From drones to floating smartphones: how technology is helping African journalists investigate

Quadcopters, like this one flown by Ben Kreimer of the University of Nebraska’s Drone Journalism Lab, are being used by African SkyCam to collect images. Credit: AfricanSkyCAM/University of Nebraska

Quadcopters, like this one flown by Ben Kreimer of the University of Nebraska’s Drone Journalism Lab, are being used by AfricanSkyCam to collect images. (Photo: AfricanSkyCAM/University of Nebraska)

In conjunction with the Cambridge Festival of Ideas 2015, we will be publishing a series of articles that complement many of the upcoming debates and discussions. We are offering these articles from Index on Censorship magazine for free (normally they are held within our paid-for archive) as part of our partnership with the festival. Below is and article by Raymond Joseph on n how low-cost technology is helping African newsrooms get hold of information that they couldn’t previously track from the autumn 2014 issue. This article is a great starting point for those planning to attend the Technologies of revolution: how innovations are undermining regimes everywhere session at the festival.

Index on Censorship is a global quarterly magazine with reporters and contributing editors around the world. Founded in 1972, it promotes and defends the right to freedom of expression. 

Deep in Mpumalanga province, in the far north-east of South Africa, a poorly resourced newspaper is using a combination of high and low tech solutions to make a difference in the lives of the communities it serves.

It is also pioneering a new and innovative form of journalism that not only places its readers at the centre of its coverage, but also involves them directly in the newsgathering operation.

What this small newspaper does is a lesson for bigger, more established media outlets, which are searching for new non-traditional revenue streams and which, in the age of online and digital journalism, struggle to survive and remain relevant.

The Ziwaphi community-based newspaper is distributed to communities in the Nkomazi district, situated at the epicentre of the South Africa AIDS pandemic, where there is very little access to news reporting. One of the biggest problems in the area is water contaminated with sewage. Women and young girls spend hours every day collecting water from rivers for drinking, cooking and washing, but these same rivers are also often used to dispose of human waste. As a result the E.coli count sometimes spikes, causing diarrhoea. And every few years, there is an outbreak of cholera.

Using a grant, and technology assistance from the African Media Initiative (AMI), which is spearheading the drive to embed data-driven journalism in African newsrooms, Ziwaphi is placing old smartphones submerged in clear plastic bottles in rivers in the area. Functioning as simple electron microscopes, the phones use their cameras to take regular flash-lit pictures. These photographs are then magnified and compared against images from an existing database to detect dangerous levels of E.coli. The results are delivered via SMS to residents, informing them where it’s safe to collect water.

Completing the circle, the newspaper analyses the real-time data to detect trends, and hopefully even triangulates the sources of contamination.

Once a month, Ziwaphi publishes an in-depth story based on the results, which is shared with other community papers and local radio stations in the area. The hope is the information can then empower ordinary people in the region to force the government to deliver clean water and sanitation. Ziwaphi’s readers also help gather information themselves using a mobile-based citizen reporting app which supplements the smartphone data with eyewitness stories about the impacts of the pollution, and possible sources of contamination.

“The total project only cost $20 000, including a modest salary for a year for a full-time health reporter,” says Justin ­Arenstein, a strategist for AMI. “But the important thing, from a media sustainability perspective, is that Ziwaphi is using the water project to build the digital backbone it will need to survive in the near future.”


Free thinking: Reading list for the Cambridge Festival of Ideas 2015

Free Thinking! A unique partnership in 2015, Cambridge Festival of Ideas are working with Index on Censorship to offer in-depth articles and follow-up pieces from leading artists, writers and activists on all of our headline events.

Drawing out the dark side: Martin Rowson

Thoughts policed: Max Wind-Cowie

Deliberately lewd: Erica Jong

My book and the school library: Norma Klein

Future imperfect: Jason DaPonte

The politics of terror: Conor Gearty

Moving towards inequality: Jemimah Steinfeld and Hannah Leung

Escape from Eritrea: Ismail Einashe

Defending the right to be offended: Samira Ahmed

How technology is helping African journalists investigate: Raymond Joseph

24 Oct: Can writers and artists ever be terrorists?

25 Oct: Question Everything – Cambridge Festival of Ideas

Full Free Thinking! reading list


Current issue: Spies, secrets and lies

In the latest issue of Index on Censorship magazine Spies, secrets and lies: How yesterday’s and today’s censors compare, we look at nations around the world, from South Korea to Argentina, and discuss if the worst excesses of censorship have passed or whether new techniques and technology make it even more difficult for the public to attain information. Subscribe to the magazine.


Until recently Africa lagged behind the rest of the world where the internet was concerned, because of the high cost of access. But now the deployment of new undersea cables is helping bring down the cost of connectivity, especially in east and southern Africa. This has sparked an exciting new era for journalism, with an explosion of ideas and innovations that are producing “news you can use” tools. Established media is increasingly reaching out to citizens to involve them in their news-gathering and content production processes. The phone-in-a-bottle project is an example of what can be done with limited resources.

In Kenya, the Radio Group, the third largest media house, has set up Star Health, the first in a set of toolkits to help readers do easy background checks on doctors and learn whether they have ever been found guilty of malpractice. In one case a man working as a doctor turned out to be a vet.

The site, which has proved to be a big hit in a country where dodgy doctors are a major problem, also helps users locate medical specialists and their nearest health facility. It can also be used to check whether medicines are covered by the national health scheme. Importantly, the results of queries on Star Health are delivered via a premium SMS service that generates an income stream, crucial in an age when media needs to diversify revenue models away from reliance on advertising and, in some case, copy sales.

“These tools don’t replace traditional journalism, rather they augment journalistic reportage by, for example, helping readers to find out how a national story on dodgy doctors personally affects them,” says Arenstein. News must be personal and actionable and should become an important part of the media’s digital transformation strategies, he stresses.

The reality of journalism today is that, even though outlets may not have the large audiences of conventional media, anyone with a smartphone or basic digital skills has the ability to be a “publisher”.

In Nigeria, for example, the Sahara online community has over a million followers on social media, far more than many media houses. The challenge in the future will be for newsrooms to tap into these grassroots networks, but still keep citizens’ voices at their centre.

A pioneering project in Nigeria’s isolated Delta region has seen the mainstream media working with an existing citizen-reporting network, Naija Voices, to adopt remote-controlled drones fitted with cameras to monitor for environmentally destructive oil spills. The plan is to syndicate the footage to mainstream TV and newspaper partners in Lagos and Abuja. This would allow the newspapers unprecedented reach into parts of the country that had previously been largely inaccessible.

The fixed-wing drones are relatively cheap and simple to fly, but they crash from time to time. “Getting new parts, like the wings or pieces of the fuselage, would be costly and time consuming, so we’re experimenting with 3D printers to create parts onsite and on demand,” says Arenstein.

This citizen-reporting experiment builds on the work of AfricanSkyCam which for the past year has been experimenting with drones in Kenya as part of “Africa’s first newsroom-based eye-in-the-sky”. SkyCam uses drones and camera-equipped balloons to help media that cannot afford news helicopters to cover breaking news in dangerous situations or difficult to reach locations.

In South Africa, Oxpeckers Center for Investigative Environmental Reporting is using “geo journalism” and other mapping techniques to amplify its reporting and to analyse stories such as rhino poaching and canned lion ­hunting – breeding tame lions for wealthy trophy-hunters to shoot. Investigations help uncover trends or links to criminal syndicates and the Oxpeckers Center’s reportage is credited with promoting a recent ban on canned hunting in Botswana, and helping to shape laws on trade in rhino and other wildlife products in China and in Mozambique.

But the reality is that poorly resourced African newsrooms seldom have the in-house technology or digital skills to build new online tools.

So, AMI’s digital innovation programme and similar initiatives at Google, the Bill & Melinda Gates Foundation, and at smaller donors including the Indigo Trust are all building external support systems to help newsrooms leapfrog into a digital future.

Donors are also focusing on embedding data journalism approaches into mainstream media. They are helping journalists use publicly available digital information from sources such as censuses or government budgets to build decision-making tools to help ordinary citizens make better informed decisions on bread and butter issues affecting their lives.

Helping drive the new-tech approach is Code for Africa, a network of civic technology labs planned for countries across the continent to help drive innovation and to work with media and citizen journalist networks, to help them bridge the digital divide.

Code for South Africa (C4SA) is helping everyone, from the township-based Ziwaphi and its cholera alert project, to national media outlets, such as the Mail & Guardian and City Press.

“The media know they’re in crisis, with their advertising-based business model under threat as audiences shift online, but digital innovation is still a hard sell,” says C4SA director Adi Eyal. “Progress is painstakingly slow because many African media owners are hesitant to invest before they know how these new models will generate revenue. The result is that much of what South African newsrooms are calling home-grown data journalism is just visualisation. They’re creating very little actionable information and virtually no news tools that people can use to make decisions. The investment in a one-off project is high, so it is important that the tools that are built live on, so that newsrooms can use them to report on issues and people can act.”

Progress is painstakingly slow, but nevertheless the building blocks are slowly being put in place as the “root stock” — datasets from across Africa — is collected and collated on the African Open Data portal for both newsroom journalists and civic coders to use. The data means they can create applications and tools which will help them build communities and generate income.

C4SA is also building an “invisible” back-end infrastructure that newsrooms can help build news tools quickly and cheaply. This includes support for initiatives such as OpenAfrica that helps newsrooms digitise and extract data from source documents. C4SA has also built a series of open, machine-readable, data rich application programming interfaces (APIs) that newsrooms can easily plug into their mobile apps or websites. The APIs drive tools like WaziMap, which uses censuses, elections and other data to help journalists to dig into the make up of communities, right down to local ward level. Each of these resources is a tool not only for the media, but also for civic activists and public watchdogs, says Arenstein.

In a recent column on the future of newspapers, Ferial Haffajee, the editor of City Press, a national South African Sunday newspaper that is struggling to reinvent itself in the digital age, wrote: “Nothing is as it was. Nor are most things what they seem. We have a future, and it is tantalising.”

And you just need to look at the smartphones in a bottle and 3D-printed drones to know that this future is slowly, newsroom by newsroom, project by project, becoming a reality.

Read more about the future of journalism in Index on Censorship’s latest magazine. Read more here and find out how to subscribe either in print, digital replica or app. 

This article was posted on 21 October at indexoncensorship.org

Poland: Dissident theatre director fired by city mayor

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Ewa Wojciak has been working in the in theatre since the 1970s when she was a dissident artist under the communist regime. (Photo: Maciej Zakrzewski)

Ewa Wojciak, director of Poland’s Theatre of the Eighth Day, was fired by Poznan mayor Ryszard Grobelny on 28 July. His administration oversees culture and arts in the city, including Wojciak’s subversive and anti-establishment theatre group.

The official reason given was that she did not ask for permission to leave the city between 18 and 28 February, when she visited Yale and Princeton universities, performing her touring duties as director and actress with the theatre. However, these trips were not sponsored by the local government, so it is hard to see why she would need permission from authorities.

Wojciak’s career with the theatre began in 1970 when she was a dissident artist under the communist regime. After the end of communism, she turned the theatre into a welcoming space for refugees, minorities, anti-facists, feminists, lesbian, gay, bisexual, and transgender people and emerging theatre-makers. She has become a “new dissident”, confronting the realities of life after communism. During her tenure, the theatre, known for its artistic experimentation and politically subversive productions, has drawn the fire of Grobelny, known for his ultraconservative views.

The Theatre of the Eighth Day has played at the Edinburgh Festival, London’s LIFT, at the universities of Yale and Princeton, as well as innumerable major and small venues in Poland. The New York Times has written on their production under the heading “When Courageous Artists Ripped Holes in the Iron Curtain“.

During last month’s Index on Censorship debate with Timothy Garton Ash, Kate Maltby and David Edgar, about freedom 25 years after the fall of the Berlin Wall, I tried to emphasise how important such new dissidents are in Eastern Europe. Commenting on this debate, Index CEO Jodie Ginsberg reminded us how authorities are taking an increasingly hard line on civil society groups.

The Theatre of the Eighth Day, which helped build an alternative civil society under communism, continues its non-conformity — and faces threats from Poznan’s political establishment. Wojciak is being unfairly dismissed for defying the far right, clericalism, the “moral majority” and censorship.

Grobelny’s record as mayor of Poznan, a job he has held since 1998, leaves much to be desired in an open, democratic society. He has repeatedly stifled independent voices in the city, and Wojciak has been a long-standing adversary. In 2005, Grobelny  banned the Equality March, a feminist-queer pride event. Wojciak and other members of the Theatre of the Eighth Day took part in this forbidden event, which was suppressed by the police — one of the actors was arrested. More recently, Grobelny also supported the Poznan ban of the play Golgota Picnic, on which Index has reported.

In 2013 Wojciak was reprimanded by the mayor for a comment on her Facebook wall immediately after the conclave of Pope Francis: “[T]hey’ve elected a prick who denounced left-wing priests under the military dictatorship in Argentina.” Her Facebook account was shut down and Wojciak — mistaken about the Pope’s involvement with the Argentinian junta — was vilified by Poland’s far right. Her Facebook account was later restored and the Poznan prosecutor declined to pursue the matter. At the time, intellectuals and artists defended her on grounds of free expression.

Adam Michnik, editor-in-chief of Poland’s leading broadsheet Gazeta Wyborcza and a legendary dissident, wrote that he supports Wojciak. Michnik is a member of the committee of the fiftieth anniversary of the Theatre of the Eighth Day. A petition protesting the dismissal of Wojciak has been issued by civic-educational initiative Otwarta Akademia (“Open Academy”), spearheaded by Piotr Piotrowski, an art historian and former director of Warsaw’s National Museum (who initiated the groundbreaking exhibition Ars Homo Erotica there), feminist Izabela Kowalczyk, artist Marek Wasilewski and ethicist Roman Kubicki, among others.

This petition has so far been signed by 317 people, including Irena Grudzinska-Gross of Princeton University and Alina Cala of the Jewish Historical Institute in Warsaw, who both write on anti-semitism in Poland; Elzbieta Matynia of the New School for Social Research and author of Performative Democracy; Jeffrey C. Goldfarb, author of The Persistence of Freedom: The Sociological Implications of Polish Student Theatre; and Pawel Leszkowicz of Poznan University, curator of Ars Homo Erotica.

The Theatre of the Eighth Day epitomises liberty: Wojciak and her company speak out against injustices and experiment aesthetically. It’s deplorable that they should be repressed by the authorities of their city.

If you would like to protest the dismissal of Ewa Wojciak, please email [email protected] with the subject “Ewa”.

This article was posted on August 18, 2014 at indexoncensorship.org

Europe after the Berlin Wall: Latest issue

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As Europe prepares for the anniversary of the wall’s demolition in November, Index on Censorship looks at how the continent has changed. Author Irena Maryniak explores the idea of a new divide that has formed further east. Polish journalist Konstanty Gebert looks at how Poland’s media came out from the underground and lost its voice.

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Award-winning German writer Regula Venske shows how Germany has tackled its identity issues through crime fiction; and Helen Womack reports from Moscow on the fears of a new Cold War. We also give voice to “Generation Wall”  – the young people who have grown up in a free eastern Europe.

When the wall came down in 1989, there were discussions in the Index office about whether our battles were over. Sadly, we all know there was no universal end to censorship on that day. This issue also shares stories of the continuing fight for free expression worldwide, from a scheme to fund investigative journalism in Tanzania to an ambitious crowdsourcing project in Syria.

Also in this issue:

• Dame Janet Suzman looks at censorship of South African theatre on the 20th anniversary of South African democracy

• Jim Al-Khalili shares his thoughts on threats to science research and debate

• Ex BBC World Service boss Richard Sambrook goes head-to-head with Bruno Torturra, from Brazil’s Mídia Ninja, to debate the future of big media

Plus:

• Two new short stories – exclusive to Index – from Costa first novel winner Christie Watson and Turkish novelist Kaya Genç

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Freedom 25 years after the fall

Editorial: Europe’s past is being rewritten, says Rachael Jolley

Going overground: Konstanty Gebert on Poland’s underground media

Generation Wall:  Under 25 year olds speak out on Europe now and then – Tymoteusz Chajdas, Milana Knezevic, Ivett Korosi and Victoria Pavlova

Enemies of the people: Matthias Biskupek on book censorship in East Germany

Judging Prague’s democratic difficulties: Jiri Pehe explores the quality of Czech democracy

Stripsearch cartoon: Martin Rowson conveys swapping communism for capitalism

The new divide: Thomas Rothschild believes the world didn’t get better after the fall

The other wall: Irena Maryniak on why Europe’s dividing line shifted

Mystery of regional identity: Regula Venske looks at how crime fiction shaped Germany

Empire line: Helen Womack on Russia’s retreating ideology

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Bordering isolation: Kate Maltby explores attitudes to minorities in Turkey

Pakistan at a crossroads: Haroon Ullah looks the power of landlords and their influence on voting

Spying on the censors: Roger Highfield on how metadata could expose regimes

Going in deep:  The risks facing Tanzania’s journalists, by Jess McCabe and Erick Kabendera

Open books: Susanne Metz on the vital role of libraries in exchanging ideas

Legal divisions: Dominique Mondoloni compares French and English libel laws

Cape crusader: Natasha Joseph interviews retiring South African politician Ben Turok

Syria’s inside track: Vicky Baker looks at crowdsourcing news in conflict 

Mapped out: Guyana’s indigenous mapmakers, by Vicky Baker

When one door closes: Kaya Genç looks at whether Turkey should turns east or west

LA story: Ed Fuentes on lifting the graffiti ban in Los Angeles

Secrets and lives: Tarashea Nesbit tells the story of the wives at Los Alamos

Marching on: Nicole Mezzasalma looks at Brazil’s unprecedented protests

History revision: Saurav Datta on why India’s colonial laws haven’t changed

Brain unboxed: Rachael Jolley interviews scientist Jim Al-Khalili

Future imperfect: Jason Daponte explores online copying, control and protection

Degree of inequality: Jemimah Steinfeld reveals how China’s education system discriminates against women

Head to head: Richard Sambrook and Bruno Torturra debate whether big or small media have the control

On the ground in Argentina: Adrian Bono on the president’s love of one-way communication

On the ground in South Korea: Sybil Jones shares first-hand knowledge and looks at how news slips out

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Stage directions in South Africa: Actor and director Janet Suzman on post-apartheid theatre

Big men, big decisions: Christie Watson’s new short story, based in Nigeria

“The exiled poet, free once more”: Robert Chandler translates Lev Ozerov’s poetry

Ghost of Turkey’s past: Kaya Genç’s exclusive short story on Turkish feminist Halide Edip Adivar

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Global view: Index’s new CEO Jodie Ginsberg on fighting censorship on and offline

Index around the world: Alice Kirkland’s update on news from Index’s global work

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”END NOTE” css=”.vc_custom_1481880278935{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]

Campus clampdown: Taylor Walker looks at free speech zones at US universities

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”SUBSCRIBE” css=”.vc_custom_1481736449684{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]Index on Censorship magazine was started in 1972 and remains the only global magazine dedicated to free expression. Past contributors include Samuel Beckett, Gabriel García Marquéz, Nadine Gordimer, Arthur Miller, Salman Rushdie, Margaret Atwood, and many more.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”76572″ img_size=”full”][/vc_column_inner][vc_column_inner width=”1/2″][vc_column_text]In print or online. Order a print edition here or take out a digital subscription via Exact Editions.

Copies are also available at the BFI, the Serpentine Gallery, MagCulture, (London), News from Nowhere (Liverpool), Home (Manchester), Calton Books (Glasgow) and on Amazon. Each magazine sale helps Index on Censorship continue its fight for free expression worldwide.

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