people are now able to produce videos, and the means and opportunities to aspects of using video, from building it into development strategies to preparation, filming, distribution
make and use video for knowledge sharing and capacity development are well within and screening. 
the reach of development initiatives, big and small.
Video attracts rural people’s curiosity, it overcomes the hurdles of illiteracy and, most Among the pioneers in using video in development were Donald Snowden (his work in Canada in the
importantly, it sits comfortably with the narrative culture that prevails in most 1960s was later referred to as the Fogo Process) and FAO (1970s and 1980s, working with, for example,
developing countries. In areas where oral traditions predominate, it can be used
extensively and effectively for learning and decision-making. PRODERITH in Mexico and CESPAC in Peru). These early projects are well documented (e.g., Fraser,
1987; FAO, 1990, 1996; Quarry, 1994; Crocker, 2003). Alfonso Gumucio-Dagron’s report for the
Video in Development is not only about filming for change in developing countries Rockefeller Foundation, entitled ‘Making Waves’ and produced in 2001, also provides some insight on
– it is also about addressing development needs from a different perspective. using video in various development projects (e.g., Kayapo Video, Brazil; Video SEWA, India; Video and
Community Dreams, Egypt). 
vi 1
© FAO – G. Napolitano
© L. Colin/V. Petit
© L. Colin/V. Petit
© Digital Green
© Digital Green
VIDEO IN DEVELOPMENT INTRODUCTION
Filming for Rural Change
In general, video project reviews are scarce. The few leading publications on the subject include the world. Without this coherence, it is difficult for decision-makers to have a clear picture of the
Video for Development: A Casebook from Vietnam (1998) by Su Braden and Than Thi Thien Huong, potential of video in development and to assess the options involved in using it. 
The Video Activist Handbook (2001) by Thomas Harding, Participatory Video: Images that
Transform and Empower (2003) by Shirley White, and Video for Change (2005) by Peter Gabriel. 
Specifically on participatory video, the leading publications include Participatory Video: A Practical Using this book
Approach to Using Video Creatively in Group Developmental Work (1997) by J. Shaw and
C. Robertson, and Insights into Participatory Video: A Handbook for the Field (2006) by Nick and This book seeks to bring together the diverse literature and experiences in video for development in
Chris Lunch. The November 2006 issue of CTA’s ICT Update focused on ‘Film-making farmers’ and order to improve the understanding and use of this potentially important development tool. It is not
discussed digital video, the concept of participatory video and other trends in the use of video in intended to be a manual or a handbook, but rather an overview of approaches and possibilities.
development.
Part 1 provides a typology of the various uses of video in development, with the focus on agricultural
A noticeable gap in the literature on video in development is documentary making. In many cases, and rural development. This typology serves as a framework, and is put forward only as one possible way
such as the use of a participatory documentary style, documentary making links into processes of of classifying video in development. It is not intended to be definitive. 
social change. Among the few publications on this subject are The Search for Reality: The Art 
of Documentary Making (1997) by M. Tobias, Introduction to Documentary (2001) by B. Nichols, Part 2 provides guidelines for using video in development, based on experiences and the literature. It
and Rethinking Documentary: New Perspectives and Practices (2008) by T. Austin and W. de Jong. focuses primarily on designing development interventions that use video and the production and use of
These important publications cover such aspects as methodologies, guidelines for activism, descriptions video, and reviews the main methodological approaches and challenges. 
of projects and critical reflections on producing documentaries of social change.
Part 3 contains a selection of nine case examples of the use of video in development, depicting a wide
Recent trends show a heavy emphasis on participatory video, particularly in terms of farmer range of situations, objectives and methodologies. 
participation, but comparatively little attention has been paid to educational or learning videos. There is
very little literature, for example, on how to integrate adult learning with video or to stimulate farmer In Part 4 we provide a bibliography on video in development and a list of some of the organisations that
experimentation.  There is also very little attention being given to development impact on a much wider are active in this field, with an outline of each organisation and its web address for more detail on its
organisational scale. activities.
This book seeks not only to fill these gaps in the literature Through this book, co-published by CTA, FAO,  GTZ and Wageningen UR, we hope to encourage
but also to address some issues causing confusion and development professionals to explore the potential of video in development, and thus contribute to
concern with regard to using video in development. There is making it a more coherent, better understood and properly used development tool.
confusion, for example, about the degree of professionalism
needed to design, produce and use video in development
activities. Which professionals should be involved? Are
different kinds of professionals needed – professional
film-makers, professionals with facilitation or management
skills, communication professionals, people with particular
technical skills? 
There is also confusion about the terms ‘participation’ and
‘participatory video’. Participation is a key concept, but 
we need to be more specific about the kinds of participation that are practical in making videos for
development and the stages at which participation should be sought (e.g., script-writing, design, filming,
reviewing). 
Overall, there is a need for more co-ordination and the exchange of experiences among those involved
in video in development, to bring some coherence to the many scattered initiatives in this field around
2 3
© FAO – A.K. Kimoto
PART 1
A typology of the uses of video in development
PART 1
A typology of the uses
of video in development
We have developed this typology in order to encourage
and broaden the discussion on the use of video in
development. It is intended to demonstrate the diverse
uses of video and to help clarify the debate over 
objectives and methodologies. It is not fixed, and the
categorisation of any video experience will depend to 
a large extent on the context.
Many projects that have used video in their interventions
use the term ‘participatory video’. Although it is 
important to highlight the process of participation in
video-making, as described by Lunch and Lunch (2006),
participatory video is only one form of using video in
development. To use ‘participatory video’ as a generic term runs the risk of overlooking the diversity 
of approaches in video in development. Participatory video focuses on the participation of primary
stakeholders (target beneficiaries of development interventions) in producing and discussing 
videos that concern them and their livelihoods, and is about transforming the traditional power 
structure in video-making and giving stakeholders a greater sense of control and ownership of the
medium.
The term ‘video in development’ is broader than participatory video. The video process always has an
element of participation in it, but this does not necessarily mean participation by the community at all
stages of a development intervention. For example, if a professional film crew is involved there might 
be no primary stakeholder participation during the production process. In other cases, participation
might be sought only at the script-writing stage or at various stages during a training or educational
process that uses video. 
The variety of ways in which video in development can be applied has been poorly documented, with
very few descriptions of the methodologies used. As a result, the strategic potential of this medium remains
largely unexplored. Among the methodologies that have been described, the best-known ones include
5
© L. Witteveen
VIDEO IN DEVELOPMENT PART 1
Filming for Rural Change A typology of the uses of video in development
the ‘participatory video approach’ used by Lunch and Lunch (2006), the ‘zooming-in zooming-out’ Video for awareness raising and advocacy
methodology developed by Van Mele (2006, 2008) and the ‘visual problem appraisal’ approach
described by Witteveen and Enserink (2007b) and Witteveen et al. (2009). These methodologies 
are far from standard, however, with most projects using video through a ‘learning by doing’ Video for awareness raising and video for advocacy are dealt with separately here. Although they do
approach. relate to each other in that both processes aim to inform people or to promote certain ideas through the
use of video, awareness raising does not necessarily seek to change behaviour or actions, but simply to
We hope that the typology presented here will help create a better knowledge and understanding improve awareness. Also, it tends to be fairly generic in terms of its target audience, whereas video for
of the diversity of video in development. The categorisation used is based on the objectives of a advocacy is clearly aimed at a specific audience – decision-makers and policy-makers. This can be done
given intervention using video, and the emphasis in each category is on the process involved in the either by building support among the relevant stakeholders or by reaching policy-makers directly
intervention. The entry point for the typology is therefore the use of video in the strategic processes of through the use of video.
change. Thus, the categories are:
• video for awareness raising and advocacy VIDEO FOR AWARENESS RAISING
• video for stakeholder engagement and action
• video for capacity building Videos for awareness raising are produced to alert 
• video for reporting and data collection people to certain issues, ideas, concepts or problems.
Often, they closely resemble documentary films, 
As shown in Table 1, the capacity building category includes rural learning and the exchange of where the aim is to screen the film for impact on 
experiences. Each category highlights the specific characteristics of the different forms of video in a pre-determined audience.
development and reviews the relevant methodologies for video production. The categories are not
mutually exclusive, however. For example, some projects could fall into either the capacity building or Videos for awareness raising tend to use a rhetoric that
the stakeholder engagement and action categories, because they simultaneously build capacity and could be termed persuasive. The quality of the video is
encourage stakeholder participation. determined not only by its content, but also by the
organisation that commissioned it, its place in the
organisation’s broader communication strategy and 
the target audience. The attractiveness of the content 
TABLE 1:  VIDEO IN DEVELOPMENT TYPOLOGY (e.g., use of humour, and entertainment value), the 
information being communicated and the quality of the rhetoric are all important, but they are not
I  Video for II  Video for III  Video for IV  Video for enough to ensure effective awareness raising. The credibility of the commissioning organisation is also
awareness stakeholder capacity reporting 
raising engagement building and data crucial, alongside good research on the topic in hand, a good film-maker and producer, and adequate
and advocacy and action collection funding of the production and distribution processes. Commitment is often a key to effectiveness.
(a) Video for (a) Video for The search for quality often leads to a production process where there is a clear division between the
awareness rural learning commissioning organisation, the film crew and the people appearing in the film (e.g., cast, primary
raising
(b) Video for the stakeholders) and where the footage is carefully edited to suit a well-elaborated argument, with the
(b) Video for exchange of narration taking the audience by the hand to follow the argument. A good example of this is Al Gore’s
advocacy experiences film ‘An Inconvenient Truth’, where the main objective was to raise awareness about global warming
and reflection among a wide audience. It was 94 minutes long, but there are also many videos on this topic that run to
only 2-5 minutes; examples include the Oxfam and Greenpeace video clips (www.oxfam.org and
www.greenpeace.org). 
Taken as a whole, exploring the current and potential use of video in development from the perspective The target audiences addressed by these short videos range from the general public to specific groups 
of these categories should contribute to strengthening the strategic use of video in a wide range of of decision-makers and policy-makers. Another example of a video for awareness raising is given in 
development contexts and interventions. Box 1.
6 7
© FAO – G. Napolitano
VIDEO IN DEVELOPMENT PART 1
Filming for Rural Change A typology of the uses of video in development
BOX 1:  VIDEO FOR AWARENESS RAISING: INTERNATIONAL YEAR OF THE POTATO to proceed. It wasn’t just a formal act, but a recognition that from then on we were
part of the community and our success was the success of the entire community. For
The United Nations (UN) declared 2008 as the International Year of the Potato (IYP). me it was like being adopted. I even received a Bambara name: Diarra.
Since 1959 the UN has designated International Years in order to draw attention to
major issues and to encourage international action to address concerns that have During the survey to write the script we saw how important it was that one of the
worldwide significance and ramifications. video producers was a young woman. Women are essential for the balance of
traditional communities, yet most of them never feel free to express themselves in front
The aim of IYP was to raise the profile of this globally important food crop, highlighting of male producers. During the filming, the villagers’ participation was so good that we
its biological and nutritional attributes and promoting its production, processing, managed to correct mistakes we had made in the script. Someone would gently call
consumption, marketing and trade. It provided an opportunity to make an effective me to one side and whisper that, in the village, they would never do anything like
contribution towards meeting the Millennium Development Goals in terms of food something we had pictured or written. This co-operation enabled us to reduce, during
security, poverty alleviation, sustainable use of biodiversity, and sustainable and after the editing, the time for feedback to see if we were proceeding in the right
intensification of potato-based farming systems. Throughout the year, a range of direction and interpreting correctly what we saw in the village.
activities such as exhibitions, websites, a photographic contest, and conferences were
organised. In support of the campaign, several videos on the potato were produced, To demonstrate the CESPA methodology and the good relationship with the villagers,
including an IYP video that can be viewed at we decided to add to the film the training activities that followed the screening of the
http://www.potato2008.org/en/aboutiyp/video.html. video for the community. The two CESPA producers were adult education practitioners
as well as film-makers and were responsible for presenting to the village the water
purification method being promoted, and training the people how to use it. This
involved organising a discussion after the projection, handing out a booklet about
water purification in the home, and holding a series of meetings to help people use the
There are a variety of participatory approaches that can be used in making videos for awareness raising. correct method and tools.
One option is working with local crew members or mixed crews, which will facilitate working with local
(natural) actors and will help to ensure that the visual language is appropriate for the intended audience, By filming the CESPA way of working in the field, we were showing the audience how 
a video to create awareness should not stand by itself, but be part of a wider
if that audience is a local one. As outlined in Box 2, this approach was adopted in the making of a video communication process. In this way, CESPA was raising awareness about an issue and
to create awareness about water purification in a local community in Mali. at the same time using other communication tools to answer questions arising from
newly acquired knowledge about the issue.”
BOX 2:  VIDEO FOR AWARENESS RAISING: CESPA, MALI
Why use video for awareness raising?
Antonello Proto, a video producer and communication expert, was commissioned by
FAO to produce a video to promote the field activities of the Centre for Audiovisual
Communication for Development (CESPA), based in Bamako, Mali. This is his account of An awareness-raising video highlights a specific issue (e.g., global warming, biodiversity, conservation
the project. agriculture, fair trade, human rights, HIV/AIDS) in order to create awareness about this issue among a
particular audience. This audience can be a specific target group, such as farmers, or a geographically
“When FAO asked me to produce a video to promote CESPA’s field activities, I chose
to follow two of their producers preparing and then filming a communication package defined audience, such as a village, or it can be the general public, as was the case with ‘An Inconvenient
to create awareness about water purification in a rural environment. Truth’ and with  ‘Black Gold’, described in Box 3. 
CESPA’s methodology was based on the experience of a similar video production unit
that had worked successfully in Latin America. The methodology was adapted to Video is an effective tool for awareness raising. It can portray visually many issues or arguments which
African realities and African ways of conveying messages. Some groups are used to might otherwise remain unknown to the audience, it can be screened in a variety of ways (e.g., on
decoding even very sophisticated messages, while others are not able to appreciate television, at mass events, in local venues, via the internet) and it has the potential to reach many people,
visual messages as they may not have in their language the idea of exemplifying
reality through images. For example, in some villages, people watching a video using combine mass media with social mobilisation and stimulate dialogue between different levels of interest.
only a voice over (instead of someone talking directly to camera) would start looking Video can also help raise awareness of individual power and of the power positions of other people, and
around to see who was actually talking. contribute to giving people control over their lives.
To make our video we chose a traditional village near Bamako where the people were
used to watching films and television and could therefore play an active role in
preparing the script. We filmed the steps of the production, from the interviews How to use video for awareness raising
conducted by the CESPA producers for the script to the final screening in the village,
and we saw how they were all equally essential for the success of the video. Before
starting the interviews, we presented the project to the village chief, asking permission Videos for awareness raising are most effective when they are part of a well-designed communication
strategy for change (e.g., integrated in or linked to discussion evenings, seminars, instructional manuals
(contd on page 9) or websites). A good example of what such a strategy could look like is described in Box 4.
8 9
VIDEO IN DEVELOPMENT PART 1
Filming for Rural Change A typology of the uses of video in development
convince people with the power (e.g., policy-makers) 
BOX 3:  VIDEO FOR AWARENESS RAISING: ‘BLACK GOLD’ 
to address the urgent concerns of a particular group of
The products of multinational coffee companies are everywhere in shopping malls and people. “ ‘Video advocacy’ then is the process of
supermarkets. They are the visible face of an industry worth more than US$80 billion, integrating video into an advocacy effort to achieve
making coffee the most valuable trading commodity in the world after oil. But while we
continue to pay for our expressos and cappuccinos, the price paid to coffee farmers heightened visibility or impact in your campaign”
remains so low that many have been forced to abandon their coffee fields. (Cadwell, 2005).
Nowhere is this paradox more evident than in Ethiopia, the birthplace of coffee.
Tadesse Meskela travels the world in an attempt to find buyers willing to pay a fair
price for the beans produced by the 74,000 coffee farmers in the country, to save Why use video for advocacy?
them from bankruptcy. Ethiopia’s farmers harvest some of the highest quality coffee
beans on the international market. But Meskela is up against the enormous power of There are several reasons why videos can be an
the multinational players. New York commodity traders, the international coffee
exchanges, and the machinations of trade ministers at World Trade Organization (WTO) effective advocacy instrument. First, they can bring
gatherings are among the many challenges he faces. overlooked or marginalised stakeholders to the
doorstep of decision-makers, in a mediated way. 
A video describing this situation, ‘Black Gold: A Film about Coffee and Trade’ had its
World Premiere at the 2006 Sundance Film Festival, and went on to be seen at more This can promote inclusion of their stories, concerns and proposals in the decision-making process 
than 60 international film festivals, including those in Berlin, Hong Kong, London, by enabling (secondary) stakeholders to learn through this interaction with other (primary)
Melbourne, Rio de Janeiro and Rome. Several million people worldwide have now seen stakeholders. Video thus functions as a bridge between a marginalised stakeholder and a decision-maker
the film and, as a result, are now more aware of the coffee crisis and trade justice.
(Witteveen et al., 2009).
The trailer for the documentary is a good example of the shorter clip format of a video
for awareness raising, and can be see at http://www.blackgoldmovie.com/trailer.php. Second, video offers a way of documenting a process and compressing what could be a long story into a
short film. It is able to wrap complex problems and processes into easily digestible pieces.
Third, video can personalise complex processes and put the emphasis on the particular issues that the
BOX 4:  VIDEO FOR AWARENESS RAISING: THE HUB producers want to advocate. It illustrates the strength of using emotions and imagery in the processes of
Witness is an international organisation that uses video to raise awareness of human persuasion, an important element in advocacy activities.
rights violations. It created The Hub, a global platform for human rights media and
action. To celebrate the 60th anniversary of the Universal Declaration of Human Rights
on 10 December 2008, The Hub produced a video entitled ‘What images have opened
your eyes to human rights?’ The online video asks viewers to participate by describing BOX 5:  VIDEO FOR ADVOCACY: RURAL PLANT CLINICS
the power that certain images have had in making them care about human rights. 
The Global Plant Clinic (GPC) delivers plant health services around the world, working
The featured images all come from the Witness archives and they cover human rights with extension, research, the private sector and governments to make technical
abuses in Afghanistan, Argentina, Brazil, Burma, the Democratic Republic of the Congo, support and advice available through rural plant clinics. By early 2009, it was
the Chechen Republic in Russia, the Philippines and western Sudan. The video can be supporting 80 plant health clinics in 10 countries (Bangladesh, Bolivia, DR Congo,
seen at http://hub.witness.org/udhr60. Nicaragua, Rwanda, Sierra Leone, Uganda and Vietnam) and had run pilot clinics in
Benin, Cameroon, Colombia, Côte d’Ivoire, Cuba, Indonesia, Kenya, Mali, Pakistan and
Peru. GPC activities include training plant health specialists (‘plant doctors’), building
plant health systems, developing new extension methods and community-based
disease surveillance. GPC works with NGOs, farmer organisations, formal and informal
VIDEO FOR ADVOCACY extension services, government research institutes, universities and centres in the
Consultative Group on International Agricultural Research (CGIAR) system. 
Like videos for awareness raising, videos for advocacy are characterised by an intention to persuade “We use video in two ways: advocacy and extension,” says Eric Boa, Head of GPC.
viewers to change their behaviour or actions, but these videos are aimed at a specific audience of “There are three 15-minute or so DVDs that describe plant health clinics and services
decision-makers. They cross borders of power. in Nicaragua, Bangladesh, DR Congo and Uganda. These are our main examples of
‘advocacy’. We show them to other countries interested in running clinics so that they
can get a better feel and understanding of what is involved. The videos also
Advocacy can be defined as “speaking and/or acting on behalf of people to secure the services they need acknowledge and share the results of plant doctors within countries – enhancing
and the rights to which they are entitled. Advocacy aims to ensure that people’s opinions, wishes or prestige. The DVDs are shown worldwide. Sierra Leone gets to see clinics in Nicaragua; 
needs are expressed and listened to” (Suffolk County Council, 2008). Put another way, it aims to (contd on page 12)
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Filming for Rural Change A typology of the uses of video in development
Peru gets to see Bangladesh in action. We show the videos as part of a training BOX 6:  VIDEO FOR AWARENESS RAISING AND ADVOCACY: MANYAM PRAJA 
course on ‘how to become a plant doctor’ and also send out copies.” VIDEO, INDIA
Occasionally, GPC produces extension videos using the ‘snowman method’, a method Video Volunteers is a non-profit organisation based in New York, USA that encourages
for shaping the outline of an extension message, thus: people around the world living in poor conditions (e.g., urban slums and remote villages
in difficult environments) to produce high-quality video content that brings awareness to
• HEAD – state the problem communities and empowers them to take action that will accelerate change. 
• THORAX – background information (explains the technology)
• FAT PART – how to use the technology The videos are produced and distributed by Community Video Units (CVUs), local
production units run by 6-10 community members trained as full-time, paid community
GPC videos can be viewed at http://www.youtube.com/user/globalplantclinic. There are video producers. Each CVU is established and funded by a local NGO that is
examples of extension videos at http://www.youtube.com/watch?v=h1LCrhFY4Ic). For participating in the Video Volunteers’ vision of creating a ‘Global Social Media Network’.
further reading, go to http://www.globalplantclinic.org/. Every 6 weeks each CVU makes a new local-language ‘video magazine’ on a topic
chosen by a community editorial board based on viewer feedback and key campaign
issues. A video magazine might include community news, success stories, short
documentaries, legal tips, local culture and music, editorial, and local humour. The
videos are screened mainly in the villages on widescreen projectors, as well as being
How to use video for advocacy distributed through the mainstream media. Other modes of sharing the videos are the
use of local cable networks and DVDs distributed to self-help groups and NGO networks. 
When integrating video into an advocacy strategy, Cadwell (2005) suggests following these steps:
Manyam Praja Video (meaning ‘Forest People’s Video’) is based in Andhra Pradesh,
India. Promoted by an NGO known as Laya, this CVU raises awareness about the tribal
1 Define your goals culture and rights of India’s original inhabitants, and works in a very isolated rural area
2 Talk to other people who have worked on the issue you want to tackle, to establish what has worked, where other media (e.g., newspapers and television) are largely absent. It aims to help
what has not, and why people secure access to the land, water and forests to which they are legally entitled,
and in more than 100 villages it runs programmes on such issues as micro-credit,
3 Analyse your style and strengths, and identify your allies health, sustainable agriculture and legal aid. Apart from the various modes of sharing
4 Define your audience and think through how to communicate your message to them, to establish outlined above, the videos produced by Manyam Praja are also showcased on Channel
your format, style and the ‘messenger’ 19, an independent online network set up to distribute, promote and support the work
of CVUs in various locations in India. This platform allows the producers to reach out
5 Decide on the level of involvement of various parties and start planning production and distribution beyond their communities to the rest of the world. 
Step 5 can also be viewed in terms of composing the brief. A brief is needed when commissioning the Some of the Manyam Praja videos are available on YouTube at
http://www.youtube.com/watch?v=clqoNcGdOf8. There is more information on Video
video, or when you are the video producer and need guidance and assessment criteria. The use of Volunteers at www.videovolunteers.org and on pages 43-44. 
video in this instance is strategic and is part of a structured process with pre-determined outcomes.
Composing a brief takes time.
Key requirements for creating effective videos for awareness raising and advocacy include: Video for stakeholder engagement and action
• knowledge about theories of persuasion and audio-visual communication Videos in this category are intended for use in multi-stakeholder
• capturing the narrative (this requires, in turn, allowing enough time in the preparatory stages for development activities, with the focus on how to address complex
building rapport, based on explaining why the video is being made and helping interviewees to development problems and realities. This type of video is used to
present their views coherently) bring together diverse stakeholders from a variety of levels, 
• working with local experts and mixed video teams where possible, and ensuring gender balance ranging from local to global, to debate, discuss, negotiate and 
• matching the video’s audiovisual language with the audio-visual language abilities of the target reach decisions. Producing and using these videos is seen as
audiences an activity or series of activities embedded in a broader
• encouraging the participation of the target audience in the production process where possible communication process; they are just one of several
(e.g., by a participatory selection of topics and a participatory script-writing process) communication platforms.
• identifying appropriate distribution channels for the target audiences
• considering supplementary activities, as the video alone may not be enough (e.g., embed the video An important characteristic of videos for stakeholder engagement
in an awareness-raising campaign) and action is that they are used for sharing stakeholders’ views and
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Filming for Rural Change A typology of the uses of video in development
for learning, mediation, negotiation, conflict resolution and
encouraging action. Unlike videos for advocacy, they do not seek to
inform or convince decision-makers. Also, whereas videos for
advocacy are part of a vertical communication process
(communication between actors at different hierarchical
levels, bottom-up or top-down), videos for stakeholder
engagement and action are part of a horizontal communication
process (communication within networks and via stakeholder
platforms).
In stakeholder engagement and action, we are often dealing with
complex problems, conflict situations, competing interests and
views, and negotiations. Issues of empowerment and giving people a voice therefore need to be
considered from the perspective of multi-stakeholder, participatory and demand-driven development.
BOX 7:  VIDEO FOR STAKEHOLDER ENGAGEMENT AND ACTION: NORMA, ASIA The development arena is multi-faceted and involves many stakeholders, all with their own opinions,
needs and preferences. The challenge of development is to address those needs in an equitable and
Natural Resource Management in the Mountain Regions of Asia (NORMA), an EC-funded sustainable manner, particularly with regard to those stakeholders who might be overlooked or
project, aims at identifying the key research needs to support existing natural resource
management policies for sustainable integrated development in the Karakoram-Hindu
Kush-Himalayan region. A UK/France agency, Insight, which pioneered the use of
participatory video for empowering individuals and communities, used participatory BOX 8:  VIDEO FOR STAKEHOLDER ENGAGEMENT AND ACTION: VISUAL 
video techniques to enable the local communities, NGOs and grassroots organisations PROBLEM APPRAISAL 
to communicate their views and ideas directly to scientists, policy-makers and donors.
Visual Problem Appraisal (VPA) is a film-based learning strategy to enhance the
There were two phases to this project. The first one involved community groups and analysis of complex issues and facilitate a plan of action. It is used in workshops
local NGOs in three countries (China, India and Pakistan) attending participatory video dealing with problem analysis and policy design, and involves the participants ‘meeting’
workshops. In each country Insight trained two local facilitators, a man and a woman, stakeholders through the latter’s filmed narratives.
and worked with local NGOs that shared Insight’s participatory approach and had
strong links with the community and the local government. The second phase consisted The filmed narratives and accompanying documentaries give the participants a chance
of a multi-stakeholder workshop in Scotland attended by representatives of national to explore the complex and conflictive arena of a particular issue. They follow a 
research organisations and universities, government departments, development three-phase programme: scoping, stakeholder consultation, and action. The scoping
agencies, NGOs and representatives of the communities that Insight had worked with. phase varies from a quick scan to a desk study. Meeting stakeholders through the
filmed narratives allows participants to learn about the stakeholder perspectives and
At the workshop the local representatives showed their communities’ videos. Insight problem analysis. During the meetings, the participants view a selected number of
then worked in small groups using participatory methods to foster an exchange of interviews. The selection procedure simulates the reality of stakeholder consultation
views among the key stakeholders, irrespective of their level of formal education. The where constraints of time, resources and access are influential. This procedure makes
aims were to identify priority research needs, develop a strategy to address them and participants feel responsible as they realise it has important consequences. 
then assess the likelihood of success. Showing a video rather than giving a speech 
put the local representatives on a more equal footing with participants with more VPA workshops create a space where interviewees tell their story, filmed in a way that
experience of conferences and public speaking. The videos changed many workshop the audience experiences the role of interviewer. The audience may feel sympathy,
participants’ views on participatory research, and enhanced their awareness of the antipathy or confusion; these feelings are not simulated, but real, which becomes
importance of delivering projects that involved local knowledge. apparent during presentations when participants reveal their identification with their
The workshop itself was filmed, enabling the local representatives to see the impact filmed informants by talking in terms of ‘we’: “We first went to see Mr Reza” or 
the film made on participants. It was important to complete this feedback loop and “During the interview with us she said...” To foster mediated dialogue, VPA uses an
was empowering for the communities taking part. The videos were shown to a range interview-driven film style. The films are extended narratives with only the interviewee
of audiences, including researchers at the Global Climate Change in Mountainous on screen in long steady frames, filmed on location and during activities in his/her daily
Regions conference in Scotland, and were translated into local languages, maximising environment. 
learning potential and the cross-border exchange of views. Further impact will come
with their dissemination among local and regional NGOs and government institutions, The first VPA set, ‘Rice from the Guyanas’, focused on international agribusiness and
and among research and development organisations with an interest in the region. rural development issues in the Guyanas. A second VPA set, ‘Kerala’s Coast’, was
produced in Kerala, India and focused on integrated coastal zone management. A third
There is more on Insight’s work at VPA set, filmed in Ghana, Tanzania and Zambia, focused on HIV/AIDS and rural
http://www.insightshare.org/case_study_him_vid_messages.html. development in sub-Saharan Africa. 
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VIDEO IN DEVELOPMENT PART 1
Filming for Rural Change A typology of the uses of video in development
marginalised. Powerful stakeholders are now aware that they have to engage with all stakeholders. In The second reason is that it enables people to exercise their democratic right and speak directly to
this context, the use of video in conflict management and negotiation can be an extremely relevant and elected representatives (‘mediated participation’). It can be effective where the intended audience does
effective platform for highlighting and exchanging different views, realities and life histories (oral not have much time (e.g., policy-makers) or wants to re-examine politically and socially sensitive issues
testimonies). (e.g., HIV/AIDS and domestic abuse). It can be essential with people who cannot, or do not want to,
move from their own environment, but wish to talk directly
to a particular audience (e.g., policy-makers). Moving out of
FIGURE 1:  FLOW CHART DEPICTING THE VISUAL PROBLEM APPRAISAL PROCESS ‘home territory’ to talk to important unknown people in an
alien environment can affect spontaneity. Video creates a
‘safe space’ for people to speak and it does not restrict the
engagement process to standard venues, such as village
Watching Formulation of
Self Scoping 
Start documentary problem Wrapping meeting halls. And it can bring reality from the meeting
assessment study
1 definition up
(individual) room back to the community.
How to use video for stakeholder 
Formulation of Which 
problem stakeholder is Reformulation
Team Watching Interview engagement and action
of problem
formation able to elaborate
definition interview analysis
on this definition
(team) problem? As with other uses of video in development interventions, the design, production and use of videos for
stakeholder engagement and action deserve close attention and might require the involvement of
no various professionals (e.g., film-makers, facilitators, process designers, managers). Careful consideration
Watching Presentation Formulation of Have enough of such issues as representation, stereotyping and terminology is crucial for this type of video. Similarly,
documentary Reviewing and findings and
conclusions yes interviews 
2 discussion of conclusions been designing good facilitation for the stakeholder consultations is paramount and requires well-trained
findings watched? facilitators.
Presentation
Formulation of
of results to
recommendations Triangulation
commissioning Closure
for action with Video for capacity building
agency
stakeholders
Video can be used as a tool for sharing information and increasing the knowledge and practical skills 
of a particular audience. This type of video is commonly used in agricultural extension to facilitate 
the introduction of new practices and effective techniques. It can portray practical instructions, good
Introduction / closure Stakeholder consultation practices adopted or modified by innovators, local innovations, research results, or outcomes from
collaborations between farmers, extension workers and researchers. The video content is usually
Scoping Action
‘packaged’ by extension workers, researchers, communication professionals, or a combination of 
these people. 
Sometimes these videos are produced through participatory processes involving some of the target
Why use video for stakeholder engagement and action? audience. The kind and level of participation varies. For example, farmers can be involved in defining 
the content, in co-directing the filming of practices, in discussions about farmers’ expertise in these
There are two main reasons for using video for stakeholder engagement and action. The first is that practices or in devising a strategy for distributing the video. They can also act as reporters to their peers
video can overcome literacy barriers by using powerful images and contextualising reality. It enables a or share their experiences in interviews in a more conventional documentary style.
variety of perspectives to be presented in a balanced way, with no one particular ‘reality’ dominating and
with many voices from different geographical zones and backgrounds being heard. It allows divergent or A small group of the audience could also be involved in evaluating the draft version of the video 
even conflicting views to be shared with opponents, rivals and even enemies. (e.g., to assess its suitability for mass distribution or, in the case of farmer-generated technologies, to
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Filming for Rural Change A typology of the uses of video in development
BOX 9:  VIDEO FOR CAPACITY BUILDING: PEDAGOGÍA AUDIOVISUAL Why use video for rural learning?
Pedagogía Audiovisual is a video-based approach developed by Manuel Calvelo Rios Video for rural learning provides an opportunity to ‘customise’
in Latin America and first applied in the 1970s in Chile and then by the Centro de
Servicios de Pedagogía Audiovisual para la Capacitación (CESPAC) in Peru, where it is training material by portraying farmers speaking the local
still used. CESPAC started as an FAO project and was very successful. The approach language and dealing with familiar crops, soils and other general
was later used by FAO in Mexico (for the Programa de Desarrollo Rural Integrado del conditions where the target farmers live. Involving farmers in
Trópico Humedo, PRODERITH) and by the Centre de Services de Production
Audiovisuelle (CESPA) in Mali in the 1990s. CESPA created a model now used in adult producing videos for capacity building has proved to be an
education for rural development and inspired by Hector Won Lou, Chekna Diarra and effective strategy in stimulating them to experiment with new
other experts in communication in Africa. ideas and practices. Farmers are more favorably disposed
Based on the saying “What I hear, I forget. What I see, I remember. What I do, I know”, towards trying out new practices when they see the experiences
Pedagogía Audiovisual seeks to gather, conserve and communicate farmer knowledge, of fellow farmers.
using modern scientific knowledge and practices where appropriate, to help
beneficiaries acquire new knowledge and skills. It is a teaching process for the transfer
of information and skills to selected groups of people through combined events of Another important reason for using video for rural learning is that it can compress time. Time is a 
practice, viewing and discussion. It is not intended for mass audiences; reaching a major constraint for extension workers. For example, showing the effects of using a fertilizer implies
higher number of people with this process is achieved only by repeating these events waiting for some time before observing the results. Video can overcome this by showing long natural or
for different groups of people.
agricultural processes in a short period of time, ideally in the local setting, as in the case of Digital Green
Based on the interaction of all participants in the communication process, the (see Box 14). A well-known example is documenting the life cycle of a pest that damages crops. 
Pedagogía Audiovisual approach involves using video as part of multimedia training
packages on agricultural practices and techniques, organised into modules that include
printed materials, discussion topics and practical work. The packages focus on key
themes, issues and technologies identified by farmers and technicians. Each package BOX 10:   VIDEO FOR RURAL LEARNING: RICE VIDEOS, AFRICA
consists of a series of video programmes accompanied by simple and well-illustrated
printed guides for the trainer/facilitator and the farmers. Each training session involves In 2003 CABI launched the Good Seed Initiative (GSI) in Bangladesh to improve the
viewing a video programme, discussing it with an expert and then carrying out quality and value of smallholder farmers’ seed, enable the poor to access and benefit
practical work under the supervision of that expert. from seed sources outside their community, and incorporate learning in regional and
national seed systems and policies.
There is more information on the Pedagogía Audiovisual approach at
http://www.conpadre.cdesco.org/pma.html and in FAO (1987, 1996). In Bangladesh more than 80% of the seed management is done by women, and
improving seed quality therefore depended on successful communication with women.
From 2000 onwards, under the Poverty Elimination Through Rice Research Assistance
(PETRRA) project, women from various rural communities were trained in seed
allow the local innovators to check that the video management. At about the same time, a local team from a women’s NGO, the Rural
represents their ideas properly). Testing the video in Development Academy and Thengamara Mohila Sabuj Sangha (TMSS), was trained in
video production by Countrywise Communication. The team worked closely with the
the field may be necessary, following the same rural women trained under PETRRA to produce four high-quality, farmer-centered
procedure as for any other visual extension materials. learning videos on how to improve on-farm rice seed management using local
However, re-editing the video is likely to be much resources. The video content was presented in such a way as to stimulate learning.
more complicated than redrawing a sketch. The videos reached more than 130,000 farmers in Bangladesh between 2003 and
2005 and continue to be aired annually on national television, contributing to
Bangladesh’s newly achieved self-sufficiency in rice. Following this success, the videos
themselves and the concept of developing videos with farmers who had been involved
VIDEO FOR RURAL LEARNING in participatory research were embedded in the training provided by the Africa Rice
Center (WARDA). By early 2009 WARDA’s partners had translated the Bangladesh rice
seed videos into many African languages. The videos were a great success among
The areas where video is currently used most African farmers, who enjoyed seeing farmers in another part of the world facing similar
extensively are agricultural extension and rural problems and able to solve those problems themselves.
learning. Modes of use can vary. They can be There is more information on the GSI and WARDA initiatives at
combined with other forms of communication mechanisms, such as face-to-face training. They can be http://www.warda.org/warda/p3-rurallearning.asp and
used to train extension workers in regional district offices and for training-of-trainers courses. They can http://www.cabi.org/datapage.asp?iDocID=215, and on pages 49-50. Also see Van Mele
et al. (2005b, 2007, 2009b).
also be used to directly target farmers and other stakeholders in the food production chain.
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VIDEO IN DEVELOPMENT PART 1
Filming for Rural Change A typology of the uses of video in development
material should, if possible, refer to the video images. This helps people to recall what they have seen,
BOX 11:  VIDEO FOR RURAL LEARNING: CARENAS, BOLIVIA
and this recalled memory expands the use of the film. Producing additional materials may not always be
In 2002 a project entitled Información, Comunicación y Capacitación para en el manejo necessary when the content of the video is highly relevant and self-explanatory. Research in Benin
de los Recursos Naturales y la Agricultura Sostenible (CARENAS) was launched in showed that women rice processors, who had watched a video on rice parboiling more than a year
Bolivia. The aim was to implement a rural communication system to promote
sustainable natural resources management and rural development in the Department of previously, were able to give an exact account of its content (see www.warda.org).
Santa Cruz. The project established the CARENAS centre to provide information and
training on the conservation and sustainable use of natural resources and on Videos for rural learning can be distributed in the form of VCDs and DVDs. Extension workers can
participatory watershed management. 
bring a TV set and a player when they organise viewing and discussion sessions in a rural community.
Videos were used to train farmers in appropriate techniques (e.g., recycling organic More and more farmers and farmer associations are now organising themselves to watch videos relevant
waste, and building compost latrines). They were produced as part of training to their livelihoods. High-quality videos can also be broadcast on local or national television channels,
packages with printed guides for trainers and booklets for farmers. The videos and
printed materials were produced by local audiovisual specialists trained by FAO in and local cable networks and new platforms such as YouTube can help spread the content, although 
communication methodologies and production techniques at field level. The contents it is not clear how many farmers and extension workers are using these platforms yet. Local radio
were defined through participatory processes involving extension workers and farmer stations can also organise video shows and use some of the audio material in videos to make radio
communities and were aimed at conserving and communicating local farmer knowledge
and incorporating technical knowledge. programmes.
The videos were screened in communities within a few days of the farmer training Screening a video does not necessarily constitute a training session. The design of a rural learning
sessions, and were supplemented by booklets, discussion sessions and practical work
aimed at transforming the content into more understandable messages for rural families. initiative can incorporate a video, alongside other elements such as providing more information in 
print form on particular techniques, consolidating the information acquired through practical work, 
There is more on the CARENAS project on pages 39-40. 
and assistance in the field. Thus, if videos are screened only through television or cable networks as 
one-offs, and not integrated into an overall change strategy, viewers should at least be provided with 
the telephone number of extension workers to  enable them t ask additional questions or even schedule
How to use video for rural learning a visit. Providing a technical manual to accompany a video for rural learning might be required for
complex technologies.
Videos for rural learning are often used in group training sessions organised at community level, with the
assistance of a facilitator to help highlight the main points, outline the concepts, pose questions, lead
discussions and capture feedback. BOX 12:  VIDEO FOR RURAL LEARNING AND REFLECTION: NOWEFOR, CAMEROON
Key to the Pedagogía Audiovisual approach, for example, are the hands-on practical exercises used in The North West Farmers’ Organisation (NOWEFOR) is a federation of farmer groups in
Cameroon that promotes the development of profitable production sectors to improve
combination with the video and printed guides. Video for rural learning can thus be supported by the livelihoods of its members. In 2003 a video was produced depicting NOWEFOR’s
practical tasks and printed materials to help enhance understanding of the video content. The printed success in commercialising ginger production in the Bafut area of the country. The
script was written by Support Service for Grassroots Initiatives of Development (SAILD),
a local organisation, and Inter-Réseaux, with support from CTA. It was reviewed by
NOWEFOR, and technicians selected the farmers to feature in the film, and the
locations and timing for the filming. Farmer leaders in the communities were responsible
for contacting the traditional and local authorities to feature in the film.
The filming was done by professionals, and the editing by all the parties involved. The
first version of the video was shown to Inter-Réseaux, SAILD, NOWEFOR and farmer
leaders. Included in the package were a guide to the video and a written description
of the Bafut experience.
The video was shared in various ways. It was screened for the members of the Bafut
Union of Common Initiative Groups (BUFAG), after which the farmers who featured in it
requested copies for their home village use. DVDs were distributed to the local
authorities and exchanged with other farmer organisations and partners. The video was
also broadcast by Cameroon National Television (CNTV) and was made available on
the Inter-Réseaux website (http://www.inter-reseaux.org/rubrique.php3?id_rubrique=646)
and on YouTube.
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Key considerations for creating effective videos for rural
BOX 13:   VIDEO FOR RURAL LEARNING: ZOOMING-IN, ZOOMING-OUT
learning are:
The ‘zooming-in, zooming-out’ (or ZIZO) approach allows for the scaling-up of
sustainable technologies that are locally appropriate and regionally relevant. The • video for rural learning should be seen as part of a broader
approach integrates participatory learning and action research (PLAR) with the use of
media. ZIZO starts with a broad stakeholder consultation to define the learning needs process, package or organisational strategy that seeks to
of a region. Relevant technologies are identified, often through multi-country research build the capacities of the targeted individuals and/or
projects that implement PLAR with rural communities. Some of these communities are institutions
then selected for a more in-depth understanding of their innovations, knowledge and
vocabulary in relation to the chosen topic (zooming-in).
• the language in a video for rural learning, and in its
Low-cost, high-quality digital videos are produced in close consultation with the facilitation, must be appropriate to the targeted end-users;
end-users. The videos are carefully planned and edited pieces focusing on specific local language versions of these videos enable them to reach
technologies and intended to foster cross-cultural learning. The draft videos are then
shown to more villages (zooming-out), which leads to more innovations and ideas more people and reduce dependence on intermediaries.
being identified, and further adjustments made. Once the technologies and the video
content and format have been fine-tuned by the end-users, the videos are then made
available to intermediaries, such as other media and distribution channels.
BOX 14:  VIDEO FOR RURAL LEARNING: DIGITAL GREEN, INDIA
In 2006 an agricultural training and advisory system, Digital Green, was launched by
Identify generic topic of regional Microsoft Research India to disseminate agricultural information to small-scale and
relevance marginalised farmers using digital video. The system comprises: a participatory production
process; a locally generated digital video database; a human-mediated instruction
Learn about context diversity and conduct model for dissemination and training; and regimented sequencing to include new
participatory research communities. “Unlike some systems that expect information or communication technology
alone to deliver useful knowledge to marginal farmers, Digital Green works with existing,
people-based extension systems and aims to amplify their effectiveness” (Gandhi, 2009).
Develop video programmes using local
actors The so-called ‘instructional videos’ disseminated by Digital Green are used to improve
the efficiency of extension programmes by delivering targeted content to a wider
Test programmes in various contexts and audience and enabling farmers to better manage their farming operations with reduced
fine-tune them field support.
Scale-up and scale-out The videos are recordings of demonstrations by extension workers when they are
teaching farmers a new technique. The content can be produced by university
scientists, NGO experts, field staff, progressive farmers and other volunteers from the
local community, but the most common content producers are extension workers
carrying out their usual duties (e.g., field assessments and demonstrations) and
capturing their interactions with farmers on a camcorder. The extension workers
Van Mele (2006, 2008) describes six features of an effective video for rural learning: produce one or two clippings per field visit. Local farmers are often included in the
videos, as it has become clear that other farmers in the area are more likely to adopt
• builds on outputs from participatory processes a practice that is being implemented by their neighbours. Most video recordings involve
• visualises local innovations a teacher, a farmer and a content producer who doubles as the camera operator. The
• uses appropriate language and symbols videos are made using MiniDV camcorders, and tripods and external microphones are
• stimulates negotiations among stakeholders used to improve video quality.
• cultivates ownership
• The content is reviewed by video editors to ensure quality, clarity and relevance for a
builds strategic partnerships
wider audience and is then digitised on a PC and edited using simple non-linear editing
software. An online database has been created to enable farmers, extension workers
WARDA’s ZIZO approach resulted in a range of powerful videos on rice production, as and others to watch and use the videos. The videos are also available on DVDs that
described on pages 49-50. are posted to villages that have been provided with a TV and DVD player operated by
NGO field staff and managed by local farmers. DVDs are also exchanged among
There is more information on ZIZO in general in Van Mele (2006), Van Mele et al. farmers in the same village, and via village cable networks that are usually managed
(2007, 2009a) and Zossou et al. (2009) and on the WARDA project at by a part-time farmer. Some Digital Green videos are also available on YouTube. There
http://www.warda.org/warda/p3-rurallearning.asp. is more on Digital Green at http://www.digitalgreen.org/ and on pages 40-41. 
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VIDEO IN DEVELOPMENT PART 1
Filming for Rural Change A typology of the uses of video in development
VIDEO FOR THE EXCHANGE OF EXPERIENCES AND REFLECTION
Video can be used to facilitate the sharing of knowledge and experiences relevant for development. This
exchange can occur among people in the same community, or among different communities, farmer
organisations and other development agencies working in the same field, in order to highlight a
particular experience, suggest alternative ways to improve a certain activity and/or stimulate research on
solutions to particular problems. These videos are often in the form of a documentary consisting of
interviews and testimonies of people involved in a particular project or activity.
A central aim of video for the exchange of experiences and reflection is to document and screen
real stories in order to help those who are involved in similar situations to see that there are other
BOX 15:  VIDEO FOR THE EXCHANGE OF EXPERIENCES AND REFLECTION: SHARING ways of meeting challenges and solving problems, as well as to question and reflect upon their own
FILMED STORIES VIA MOBILE PHONES experiences. 
The International Farmers’ Conference organised by the International Center for These videos can play the role of a mirror, helping not only to look back at experiences, but also to
Agricultural Research in the Dry Areas (ICARDA) in Syria in 2008 brought together more
than 50 farmers and researchers from nine countries. It was one of six pilot projects in anticipate future situations and thus create greater preparedness among the viewers.
the Consultative Group on International Agricultural Research (CGIAR) ICT-KM
programme’s ‘Knowledge Sharing in Research’ project, and built on the experience and
established network of ICARDA’s Participatory Plant Breeding Program. The conference
sought to share and document farmers’ knowledge and highlight the value of this BOX 16:  VIDEO FOR THE EXCHANGE OF EXPERIENCES AND REFLECTION:
knowledge for scientists involved in plant breeding. EMBEDDED FILMING FOR SOCIAL CHANGE 
Storytelling was chosen as the key method to be used in the conference, and this Between 2002 and 2007, Loes Witteveen and others produced a series of five films
proved to be an effective way to facilitate the sharing of knowledge for farmers (both on HIV/AIDS and rural development professionals in Africa and Asia, using an
men and women). To document this knowledge, the ICARDA project team produced ‘embedded’ approach. ‘Embedded filming’ involves participation in the production phase
1-minute videos of the farmers’ stories for dissemination via the conference by combining action research with a learning process. The film crew, facilitators and
participants’ mobile phones. A survey undertaken before the conference had participants form an integrated whole. 
shown that mobile phone access far outweigh internet access among farmers, 
although women and the elderly rarely have their own phones. Together with more The end-products of this process – the films – aim to provide strategic and informative
traditional forms of printed materials, the video stories were circulated at the learning tools for development professionals and their institutions by visualising the
conference and made available for easy download from the conference website impact of HIV/AIDS on the livelihoods of end-users. This is done mainly by portraying
(www.icarda.org/farmersconference) in a format suitable for most mobile phones. This the links between HIV/AIDS issues and rural development professionalism and by
helped to give participants control over the distribution of the stories. A special video showing the perspective of rural development professionals on HIV/AIDS and the
was developed to explain visually to the farmers how to share the short video clips via effects of this disease on their work. The films present stakeholder opinions, current
mobile phone with friends and neighbours. debates and social learning processes.
The evaluation of the conference showed that the farmers’ limited internet access and Source: Witteveen and Lie (2009)
broadband connection was the weak link in the mobile phone-based strategy for
distributing the videos. It also showed that gender and age need to be given particular
attention when using ICTs to involve farmers in the research process. As a follow-up,
the ICARDA team is exploring funding possibilities for bringing 20 farming communities
online, and a second conference is planned to try out new methods of knowledge Why use video for the exchange of experiences and reflection?
sharing and the use of ICTs. 
There is more information on the ICARDA conference at Video can give a story or testimony more incisiveness and impact. It records not only the words, but also
http://ictkm.wordpress.com/2008/05/26/farmers-conference-on-participatory-plant- the expressions and the emphases that people use when speaking about their experiences.
breeding/.
Source: Alessandra Galié, Bernhard Hack, Nadia Manning-Thomas, Another reason for using video to capture people’s stories is that it can also capture the entire context of
Andrea Pape-Christiansen, Stefania Grando and Salvatore Ceccarelli the story, the environment in which the experience being shared occurred.
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VIDEO IN DEVELOPMENT PART 1
Filming for Rural Change A typology of the uses of video in development
as a summary of the descriptive text and extracts from this text, translated if appropriate into the 
BOX 17:  VIDEO FOR THE EXCHANGE OF EXPERIENCES AND REFLECTION:
IRAM, CUBA local language. 
In 2005 a 3-week study trip was arranged for a delegation of Cuban farmers’ If this is not possible, the facilitator will need to work with video sequences, and then screen the whole
representatives, trainers and technicians to look at various aspects of agriculture in video again or just those sequences that need further discussion. The facilitator could compare what is
France and Spain (e.g., farmer associations, land management, and co-operatives). The
trip was organised by the Catholic Committee against Hunger and for Development being screened to similar cases that are well known or that the participants have experienced.
(CCFD), the Group of Research and Technology Exchange (GRET), the Institute of
Research and Application of Development Methods (IRAM) and a Caribbean NGO called
ARECA.
BOX 18:  VIDEO FOR THE EXCHANGE OF EXPERIENCES AND REFLECTION: STUDY
A video of the trip provided a record of the field visits, conferences and working VISIT ON MARKETING AND COMMODITY TRADE
sessions, and short clips from videos of similar previous visits were used to 
stimulate group thinking. At the end of the trip, the participants were asked to In 2008 a group of policy-makers, private operators, practitioners and researchers
define the form and content of an audiovisual report. This contributed to the from West and Central Africa visited South Africa and Tanzania to learn more about
production, 2 months later, of nine educational videos in Spanish, running for a time agricultural marketing and commodity trading in those countries, specifically the
of about 2 hours in total. challenges inherent in warehouse receipt systems and commodity exchange. 
The value of this participatory approach to making the videos was that it The visit was organised by the Technical Centre for Agricultural and Rural Cooperation
capitalised on the experiences of the participants and on their perceptions of the (CTA) in collaboration with Agence Française de Développement (AFD) and the UK’s
themes that they were dealing with, well beyond simple descriptions. The production Natural Resources Institute (NRI) in response to the need to set up systems that would
of the videos took account of the means that were available for disseminating improve the functioning of agricultural markets in Africa and, ultimately, improve food
information in Cuba. Through the mobile workshop and the videos that emerged from security.
this workshop, the number of people benefiting from the trip was considerably
increased. A video was produced of the visit to raise awareness among policy-makers and
practitioners of the benefits of these systems and what was needed to put the
There is an extract from the videos at http://www.e-sud.fr/Diag_video4.htm. systems in place. It was used by the study visit participants in debriefing sessions 
they organised in their home countries and to disseminate information gathered 
Source: Colin and Petit (2008) from the trip.
The video is available in both English and French on CTA’s video portal at
http://video.cta.int/topics.html.
How to use video for the exchange of experiences and reflection
Video for the exchange of experiences and reflection is often used during facilitation sessions, where a Key considerations for creating effective videos for the exchange of experiences and reflection are:
facilitator seeks to generate viewer discussion on a video and to help the viewers reflect on it. Along with
the video, a printed text describing the video is sometimes produced to help viewers gain a better • they should assist in generating questions and
understanding of the video message and content. encouraging discussions on issues of interest to the
viewers, but they are not intended to provide all the
Using video in this way can include a combination of facilitation approaches. Before the meeting, the answers to the questions that may arise as a result of
facilitator can select extracts from the video and/or from the descriptive printed text, translating the watching them
text if appropriate into the local language. The facilitator can then screen the whole video, and
encourage interaction among the viewers in terms of describing reactions, giving feedback, going • the facilitator should encourage viewers to discuss
back to points raised during discussions and seeking solutions to viewers’ situations inspired by what issues not necessarily covered in the video but 
has been portrayed by the video. pertinent to the video subject. Whoever the viewers are
– technicians, extension workers, researchers, farmers –
During this facilitation session, the viewers should be encouraged to express their views and opinions they will have different expectations and different
and the facilitator should help them to participate, debate, put ideas and suggestions forward, perceptions of reality, based on experiences, so they 
recount experiences they have had that are related to the subject of the video, and so on. If the are likely to react differently to the video and to any
viewers are literate, the facilitator could allocate time for them to read some pre-selected texts, such information they consider it might lack.
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VIDEO IN DEVELOPMENT PART 1
Filming for Rural Change A typology of the uses of video in development
Video for reporting and data collection BOX 20:  VIDEO FOR REPORTING: PARTICIPATORY VIDEO FOR MONITORING AND
EVALUATION 
In this section we focus on using video for reporting (e.g., to replace or accompany written reports), The agency Insight believes that video lends itself well to participatory monitoring and
research (e.g., collecting data for monitoring and evaluation purposes) and documentation (e.g., oral evaluation (M&E), enabling communities to capture and interpret stories of significant
change. 
history projects and video letters).
The Insight approach involves community members using video to document innovations
Film footage captures reality and can be used as a visual report, as data for analysis and as a record of and ideas and/or to focus on issues that affect their environment. The participants
activities. Common uses of video in development work include qualitative research, action research, attend participatory video workshops where they review what they and others have
monitoring and evaluation, reporting to donors, visual reporting, oral history and video letters. filmed. The videos are then screened in the village in the evenings, ensuring that
members of the wider community are involved in the process. This local viewing of the
material as the project progresses lies at the heart of the participatory video process.
Video can be used for primary data collection as well as for secondary data analysis. When the purpose It achieves several positive outcomes – it opens up local communication channels,
of filming is mainly for registration, this is called primary data collection. When the edited film is promotes dialogue and discussion, and sets in motion a dynamic exchange of ideas on
analysed, this is called secondary data analysis, in that the reality that has been filmed has now been ways to solve problems. It can also help to gauge trends, thereby contributing to
building consensus within the community. As such, it is a useful M&E tool. 
interpreted and translated into a film. The film-maker has selected from the original film what footage to
use and how to present it, and thus what is screened is not reality but an interpreted reality. It could also be argued that M&E is an integral part of the participatory video
approach itself, which is an ongoing activity, moving progressively from action to
In visual anthropological research this kind of reporting and data collection is common (for more on analysis. In fact, Insight uses participatory video for monitoring and evaluating many 
of its own participatory video projects.
this, see Ratcliff, 2004). The video is a way of providing exposure and feedback. It can be in the form of 
a stand-alone film (a documentary) or a multimedia document (published on a website), and is used Source: Lunch (2006a)
mainly by organisations rather than individuals (e.g., a film commissioned by a donor organisation).
Why use video for reporting? reports. And they might find it particularly appealing if it is 
a personalised and visually contextualised report.
Video offers an alternative or supplementary form of reporting. The material it contains will differ 
from that in printed or audio media. It has more power to capture the attention of an audience than Increasingly, video-based reports are being produced by a
other modes of reporting and it allows the possibility of playback. Donors often find it an appealing way wide range of organisations as a way of reporting on their
to receive reports, as it allows a lot of information to be presented more quickly than other types of work, particularly for project monitoring and evaluation
purposes. An example is given in Box 20 of how Insight uses
video for participatory monitoring and evaluation.
BOX 19:  VIDEO FOR REPORTING: ‘BUILDING AGAINST THE TIDES’, CAMBODIA There are also examples of how Knowledge Networking
The film ‘Building against the Tides’ (‘Construire contre les marées’), directed by Eric for Rural Asia/Pacific (ENRAP) uses video for
Mounier, is a video-based evaluation of the Prey Nup project in Cambodia. monitoring and evaluation in Sri Lanka and Laos at
http://www.youtube.com/watch?v=EZFteanvs8k. 
After more than 20 years of conflict, Cambodia entered a reconstruction period in the
mid-1990s. Agence Française de Développement (AFD), working with two French NGOs,
Handicap International and Groupe de recherche et d’échanges technologiques (GRET),
launched the Prey Nup project, which lasted 10 years. The video-based evaluation
reports on the project’s work during that decade: rehabilitating an irrigated area, Why use video for data collection?
building communities and making institutional changes. It analyses AFD’s actions and
their social, economic and political impact. Students and researchers, especially those who use qualitative research techniques, are increasingly
This was the first time that AFD had used video-based evaluation and it led to using a camera to collect data. Many of them combine it with other qualitative data-collection
discussions as to how audiovisual tools could contribute to the evaluation process. techniques, such as in-depth interviewing and participant observation. Video can be used for recording
There is more information on the project at focus group discussions and interviews, and for the registration of all kinds of events, a type of ‘visual
http://www.afd.fr/jahia/Jahia/site/afd/lang/en/pid/17201. note-taking’ (Pink, 2007). 
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© L. Witteveen
VIDEO IN DEVELOPMENT PART 1
Filming for Rural Change A typology of the uses of video in development
BOX 21:  VIDEO FOR DATA COLLECTION: QUALITATIVE RESEARCH How to use video for reporting or data collection
In a study of the development of egocentrism in children and changes in their Video can be used as a stand-alone reporting or data-collection technique, but it can also be
perspectives, Billmann-Mahecha (1990) used video-taping as a method of collecting
data in an everyday context. After an initial period of participant observation to incorporated into a project design and used as an instrument for feedback and/or for encouraging 
become acquainted with the family, she returned and video-taped a couple of hours of end-user participation (e.g., stimulating conversation in focus group discussions).
an afternoon in the family’s life and the children at play. Then she sampled appropriate
episodes from the video material, transcribed them, and made her own interpretation
of them. 
BOX 23:  VIDEO FOR PARTICIPATORY DIAGNOSIS: IRAM, MALI
The next step was to show these episodes to the parents and to interview them.
These interviews were also transcribed and interpreted. Both perspectives (the In 2006, the Office du Niger, a Malian rice production agency, sponsored a project to
researcher’s interpretation of the video episodes and the interpretation of the parents’ identify water management problems. The challenge was to use participatory methods
answers) were triangulated on the level of the single case. The episodes were then that would capture the interest of farmers and field workers. Initially, eight themed
analysed at both levels in order to develop a typology of practices and statements of videos (on irrigation, drainage, canal maintenance, etc.) were made, consisting mainly
the children in the different episodes. of interviews with local figures. The videos were in Bambara, with French subtitles, and
Source: Flick (2002) each one included a short introductory teaching module, including maps and video
animations, giving viewers the minimum necessary information to enable them diagose
the problem presented in the video. 
The core of this exercise was the organisation of public debates for representatives of
But video can also be used in a reflexive way, with the recorded data going back into the research or key stakeholder groups, structured around the screening of videos to begin the
data-collection process or otherwise incorporated in the research design. Box 21, although on a topic dialogue. These meetings were filmed. They had several aims: (i) to look at the initial
not directly related to rural development, illustrates the potential of video for data collection very well. diagnosis, to ensure the correspondence between its content and the views of
participants, and make adjustments if necessary (excerpts from the debate were
integrated retrospectively in the sequences); (ii) to provide a mutual listening space in
Extension workers also use video specifically for data collection (e.g., for plant disease diagnosis or for a sometimes confrontational context, (iii) to facilitate revisiting perceptions of the
assessing technical processes). situation and (iv) to stimulate collective reflection on the basis of the dialogue set in
the videos, to identify points of agreement and disagreement, and to put forward
possible solutions. 
Video is an interesting tool for data collection because it comes close to capturing reality as it unfolds. It
allows re-watching and the possibility of feeding filmed material into a diagnostic process, as illustrated The major advantage of this participatory diagnosis approach was that it gave
participants several ways of participating in the analysis of the local situation (surveys,
in Box 23. As early as 1963 the world-renowned anthropologist Margaret Mead was promoting the use interviews, debates) and a clear display of their contributions to the final diagnosis.
of cameras in social research. Although she was referring to photo cameras, the benefits also apply to The liberation from the constraints of written communication, as well as working in the
film. Both media allow detailed recordings of facts as well as a more comprehensive presentation of local language, also enabled many illiterate people to contribute effectively. Some 400
lifestyles and conditions. They capture facts and processes that are too fast or too complex for the VCD copies were produced and widely distributed in the villages in the area. Extracts
from the videos can be seen at http://www.e-sud.fr/Diag_video2.htm and 
human eye to see or to be described succinctly in words. They also allow non-reactive recordings of http://www.e-sud.fr/Diag_video3.htm.
events and situations, and are less selective than observations (Flick, 2002).
Source: Colin and Petit (2008)
BOX 22:  VIDEO FOR DATA COLLECTION: A WINNING FARMER-RESEARCHER- A key consideration for creating effective videos for reporting and data collection is:
EXTENSION WORKER PARTNERSHIP 
• when using video for feedback, ensure that clear quantitative and qualitative indicators have been
During a training session in Benin in 2007 on how to compile worksheets for extension
activities, the Technical Centre for Agricultural and Rural Cooperation (CTA) made a incorporated into the project plan and/or the monitoring and evaluation plan. Without these
video on capitalising agricultural knowledge. The key stakeholders in this process were indicators, the impact of video in a change process might be lost.
the farmers, the researchers and the extension workers. The first step involved
identifying what the farmers already knew and then what their information needs were.
This was subsequently be used to nurture local knowledge, and develop it further.
As noted in the Introduction,  the typology presented here serves as a framework, and is put forward
The video can be seen at
http://video.google.com/videoplay?docid=8201890330117826372. only as one possible way of classifying the diverse uses of video in development. We now present, in 
Part 2, some guidelines for using video in development, based on experiences and the literature. 
30 31
PART 2
Guidelines for the uses of video in development
PART 2
Guidelines for the uses
of video in development
Video has the potential to support processes of change in rural areas. It is appealing to many people and
is adaptable to many situations. 
When using video in development activities, it is important to have clear objectives of what you want to
achieve by integrating it into these activities. For example, is the camera being used to produce a distinct
visual result, or is it there to assist the development processes in a community? In order words, is the
goal a product or a process? Each goal requires a different approach.
The potential of stakeholder participation when using video in development activities is clear, although
the form and intensity of that participation may vary. At each stage of a project, from its design to the
production and use of the video, different levels of stakeholder participation are possible. When choosing
your approach, it is therefore important to bear in mind the cycle of design, production and use.
Designing video interventions 
Designing a video intervention requires at the outset, as noted earlier, a decision on whether the goal is
a product or a process. This guides your selection of approaches on how to use the video in practice.
Ideally, the work with the video is to support the overall project aims, rather than being a stand-alone
activity. Usually, a video intervention is part of a project’s communication strategy or of a participatory
rural appraisal (PRA) process and is thus embedded in these. How video should be integrated in an
intervention strategy is the domain of a development communication specialist. In development work,
filming is seldom a discrete activity, but rather part of a strategy to attain the over-arching goals.
In designing a video intervention, you need to ask a few questions:
• Is the use of video appropriate to the cultural environment in which the development activity is
taking place? 
• What value is added by using video? Are there any better means that might achieve the same
purpose?
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VIDEO IN DEVELOPMENT PART 2
Filming for Rural Change Guidelines for the uses of video in development
The community that is to be the focus of the video should be included in designing the video PARTICIPATORY VIDEO
intervention. For videos on agriculture and rural development, a comparably high level of inclusion is
indispensable (e.g., farmers must be able to identify with what is being portrayed). This inclusion Participatory video refers to a particular way of using the camera that emphasises the participatory
should start early in the process, from participatory planning and script-writing, and there should be an character of a video activity. The filming is used as way of identifying and discussing central issues in a
easy-flowing feedback system throughout the whole process. It is also essential to keep the working community and the underlying social processes. The video films produced are shared with the
process transparent and open, to ensure that the objectives of the intervention accord with the community, thus initiating community-led learning. Participatory video is a very effective means of
expectations of all those involved. advocating social processes and can help co-ordinate community action. Quality and outreach with this
video approach, however, are less important, and scaling up is therefore not a priority. Participatory
video is more about team activity than creating a product. To increase the impact of the participatory
Producing videos video process, it should be well embedded in the overall communication strategy. 
There are almost no limits on how to use video in development activities. Usually, the decision on A good example of the use of participatory video is the work done by Insight  (see page 58).
project design and the level and type of participation determine which method is best. A mixture of
methods, which is often characteristic of integrated programmes, seems to have the greatest impact on
communities, but this approach requires the most effort. KNOWLEDGE SHARING
The main methods relevant for a video intervention are given in Table 2. They can be regarded as Video is a useful means of sharing knowledge with farmers, scientists, extension workers, agricultural
interchangeable, depending on local conditions and the project goals. journalists and other rural development professionals. Occasionally, videos intended for sharing
knowledge can be very technical, but in some instances this is necessary in order to emphasise the
principles underlying a good agricultural practice. Videos should point out the why as well as the how
of a particular practice. 
TABLE 2:  VIDEO PRODUCTION METHODS
The main challenge in producing a video for knowledge sharing is to find a good balance between
Training Participatory Knowledge Research Quality Minimal different kinds of knowledge and levels of comprehension. There are excellent films that convey
video sharing video video complex advice for farmers in an appropriate manner – and there are also many failures. Time, patience,
experience and different types of professionalism are required for appropriate and effective knowledge
sharing. Some sort of facilitation is needed here because only a wide participatory process will produce
INTEGRATED PROGRAMMES a comprehensible product for farmers. 
Good examples are the videos produced by WARDA  (see page 58), the Global Plant Clinic (GPC, see
Box 5) and Digital Green (see page 57). 
TRAINING
When farmers or other non-professional film-makers produce a video, this activity is generally RESEARCH
recognised as participatory video. Apart from being participatory, before pushing the record button
film-making aspirants attend training seminars on production techniques, with good facilitation, so that Video is also used in research activities. The camera can be used to gather information through, for
filming will be more than just an individual experience. Regular and competent training provides example, interviews or filming particular cultivation practices. It can also be used for reflexive research
guidance for the whole process of producing a video and builds the capacity to produce a complete film. (e.g., filming farmers explaining a practice in its context, while other farmers comment on it). The
This type of learning needs to avoid the use of high-end audiovisual technologies that participants might reflexive research approach was used by the RIPS projects to gather information on indigenous fishing
find difficult to access in the long term, which could invalidate the training. practices in Tanzania (see pages 46-47). The use of video for research is often part of other forms of
video-making. 
Good examples of training in participatory video are Farmer Led Documentation
(http://www.prolinnova.net/fld.php), the CESPA project (see Box 2) and Countrywise Good examples of using video for research purposes are embedded filming (see Box 16), the VPA
Communications (see page 57). strategy (see Box 8) and CTA activities (see page 57).
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VIDEO IN DEVELOPMENT PART 2
Filming for Rural Change Guidelines for the uses of video in development
QUALITY VIDEO INTEGRATED PROGRAMME
Some video activities are clearly product driven, in that the producers strive for the highest quality film With this approach, video production is seen as part of the overall interaction with stakeholders. The
as an end-product. This is particularly important when public relations (PR) is involved. Whatever the term ‘integrated’ here means that many aspects of the local community are taken into account and the
project is, the outcome of the video activity should be a professional film. video production makes use of a combination of methods. Often, many films are produced, not just one. 
A video produced as part of an awareness campaign, with the intention to broadcast it on national Using the integrated approach, videos can fulfill important functions in a project by facilitating problem
television networks, needs to be of broadcast quality. This requires a film crew of local and/or external awareness and decision-making processes. One of the main objectives of producing video in this way
professionals. Inevitably, this means comparably high production costs. The result could be is to reach consensus, foster behaviour change in the community and reach entire communities.
a stand-alone film, with loose links to the main focus of a project but appropriate for universal use. Integrated programmes, however, are usually used for long-term projects which seek a high level of
participation during the complete cycle of design, production and use. 
Good examples are the awareness-raising videos on global warming (Al Gore’s ‘An  Inconvenient Truth’
and the Oxfam video clips, see page 7) and on coffee production (‘Black Gold’, see Box 3). Video may be used in an open-ended way, and for repeated public screening and discussions
(as described in the iterative feedback cycle, page 38). The integrated approach also lends itself to links
with other relevant media and learning agencies. 
MINIMAL VIDEO
Good examples include WARDA’s rice videos and translations which are embedded in many projects,
Digital video is a way of producing videos with a range of digital equipment, from real video cameras and extend beyond WARDA’s direct partners (see pages 49-50 and 58). Other examples are the Good
to webcams, photo cameras and mobile phones. Although this equipment, apart from real video Seed Initiative (GSI; http://www.cabi.org/datapage.asp?iDocID=1178),  CARENAS (see page 39-40)
cameras, does not produce high-quality footage and is done with minimal professionalism, the and the RIPS programme (see page 46-47).
results can be very effective and can lead to a subsequent intervention with better equipment. 
Editing is done on a computer, on the display unit itself or not at all. With their low-fidelity quality, 
these films are particularly suited for screening on the internet and for training seminars, Sharing and using videos
PowerPoint presentations and CD-ROMs. They are very useful for networking and for speeding 
up internal communication processes. Although the minimal professionalism involved limits their Sharing a video with others does not necessarily happen
outreach potential, they provide an interesting way for pre-testing ideas for interventions and extension only with a finalised piece. In most cases, sharing and
materials. using the film starts during the production process in
the form of preview sessions to test comprehensibility.
The reason for filming with minimal means is to provide ad hoc solutions. That is partly why it is Group screenings, especially in participatory video
difficult to find striking examples apart from personal communication. Because of their low quality, projects and integrated programmes, play a central role
these video pieces are seldom shared with a large audience. Some examples are given  in Box 15 . in supporting social change. Public screenings enable
large groups to be involved in the process, but need
ample manpower to be effective. As noted earlier under
‘How to use video for the exchange of experiences and
reflection’, the facilitator plays a key role at these
screenings. Linking with other media (e.g., newspapers,
radio or the internet) might also be part of the plan.
Video footage is regularly shown to the video volunteers, often in the evening after filming. In some
projects, these simple screenings comprise the whole output. Such films might also become available 
on YouTube, even if they are of low quality. Where the aim is to produce a quality film, preliminary
screenings are also used to test the footage quality. 
In order to share the video effectively, however, it needs to be comprehensible and attractive. 
36 37
© ICARDA
© FAO – A.K. Kimoto
VIDEO IN DEVELOPMENT PART 3
Filming for Rural Change Examples of video projects
ITERATIVE FEEDBACK CYCLE
Used in various video intervention designs, iterative feedback needs careful planning .There is a good
example in the documents on the RIPS project in Tanzania (see pages 46-47): “In the evenings, the
tapes recorded during the day were played back on the beach using a TV monitor and a generator. The PART 3
shows were public, and every evening almost the entire population of the host village gathered to review
the many hours of video… Through virtue of the transparency of the workshop, the direct participants
gradually attained a status as representatives for the interests of the whole village population… The
audience gave feedback during the show in form of remarks and comments or just by applauding or Examples of video
booing. The following morning the participants would improve their arguments, clarify them, find new
ways of explaining and present them in a better way.” projects
PUBLIC SCREENING
For some video activities in development projects, public screening is the main goal. It is a way to reach
many people at the same time, provide explanations and obtain immediate feedback. The organisation
of such events is fundamental to their success and needs detailed attention. The viewing process and 1 CARENAS, Bolivia
subsequent discussion is guided by the facilitator. Collaboration with partners is often a key element, as
is promotion of video and its intended purpose (e.g., raising awareness or changing behaviour). Once Project name: Información, Comunicación y Capacitación para en el manejo de los Recursos 
the film has been made and copies circulated, it is important to interact directly with all those involved in Naturales y la Agricultura Sostenible (CARENAS) 
the screenings, such as farmer organisations, local authorities and government departments. Place: Departamento de Santa Cruz, Municipios de la Cuenca del río Piraí
Year: 2002–2007
There have been good experiences with cross-cultural screening sessions, where, for example, African Beneficiaries: Farming communities
farmers watch fellow farmers in America or Asia.  Examples include WARDA’s approach to distributing Partners: FAO; Municipality of Santa Cruz; Autonomous University Gabriel René Moreno
and screening its rice videos (see pages 49-50) and the Global Plant Clinics (GPC; see Box 5). Funding: Government of Italy
DIGITAL CHANNELS
PROJECT DESCRIPTION 
Although public screening on the spot is probably the most common sharing practice, storing and The project was launched in Bolivia in 2002 to strengthen rural communication for promoting
publishing the video are also important. Digital storage is now the best way of doing this because it suits sustainable natural resources management and rural development in an area comprising 
many technical platforms. This flexibility enables digital video to migrate between mobile  telephones, 11 municipalities. The CARENAS centre was established to provide information and training on 
the internet, portable computers, television, radio and other the conservation and sustainable use of natural resources, including participatory watershed
media, making it increasingly appropriate for rural areas. management.
It might be difficult for people in rural areas to access the VIDEO OBJECTIVE 
internet, but many of them are far closer now to global Videos were used to train farmers in appropriate techniques for natural resources management and
media streams, not least via mobile phones. Often, it is just sustainable agriculture, including repairing ditches using net and vegetable covers, recycling organic
the information that certain videos are available that waste, and building compost latrines. 
motivates rural people to organise access to them, particularly
if they themselves have been involved in producing the VIDEO PRODUCTION METHOD 
video; farmers relate easily to other farmers as they share Following the Pedagogía Audiovisual approach (see Box 9), videos were produced as part of multimedia
many challenges and values. Video might soon be adaptable training packages; each package contained a series of videos as well as printed guides for trainers and
to their local communication forms and thus become a booklets for farmers. The videos and printed materials were produced by local audiovisual specialists
powerful tool for mutual and cross-cultural learning. trained by FAO in communication methods and production techniques at field level. 
38 39
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The package contents were determined through participatory processes involving extension workers VIDEO OBJECTIVE 
and farmer communities, with a view to recovering, conserving and reproducing traditional farmer Digital video  is being used to improve the efficiency of extension programmes by delivering targeted
knowledge and integrating it with current technical knowledge. Draft videos were produced and content to a wider audience and enabling farmers to better manage their farming operations with
validated through focus group discussions, interviews and farmer-extension worker meetings. reduced field support. These so-called ‘instructional videos’ are recordings of demonstrations made
They were then shown to the communities and, after participatory evaluation, the final version was when an extension worker is showing a farmer a new technique. 
produced. 
VIDEO PRODUCTION METHOD 
VIDEO SHARING AND USE The video content is produced partly by university scientists, NGO experts, field staff, progressive
Training audiovisual trainers: Through 1-week training sessions, audiovisual trainers were trained in farmers and other volunteers from the local community, but most of it is produced by extension 
how to use video and to facilitate a farmer training session. workers who are carrying out their regular duties (e.g., field assessments and demonstrations), 
capturing their interactions with farmers on a camcorder. The extension workers produce one or 
Farmer training sessions: The videos were screened at community level, as part of 3-4 day farmer two clippings per field visit. Local farmers are often included in the videos, as it is known that 
training sessions which included using the farmer booklets, doing practical work and holding other farmers are more likely to adopt a practice that is being implemented by neighbouring 
discussions. The aim was to enable participants to ensure that technical and scientific facts were farmers. In addition, the potential to appear in a video is an incentive in itself for farmers to adopt 
conveyed in ways that would be easily understood by the rural family. The approach was based on the a practice. 
tenet at the core of audiovisual pedagogy: “What I hear, I forget. What I see, I remember. What I do,
I know.” Most video recordings involve an extension worker, a farmer and a content producer who doubles as the
camera operator, and the content usually has a set format: 
REFERENCES 1 A brief narrative of the entire process
2 Itemisation of the required resources and associated costs
For more information: 3 Step-by-step instructions in the field, usually with the farmer and sometimes also the extension
• http://www.comminit.com/es/node/44420 worker actually implementing the technique
• http://www.fao.org/tc/tcdm/italy/op_bol034_en.asp?lang=en 4 A showcase of the uses and benefits 
• FAO (2007) 5 Interactions with farmers to address common questions and concerns
The videos are about 10 minutes long. They are filmed with MiniDV camcorders, and tripods and
external microphones are used to improve video quality. The content recorded in the field is reviewed
by video editors to ensure clarity and relevance to a wider audience. Where content is missing, they send
2  Digital Green, India content producers back into the field to gather it. Titling and metadata are added for indexing in a
database, including tags for language and thematic category. The videos are then digitised on a PC and
Project name: Digital Green edited using simple non-linear editing software. 
Place: South-east Karnataka
Year: Ongoing (started in 2006) VIDEO SHARING AND USE 
Beneficiaries: Small-scale and marginal farmers • An online database has been created to allow farmers, extension workers and others to watch and use
Partners: Green Foundation NGO; Joint-Directorate for Livestock Extension, Karnataka the videos; high bandwidth internet connections are not necessary for participating in the project
Funding: Microsoft Research India because the video is also available on DVD 
PROJECT DESCRIPTION • Villages are provided with a TV and DVD player operated by NGO field staff and managed by local
Digital Green is an agricultural training and advising system that seeks to benefit rural farmers by farmers. As most villages lack a public place where farmers can regularly gather, the TV and DVD
disseminating targeted information through digital videos. Digital Green works with existing extension player are circulated to different parts of a village
systems and aims to amplify their effectiveness by capturing and distributing the widest selection of
content in the most targeted, practically oriented format videos. The project aims at creating a digital • Farmers in some villages take DVDs to show to their friends and family, and sometimes arrange
video database in order to facilitate the dissemination of that information. public screenings for their communities using their own TV and DVD players
40 41
VIDEO IN DEVELOPMENT PART 3
Filming for Rural Change Examples of video projects
• The videos are also screened on village cable networks, typically managed by a part-time farmer who VIDEO SHARING AND USE 
serves as the cable operator • Weekly broadcasts via a rural television programme called ‘Informe Rural’ 
• Monthly local screening during farmers’ group meetings
• They are also on YouTube and MSNvideo at http://it.youtube.com/watch?v=w8JqeNcW2yM and
http://video.msn.com/video.aspx?vid=6047a133-9f5f-4637-9d72-bed3d6d1cfc1
CONTACT AND REFERENCES 
CONTACT AND REFERENCES 
Contact: Ing Agr Alfredo Benito Coen, abcoen@sanluis.inta.gov.ar
Contact: dg_team@microsoft.com
For more information: 
For more information: • http://www.inta.gov.ar/profeder/info/documentos/cambio/video.pdf
• http://www.digitalgreen.org/ • Coen (2002)
• Gandhi et al. (2009)
3  Programa Cambio Rural, Argentina
4 Manyam Praja Video, India
Project name: Programa Cambio Rural
Place: Throughout the country Project name: Manyam Praja Video
Year: 1996–1997 Place: Andhra Pradesh
Beneficiaries: Small- and medium-scale agricultural entrepreneurs involved in the programme Year: Ongoing (started in 2006)
Partners: Instituto Nacional de Tecnología Agropecuaria (INTA) Beneficiaries: People living in an isolated rural area of Andhra Pradesh
Funding: Secretaría de Agricultura, Ganadería y Pesca, Government of Argentina Partners: Laya; Video Volunteers; Drishti
Funding: Laya
PROJECT DESCRIPTION 
The Programa Cambio Rural was launched in 1993 to help small- and medium-scale agricultural
entrepreneurs find alternative sources of income to improve their livelihoods, generate new sources of PROJECT DESCRIPTION 
employment and attain a better position in the market. In 1996 participatory video was used to promote Twelve Community Video Units (CVUs), promoted by Video Volunteers in partnership with local
a higher level of participation in the extension process provided by the programme, as well as to monitor NGOs, have been established in various locations in the Indian States of Andhra Pradesh, Gujarat,
how the programme was progressing. Maharashtra, Rajesthan and Uttaranchal.  The CVUs are local production companies, each run by up to
10 community members trained in video production and distribution. This empowers the community
to produce and distribute their own locally relevant videos and thus to lead and manage change.
VIDEO OBJECTIVE
Video was used as to move the extension process from a system based on the diffusion of information by
a central institution to a system in which the beneficiaries (farmers) were the main players. It enabled One of the CVUs, Manyam Praja Video (‘Forest People’s Video’) aims at helping people in an isolated
them to pass their knowledge on to other farmers and to feel they owned the programme and could rural area of Andhra Pradesh to secure access to the land, water and forests to which they are legally
identify with its objectives. The farmers’ testimonies about their achievements and experiences with the entitled. The NGO that supports Manyam is Laya, working in 105 villages running programmes on
programme were useful sources of information for evaluating the programme. micro-credit, health, sustainable agriculture and legal aid. All the video producers are from the area,
some of them educated only to primary level and yet able to produce relevant and interesting video
VIDEO PRODUCTION METHOD content for their fellow villagers.
Farmers were involved both in the planning phase (where they helped define the message they wanted
to communicate and organised the filming schedule) and in the implementation phase. The videos VIDEO OBJECTIVE
consisted of a series of interviews with farmers giving testimonies about their experience with the The objective is to foster community-produced videos that empower communities to take action on
programme. The videos were filmed by INTA extension workers. critical issues relevant to development.
42 43
VIDEO IN DEVELOPMENT PART 3
Filming for Rural Change Examples of video projects
VIDEO PRODUCTION NOWEFOR devised a strategy to regulate the supply of ginger in the local market to meet estimated
The CVU team members are full-time, paid producers. Every 6 weeks each CVU makes a new local- local demand, with the quantities that could not be absorbed locally being transported to urban markets.
language ‘video magazine’ on a topic selected by local community editorial boards. 
VIDEO OBJECTIVE
VIDEO SHARING AND USE The main purpose of the video was to film NOWEFOR’s experience in the commercialisation of ginger
• Screening in villages on widescreen projectors. One member of the CVU team (often a woman) is a in Bafut, using the video as an information and facilitation tool for encouraging other farmer groups to
full-time distributor. Every month, the distributor travels to villages in the CVU area, spending a exploit the commercialisation of agricultural products.  
night in each one to screen the video, lead a discussion and instigate any follow-up action
VIDEO PRODUCTION METHOD
• Distribution of VCDs/DVDs to self-help groups and NGO networks The video was commissioned by Inter-Réseaux, with SAILD working with NOWEFOR. SAILD
recruited a professional film-making crew and editors, and the three organisations agreed on the video
• CVUs network website, Channel 19 (www.ch19.org),  an independent online network for objectives, the length and quality, the shooting and editing  schedule, and the way the video would be
distributing, promoting and supporting community-produced media in India. It showcases the work used.  The video script was written by Inter-Réseaux and SAILD, and reviewed by farmer leaders. The
of CVUs in various locations in India, allowing the producers to reach out beyond their communities technicians selected the farmers to feature in the film, and the locations and timing for the filming. The
to the rest of the country and beyond farmer leaders were responsible for contacting the traditional and local authorities to feature in the film,
often a time-consuming process. 
REFERENCES 
The first version of the video was shown to Inter-Réseaux, SAILD, NOWEFOR and farmer leaders.
For more information: Improvements were proposed, some scenes were shot again and others were dropped. The second
• http://www.ch19.org/?page_id=39 version, produced in French, was shown at a workshop in Bamako on producer organisations’
• http://www.ch19.org experiences in the commercialisation of agricultural products. The farmers attending the workshop,
• http://www.videovolunteers.org from a range of contexts, led the review of the video, after which the final version was produced, together
with a facilitator’s guide to the video and a written description of the Bafut experience. 
VIDEO SHARING AND USE
• The final version of the video was presented to members of the Bafut Union of Common Initiative
5 NOWEFOR, Cameroon Groups (BUFAG), after which the farmers featured in the video requested copies for use in their
home villages
Project name: NOWEFOR Commercialisation of Ginger in Bafut • Distribution of DVDs to local authorities
Place: Bafut
Year: 2006 • Exchange with other farmer organisations and partners
Beneficiaries: Farmers, development workers and donors
Partners: North West Farmers’ Organisation (NOWEFOR); Support Service for Grassroots Initiatives • Broadcasting through the Cameroon National Television (CNTV) 
of Development (SAILD) • On the Inter-Réseaux website: http://www.inter-reseaux.org/rubrique.php3?id_rubrique=646
Funding: CTA; Inter-Réseaux
• On YouTube: http://www.youtube.com/watch?v=i2yKL-dRUNo
PROJECT DESCRIPTION 
NOWEFOR is a federation of farmer groups in Cameroon that promotes the development of profitable CONTACT AND REFERENCES 
production sectors as a means of improving the livelihoods of its members. One of the communities
with which NOWEFOR collaborates is Bafut where the community members receive technical training Contact: Aurelian Mbzibain, Nowefor, bedevconsult2@yahoo.com
and credits to start up or expand ginger production. 
For more information: 
In 2003 there was a fall in the price of ginger in the local market due to over-supply and a small cartel of • http://www.inter-reseaux.org/IMG/pdf/Guide_video_Nowefor_Cameroun.pdf
buyers who were taking advantage of this to reduce prices. In order to increase producers’ income, • Mbzibain (2007)
44 45
VIDEO IN DEVELOPMENT PART 3
Filming for Rural Change Examples of video projects
6 RIPS Coastal Livelihoods, Tanzania into the film as they went. Finally, they met Government authorities in Dar Es Salaam and showed the
video to the Prime Minister. The meeting with the Prime Minister was recorded and the footage
Project name: Coastal Livelihoods added to the film, and the final version was screened in the villages. Thus, as noted in the project
Place: Mtwara and Lindi Regions documentation, “an interactive communication loop was established between micro and macro levels.”  
Year: 1996–1997
Beneficiaries: Mtwara and Lindi fisherfolk communities VIDEO SHARING AND USE
Partners: Rural Integrated Project Support (RIPS); Government of Tanzania The videos were used to communicate the outcome of various participatory assessments and processes
Funding: Finnish Government at all stages of the project. As the aim was to communicate the points of view of all stakeholders and
facilitate interaction among them, the recordings of each meeting were played back to people involved
PROJECT DESCRIPTION in the dialogue. The final product was a video entitled ‘Utuambie Wananchi’, which was a short report
The RIPS programme was a Finnish initiative for integrated rural development in Tanzania. An on the whole process. 
important element of the programme was to give village people a voice and access to information.
Several projects were implemented in the Mtwara and Lindi Regions and in some cases video was used
in the participatory planning of the projects. REFERENCES 
One of the projects sought to end dynamite fishing, which a few fisherfolk had started practising. The For more information: 
explosions killed marine life, damaged the coral reefs, hastened the disappearance of many larger fish • Project documentation at: http://www.lindi-mtwara-regions.com/eng/rips/p_body.html
species and seriously affected the livelihoods of many fishing communities. Corruption at official levels • Gumucio-Dagron (2001) 
prevented the problem being tackled. Through RIPS, video was used to link the fishing communities, • Johansson and de Waal (1997)
evaluate the situation, encourage mediation and discussion, and find solutions. Among the outcomes • Masaiganam (2000)
were the intervention of the Navy to stop dynamite fishing, the creation of a savings and loan scheme for
fisherfolk, the construction of fishmarkets, and the strengthening fishing community organisations.
Dynamite fishing had stopped by 1997.
VIDEO OBJECTIVE
Video was used as a tool for self-assessment and evaluation, for strengthening local organisations and for 7 Siella Mineral Lick, Ghana
giving the fishing communities a voice. The communities made their own videos to help them and their
neighbours understand and find solutions to common problems. Project name: Siella Mineral Lick
VIDEO PRODUCTION METHOD Place: Wapuli and Chegbani, in the Saboba-Chereponi district
As noted in the project documentation, participatory video was conceived as a “scriptless production Year: 2004
process, directed by a group of grassroots people, moving forward in iterative cycles of shooting-reviewing”. Beneficiaries: Livestock farmers
This process aimed at creating video narratives that would communicate exactly what the participants in Partners: Association of Church Development Projects (ACDEP); Dorcas Foundation; CSIR-Animal
the process wanted to communicate, in a way they thought appropriate. Research Institute Station
Funding: PROmoting Local INNOVAtion (PROLINNOVA)
A 5-day evaluation workshop was organised involving fisherfolk from Lindi. During the meeting a
camcorder and a microphone with a long extension cable were placed in the centre; notebooks were PROJECT DESCRIPTION 
banned and participants were asked only to do things that could be captured on video. The recording In order to improve the feeding management of livestock in Ghana, PROLINNOVA’s extension
was then played back to the village community in the evening, so that the workshop participants could workers sought to promote wider use of Siella, a clay-like material licked by domestic animals and
see how they could control the process and have a clearer idea of what could be communicated on wildlife in lowland valley areas. It was well known by farmers in northern Ghana, but many of them did
video. Villagers started volunteering to talk freely in front of the camera and expressed their concerns on not consider it worth collecting it for their animals, because they thought it might lose some of its
the issue of dynamite fishing. quality. Collaboration with extension workers encouraged some farmers in the Saboba-Chereponi
District to start gathering the material and bringing it home for their livestock; others started making
The first version of the video was edited, with the support of a facilitator, by six workshop participants mineral lick-blocks by adding oyster shell, salt and a binder. In 2004 a participatory video activity was
who then screened it in 40 villages along the coast, recording additional material and incorporating it planned to enable these innovative farmers to share their findings with others. 
46 47
VIDEO IN DEVELOPMENT PART 3
Filming for Rural Change Examples of video projects
VIDEO OBJECTIVE VIDEO PRODUCTION METHOD
Through the videos, farmers could tell their story and share their experiences with a larger group of Members of two of the VFAs were trained to communicate how to set up a VFA and what the
farmers. challenges and benefits were of these associations. More than 40 people had the opportunity to use the
camera and be directly involved in the process. This encouraged many of them to plan and shoot their
VIDEO PRODUCTION METHOD own short training films, depicting tools and practices they had developed. 
Two farmer groups, one for each community, were trained in participatory video and then made their
own films, taking a lead role in the documentation process. During team-facilitated planning sessions, VIDEO SHARING AND USE
they decided what to film, where, how and by whom. The product was evaluated by a group of farmers, • The video was screened for representatives from international donor agencies, embassies and local
who mapped out a schedule for playing back the edited film to the communities. organisations active in the agricultural sector. This included a screening for 30 guests at the British
Ambassador’s residence in Ashgabat, where there was a positive reaction, a lively discussion and
VIDEO SHARING AND USE pledges by several donor agencies to continue supporting the development of VFAs throughout the
The films from both communities were shown first in one community and then in the other, giving each country. The film was also shown to senior officials in the Turkmenistan Ministry of Agriculture,
community enough time to discuss the films in a participatory manner. who expressed their support for the continued spread of the VFA model.
• Screening in both the communities in which the video was filmed and in other villages.
CONTACT AND REFERENCES 
Contact: info@acdep.org CONTACT AND REFERENCES 
For more information: Contact: clunch@insightshare.org
• http://www.prolinnova.net/Downloadable_files/POSTER%20ON%20PV%20SIELLA%
202007%20V2.doc For more information: 
• http://www.insightshare.org/video_vfa_1.html
• Lunch (2004)
8 Voluntary Farmers Associations, Turkmenistan
Project name: Supporting Voluntary Farmers Associations 9 WARDA Rice Videos, Africa
Place: Throughout the country
Year: 2001–2003
Beneficiaries: Voluntary Farmers Associations set up by the EU Tacis Programme Project name: WARDA Rice Videos
Partners: Insight Place: Rice-growing areas, Africa
Funding: Government of United Kingdom, via the British Embassy in Ashgabat Year: Ongoing (started in 2005)
Beneficiaries: Rural service providers and rice farmers 
PROJECT DESCRIPTION Partners: Countrywise Communication; Farm Radio International; National Agricultural Research and
Between 2001 and 2003, five Voluntary Farmers Associations (VFAs) were set up under the EU’s Tacis Extension Systems; many NGOs
Programme in Turkmenistan to encourage progressive farmers to share their knowledge and Funding: Embedded in projects funded by the International Fund for Agricultural Development
experience. The UK-based organisation, Insight, implemented a participatory video project aimed at (IFAD), the Government of Japan, the United States Agency for International Development (USAID)
strengthening and supporting the VFA effort. and the Bill & Melinda Gates Foundation 
VIDEO OBJECTIVE PROJECT DESCRIPTION 
Through the video, members of the VFAs had an opportunity to explain the aims and objectives of their By enhancing access to scientific and farmer knowledge, the rice videos produced by the Africa Rice
associations to local and national policy-makers, researchers and donors, promoting the concept of Center (WARDA) are helping Africa’s rice farmers and processors improve rice productivity and
farmer-led innovation and gaining support for the VFAs. Another objective was to help villagers identify marketing opportunities. This rural learning initiative integrates participatory learning and action
challenges and opportunities for development. research (PLAR) with video, which in turn is linked to mass media. The initiative stimulates
48 49
VIDEO IN DEVELOPMENT PART 4
Filming for Rural Change Resources
experimentation and local adaptation of the technologies, nurtures local ownership and builds on
existing capacities and networks.  
VIDEO OBJECTIVE PART 4
The videos aim to stimulate learning and experimentation in rice production, from field to market, as
well as to improve social cohesion within rice-growing communities and to strengthen links between the
various stakeholders involved. Resources
VIDEO PRODUCTION METHOD 
The videos were produced in close collaboration with researchers, field workers, rice farmers and rice
processors. They use simple language and clear visuals, and incorporate PLAR lessons.
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Van Mele, P., A.K.M. Zakaria, Hosne-Ara-Begum, Harun-Ar-Rashid and N.P. Magor. 2007. Videos that strengthen Web sources and organisations
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COMMUNICATION INITIATIVE NETWORK: http://www.comminit.com/, Canada
technologies. Rural Development News 1: 49-55. The Communication Initiative Network is a leading online space for sharing the experiences of, and building
Van Mele, P., J. Wanvoeke and E. Zossou. 2009a. Enhancing learning, linkages and institutions: The rice videos in bridges between, people and organisations involved in or supporting communication as a fundamental strategy
Africa. Development in Practice, submitted. for economic and social development and change. There is a lot of information on this site about the use of
video.
Van Mele, P., J. Wanvoeke, C. Akakpo, R.M. Dacko, M. Ceesay, L. Béavogui and  R. Anyang. 2009b. Overcoming
cultural and institutional barriers in technology-mediated rural learning: Using video to bridge Asia and Africa.
Journal of Agricultural Education and Extension, COUNTRYWISE COMMUNICATION: http://countrywise.com/, UK
accepted. Countrywise Communication designs training packages to help establish media production units in many
White, S.A. (ed.). 2003. Participatory Video: Images that Transform and Empower. Sage Publications, New parts of the world. The starting point is a small group of differently skilled people (not video experts) who after
Delhi, India. a few weeks of intensive hands-on training form a team with skills that can really make a difference, whatever
the subject.
Wickett, E. 2004. Video for development communication. The Drum Beat 256. http://www.comminit.com/
drum_beat_256.html 
CTA: http://video.cta.int/, The Netherlands 
Wickett, E. 2007. Video for development. Visual Anthropology 20(2-3): 123-141. This is the video portal of the Technical Centre for Agricultural and Rural Cooperation (CTA). The portal is
part of CTA’s mission to improve agricultural information dissemination within ACP countries, using
Witteveen, L. 2003. Visual Problem Appraisal Kerala’s Coast, Cochin, India. Aurora Visual Media, Cochin, broadcasting networks and working with rural organisations to develop locally produced video content.
India; Larenstein University of Applied Sciences, Wageningen, The Netherlands; Delft University of
Technology, Delft, The Netherlands; Cochin University of Science and Technology, Cochin, India.
(25 DVDs, 1 CD-ROM with facilitators’ guide and workbook). DIGITAL GREEN: http://www.digitalgreen.org/, India 
Digital Green is an agricultural training and advising system that seeks to benefit rural farmers by disseminating
Witteveen, L. 2007 (reprinted from 1996). Visual Problem Appraisal Rice from the Guyanas. DIALOOG targeted information through digital videos. 
Produkties, The Hague, The Netherlands; Larenstein University of Applied Sciences, Wageningen, The
Netherlands. (15 DVDs, 1 CD-ROM with facilitators’ guide and workbook). DOTSUB: http://dotsub.com/ 
Witteveen, L. and B. Enserink. 2007a. Visual problem appraisal – Kerala’s coast: A simulation for social learning dotSUB is a browser-based tool enabling subtitling of videos on the web into and from any language.
about integrated coastal zone. Management, Simulation and Gaming 38(2): 278–295.
DRISHTI MEDIA, ARTS, HUMAN RIGHTS: http://www.drishtimedia.org/, India 
Witteveen, L. and B. Enserink. 2007b. Cultural issues in making and using the visual problem appraisal ‘Kerala’s Drishti is a leading human rights and development organisation that uses media, communications and the arts
coast’. Knowledge, Technology and Policy 19(4): 94–118. to strengthen India’s social movements and organisations in order to extend their reach and to increase the
Witteveen, L., R. Lie and P. Thachapuzha, P. 2008. Visual Problem Appraisal AIDS & Rural Development in participation of marginalised communities.
Sub-Saharan Africa. Aurora Visual Media, Cochin, India; Larenstein University of Applied Sciences,
Wageningen, The Netherlands (14 DVDs, 1 CD-ROM with facilitators’ guide and workbook). FAO: http://www.fao.org/videocatalogue/, Italy 
This is the video service of the Food and Agriculture Organization of the United Nations (FAO). FAO
Witteveen, L. and R. Lie. 2009. Embedded filming for social change. Learning about HIV/AIDS and rural produces video programmes in several languages on a broad range of subjects, including agriculture, forestry,
development professionalism. International Journal of Educational Development 29: 80-90. fisheries and rural development. All the videos are of professional broadcast quality and are available for
Witteveen, L., B. Enserink and R. Lie. 2009. Mediated participation. Using filmed narratives in complex multi television stations.
stakeholder settings. International Journal of Public Participation 3(1).
FAO E-AGRICULTURE: http://www.e-agriculture.org/, Italy  
Zamaere, A. 2000. Human-centred approach to development: Use of video as a tool for participatory rural e-Agriculture.org is a global initiative launched to enhance sustainable agricultural development and food
appraisal in Malawi. Voices from Africa 9: 55-73. security by improving the use of information, communication and associated technologies in the sector
Zossou, E., P. Van Mele, S.D. Vodouhe and J. Wanvoeke. 2009. The power of video to trigger innovation: Rice (http://www.youtube.com/eagriculture). The overall aim is to enable members to exchange opinions,
processing in central Benin. International Journal of Agricultural Sustainability 7(2):119-129. experiences, good practice and resources related to e-agriculture, and to ensure that the knowledge created is
effectively shared worldwide.
IFAD-IDRC: ENRAP: http://enrap.org/index.php?module=My_eGallery, India 
This is the video gallery of Knowledge Networking for Rural Development in Asia/Pacific Region (ENRAP),
an initiative launched by the International Fund for Agricultural Development (IFAD) and the International
Development Research Centre (IDRC)
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INSIGHT: http://www.insightshare.org, UK and France Acronyms and abbreviations
Insight is a leading organisation in using participatory video as a tool for empowering individuals and
communities.
ACDEP Association of Church Development Projects 
PROLINNOVA: http://www.prolinnova.net/South_Africa/video.php, South Africa ACP Africa, Caribbean, Pacific
PROmoting Local INNOVAtion focuses on ecologically oriented agriculture and natural resources AFD Agence Française de Développement 
management. Its site carries videos on farmer innovations. AMIC Asian Media and Information Centre
CARENAS Información, Comunicación y Capacitación para en el manejo de los Recursos
VIDEO VOLUNTEERS: http://www.videovolunteers.org/, USA and India Naturales y la Agricultura Sostenible
This organisation works with partners (including Drishti) to develop community media initiatives in India that CCFD Catholic Committee against Hunger and for Development 
use video to empower communities to take action on critical issues relevant to development. CESPA Centre for Audiovisual Communication for Development
CESPAC Centro de Servicios de Pedagogía Audiovisual para la Capacitación
WARDA: RICE VIDEOS: http://www.warda.org/warda/guide-video.asp, Benin CGIAR Consultative Group on International Agricultural Research
The videos on the web page of the Africa Rice Center (WARDA) have been produced in close collaboration CSIR Council for Scientific and Industrial Research
with researchers, field workers, rice farmers and rice processors. They use simple language and clear images, CTA Technical Centre for Agricultural and Rural Cooperation ACP-EU
and incorporate lessons from participatory learning and action  research (PLAR). They are ideally suited to CVU Community Video Unit
building human, social and institutional capacities in the rice sector in Africa. ENRAP Knowledge Networking for Rural Development in Asia/Pacific Region
EC European Commission
EU European Union
FAO Food and Agriculture Organization of the United Nations
FLD Farmer Led Documentation
FONGS Fédération des organisations non gouvernementales du Sénégal
FRI Farm Radio International
GPC Global Plant Clinic 
GRET Group of Research and Technology Exchange 
GSI Good Seed Initiative
GTZ Deutsche Gesellschaft für Technische Zusammenarbeit
ICARDA International Center for Agricultural Research in  Dry Areas
ICT information and communications technology
IDRC International Development Research Centre
IFAD International Fund for Agricultural Development
ILO International Labour Organization
INTA Instituto Nacional de Tecnología Agropecuaria 
IRAM Institute of Research and Application of Development Methods 
IYP International Year of the Potato
KM knowledge management
M&E monitoring and evaluation
NGO non-governmental organisation
NORMA Natural Resource Management in the Mountain Regions of Asia 
NOWEFOR North West Farmers’ Organisation
NRI Natural Resources Institute 
PETRRA Poverty Elimination Through Rice Research Assistance 
PLAR participatory learning and action research 
PRA participatory rural appraisal 
PRODERITH Programa de Desarrollo Rural Integrado del Trópico Húmedo
PROLINNOVA PROmoting Local INNOVAtion
RIPS Rural Integrated Project Support Programme
SAILD Support Service for Grassroots Initiatives of Development 
TMSS Thengamara Mohila Sabuj Sangha 
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UN United Nations
USAID United States Agency for International Development
VFA Voluntary Farmers Association
VPA visual problem appraisal
WARDA Africa Rice Center
WTO World Trade Organization
WUR Wageningen University and Research Centre
ZIZO zooming-in zooming-out
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