Like many people, I have very mixed feelings about the media phenomenon that is the super viral video known as Kony 2012. It has a sexy opening line: “Nothing is more powerful than an idea”–something that is a two-edged sword. This can be terribly awful if applied by those promoting “evil agendas” (explained below). The video is produced by a group called Invisible Children, itself a major recipient of corporate giving (JP Chase Morgan Bank is a huge supporter of this group, according to the company’s web site). This itself gives one pause.
The moment I saw it, I was screaming out loud: “manipulative,” “scam,” “cliche,” “heroic white saviors,” “powerless Africans with only one name,” “exploitative.” I actually have followed this story for more than a decade, and I have been to northern Uganda in 1997, where the Lord’s Resistance Army wrought havoc on innocent Ugandans. This is a long, complex story involving several African nations, ethnic groups, geopolitics, and more. This video, while bringing a horrible human rights offender to the attention of the public, disregarded many historic realities that I found deeply troubling as a former journalist. For instance, the main villain, Joseph Kony, is no longer in Uganda committing crimes; he reportedly was last seen in the Democratic Republic of Congo.
So what are we to do when we see how emotionally manipulative media products can gain one instant notoriety and fame, itself a goal of many scraping to make it in media production, photography, and storytelling. (Recall “performance artist,” but definitely not a journalist, Mike Daisy and the factually inaccurate story he pushed about Apple’s suppliers in China that compromised his career and brought disgrace to the radio show This American Life.)
I can never disassociate the message from the person. Remember Leni Riefenstahl and her hypnotically seductive Triumph of the Will, a scary masterpiece of fascist propaganda released in 1935 (when concentration camps were not quite operationalized) that helped the cause of one of the greatest murdering madmen of human history, Adolf Hitler? Riefenstahl latter downplayed her Nazi sympathies and attempted to justify her work as merely the output of an artist doing a job, without moral consideration for the outcome. And she was a brilliant photographer and filmmaker, who even after being associated with a genocidal regime, revitalized her career with images of Sudan (The Last of the Nuba) that many would think of today as “progressive” in its orientation. (See the stunning photo below.)
I just stumbled on a promotional page for a group called International League of Conservation Photographers. I immediately smelled the conflict between huge egos involved in their media/photographic work and their worthwhile “cause.” The video creates an image of heroic warriors, backed by their own orchestral score. Or, are they just talented photographers trying to make a living too as photographers. What do you all think?
I am always going to suspect self-promotion if I do not see a clearly defined goal that accompanies the promotion. This organization states what many would believe to be a worthy goal: “The ILCP seeks to empower conservation photographers by creating an organizational structure that allows them to focus on the creative aspects of their work while at the same time finding venues that allow their images to make a significant contribution to the understanding and caring of the environment.” But is this truly a clear roadmap?
In public health, they teach us that the best interventions have SMART objectives because they provide the clearest guidelines for developing measurable, achievable actions. SMART stands for:
Whether SMART objectives actually lead to change, or themselves become watered down by their clever wording, is another topic. But in general, I believe this is a relevant way for looking at groups who promote social change. Is what they are offering SMART, or is something more akin to Triumph of the Will, dressed in clever social media marketing. That really is the job of the viewer, but also those who can also use social media to call attention to Triumph of the Will’s and Kony 2012’s viral step-children.