Feminist Media Strategies for Social Engagement

MEDIACIONES Nº15 ISSN 1692-5688 JULIO-DICIEMBRE 2015 AT HOME, IN BED AND IN THE STREET: FEMINIST MEDIA STRATEGIES FOR SOCIAL ENGAGEMENT

EN LA CASA, LA CAMA Y LA CALLE: ESTRATEGIAS MEDIÁTICAS FEMINISTAS PARA EL COMPROMISO SOCIAL

NA CASA, A CAMA E A RUA: ESTRATÉGIAS DE MÍDIA FEMINISTAS PARA O COMPROMISSO SOCIAL

Páginas Elizabeth Miller 80-95 [email protected]

Recibido Associate professor at Concordia University in Communication Studies in Montreal. 28 de noviembre de 2015

The article was connected to a research project called Going Aceptado Public: Oral History, New Media and the Performing Arts that 25 de diciembre de 2015 resulted in a companion website.

80 Elizabeth Miller AT HOME, IN BED AND IN THE STREET: FEMINIST MEDIA STRATEGIES FOR SOCIAL ENGAGEMENT

Abstract

Using a Contracorriente exam, a project of the Ni- caraguan feminist organization Puntos de encuentro, I have explored the role that feminist media can play in combination with support networks in multiplying dialogue opportunities and the promo- tion of women’s rights. The article tries to answer the following questions: How does feminist media take advantage of the power and knowledge base of transnational networks of support to represent and debate the impacts of globalization on the lives of women? What type of media and mediation can they access to discuss complex issues such as abortion, incest or rape with the general public? How does the creative process happen to transform a TV program in a catalyst to imagine the change and a platform for sharing solutions?

Keywords Nicaragua, Centroamérica, medios feministas, tele- visión, telenovelas .

MEDIACIONES Nº15 ISSN 1692-5688 JULIO-DICIEMBRE 2015

Resumen Resumo A partir de un examen a Contracorriente, un pro- Partindo do exame de Contracorrente, um projeto yecto de la organización feminista nicaragüense da organização feminista nicaraguense Pontos de Puntos de encuentro, he explorado el papel que los encontro, tenho explorado o papel que a mídia fe- medios feministas pueden cumplir en combinación minista pode desempenhar em combinação com con las redes de apoyo en la multiplicación de opor- redes de apoio na multiplicação de oportunidades tunidades de diálogo y en el fomento de los dere- de diálogo e na promoção dos direitos das mulhe- chos de las mujeres. El artículo trata de responder res. O artigo busca responder às seguintes pergun- las siguiente preguntas: ¿Cómo aprovechan los me- tas: Como a mídia feminista lança mão do poder e dios feministas el poder y la base de conocimiento da base do conhecimento das redes de apoio trans- de las redes de apoyo transnacional para repre- nacional para representar e discutir os impactos sentar y debatir los impactos de la globalización da globalização na vida das mulheres? Que tipo de en la vida de las mujeres? ¿A qué tipo de medios y mídia e mediação são usadas a fim de discutir ques- mediación acuden con el fin de discutir temas com- tões complexas tais como aborto, incesto ou estu- plejos tales como el aborto, el incesto o la violación pro com o público em geral? E como se dá o proces- con el público en general? ¿Y cómo se da el proceso so criativo que converte um programa de televisão creativo que convierte un programa televisivo en em um catalisador para imaginar a mudança e uma un catalizador para imaginar el cambio y en una plataforma para compartilhar soluções? plataforma para compartir soluciones? Palavras-chave Palabras clave Nicarágua, América Central, mídia feminista, tele- Nicaragua, Centroamérica, medios feministas, tele- visão, telenovelas visión, telenovelas

82 Elizabeth Miller AT HOME, IN BED AND IN THE STREET: FEMINIST MEDIA STRATEGIES FOR SOCIAL ENGAGEMENT

Over the years, I have borrowed, adapted and advocacy networks can play in multiplying oppor- made films about individuals and groups that use tunities for dialogue and for the advancement of media to foster dialogue and go public with see- women’s rights. The project offers a unique portal mingly private, or difficult subjects such as incest, to explore a range of questions relevant to feminist rape, or even genocide. Puntos de Encuentro (Mee- media and social advocacy: How are feminist me- ting Points), referred to as Puntos, a feminist group dia projects tapping into the power and knowledge in Nicaragua, captured my attention early on and base of transnational advocacy networks to repre- for over twenty years I have learned from and do- sent and debate the impacts of globalization on wo- cumented their unique way of blending communi- men’s lives? What forms of media and mediation cation projects with social movement strategies to are they drawing on to address complex subjects build public awareness around women and chil- such as abortion, incest, or rape with the general dren’s rights. Puntos was founded by a group of public? And how is the creative process of making women who were involved in the Sandinista revo- a television show a catalyst for imagining change lutionary period of the 80’s, but who felt that while and a platform for sharing solutions? many important reforms had come out of this time, not enough attention had been paid to the rights Shifting the terms of mainstream of women in both the public and private spheres. television They recognized that decades of dictatorship, war, and authoritarian rule could not be undone throu- I lived in Nicaragua in the early 90’s, just after the gh governmental or policy changes alone. They Sandinista Revolutionary period of the eighties. wanted to inspire change at all levels, at home, in While the country was undergoing enormous so- bed and in the street. Using multi-platform commu- cial and economic transitions, the autonomous wo- nication strategies including print publications, ra- men’s movement was flourishing. Puntos was cen- dio, television dramas and public service announ- tral to this movement and proposed that beyond the cements, their mandate has been to draw attention provision of direct services such as health clinics or to the power relations that play out in everyday life. shelters, the women’s movement needed to coun- Rather than seeking only to change individual be- ter oppression in both private and public discour- haviours, their emphasis has been on challenging se. They developed an open school for women, a the social and cultural norms that shape interper- popular women’s magazine called La Boletina, and sonal relations. In collaboration with a wide range a youth talk radio program to promote dialogue of partners and networks, Puntos has been using within Nicaragua’s growing women’s movement. media to initiate processes that challenge existing Years later the organization expanded their man- cultural frameworks, offer alternative feminist re- date to include television. Their first series, Sexto presentations and motivate personal and collective Sentido, (Sixth Sense) featured six young friends action. It was the unique intersection of feminist living together in Managua, a bit like the sitcom politics, narratives, organizational networks, and Friends but with a serious social agenda and made multiple media platforms that first captured and with a fraction of a standard television budget. has held my attention over the years.

I contributed to their efforts by developing Nove- Through a close examination of their most recent la, Novela, a documentary about the process of project, Contracorriente (Turning the Tide), a fami- making and distributing the series. I was eager to ly drama that depicts the impact of globalization share the story of how this women’s group was ma- on women’s lives, I explore the role that feminist naging to produce a wide reaching television pro- media projects in combination with women’s rights gram in a small Central American country like Ni-

MEDIACIONES Nº15 ISSN 1692-5688 JULIO-DICIEMBRE 2015 caragua, considered one of the poorest countries in who were hoping to develop their own grass roots the Americas. Nicaragua was still recovering from media campaigns. the effects of dictatorship, revolution, and war and had only a minimal infrastructure for television A decade later, I returned to Nicaragua to make a production. Enthusiastically occupying the new second documentary, this time about the group’s space afforded by the digital revolution, Puntos newest television project, Contracorriente, a family was shifting the terms of mainstream television in drama developed in response to the global econo- Nicaragua. On the one hand, the series represented mic crisis. The series grappled with issues such as one of the first television projects in the region to tourism, the rising incidence of commercial sexual introduce complex representations of LGBTQ (Les- exploitation of adolescents and trafficking, workers bian, Gay, Bisexual, Trans-Gender or Questioning) rights in free trade zones, economic power rela- identity and abortion into the mass media. This tions in the family, and the concerns of transgender was particularly noteworthy in a country where youth coming of age in a small city. Addressing glo- the Catholic Church has enormous political and bal economic issues required developing new part- cultural influence and has opposed sexual and re- ners and strategies and over a three-year period, I productive rights. observed and documented the organization’s process of scripting, directing and making strategic Within this conservative context, the organization connections to regional organizing efforts. Issues was piloting a means of introducing controversial like sexual exploitation, which they define as the issues like abortion, domestic violence and homo- sexual abuse of youth in exchange for money or sexuality to mainstream audiences by collabora- protection, reach beyond national borders and as ting with a national anti-violence network, prepa- a result, Puntos was now collaborating with groups red to handle a range of responses to the programs. through out Central America. They wanted to en- Executive producer and scriptwriter Amy Bank sure the project would be useful for groups and describes this unique reception strategy; “If some- networks addressing trafficking, violence against body who’s watching TV or listening to the radio ... women and economic disparities. if they wanted to get involved in the issue or if they needed help, we created a whole system, a network While planning the documentary, At home in bed of organizations and service providers that were and in the streets, I was also aware of the shifting dealing with issues in the show so people could concerns of communications students in my clas- connect.” (A. Bank. Interview by Elizabeth Miller. ses in Montreal, Canada. They were increasingly Video Interview. Nicaragua, September 28, 2012). aware of the diverse impacts of global economic Rather than a one off experience, they approached disparities, but many were unsure how they mi- television as a catalyst for a wide range of commu- ght intervene. I wanted the documentary to speak nication processes and they piloted a range of low to their concerns and I wanted to profile a young budget multi-platform communication strategies protagonist they could identify with. I chose to to build impact. The series was a success and they structure the documentary around Tamara Salas, went on to produce eighty episodes that were aired a Nicaraguan communications student and first-ti- in eight countries, a scale and reach that far excee- me actor in the series. She plays Jessica, the female ded their initial expectations. The Sexto Sentido adolescent character, who is drawn into sexual ex- series and the documentary, Novela, Novela were ploitation. I also profiled Amy Bank, a North Ame- shared with women’s groups and schools across rican who has lived in Nicaragua for almost thirty the Americas interested in alternative representa- years, who produced both of the organization’s te- tions of domestic violence and LGBTQ issues and levision programs, and who was in the best posi-

84 Elizabeth Miller AT HOME, IN BED AND IN THE STREET: FEMINIST MEDIA STRATEGIES FOR SOCIAL ENGAGEMENT tion to explain the strategy and how the program fit a tremendous sense of morality, social norms and into the larger mandate of Puntos. Out of the thou- gender norms. (A. Bank. Interview by Elizabeth sand or so individuals involved in the production, Miller. Video Interview. Nicaragua, September 28, she introduced me to the team and helped me un- 2012). derstand the challenges they faced at each stage of production. In observing the development of Con- Framing family as a site of analysis and struggle is tracorriente over time, I hoped the film would shed particularly relevant in Nicaragua where conserva- light on how the production of a television series tive forces have had increasing influence in both offered a unique opportunity to forge new political personal and public realms. The president Daniel alliances, cultivate leadership capacity, represent Ortega, known previously as the revolutionary so- the impacts of globalization on women, and imagi- cialist leader, who led the overthrow of a dictators- ne future actions. hip and then led the country throughout the volati- le 80’s, shifted tactics in his return to power in 2007. At home: a site to challenge and Ortega now cultivates alliances with the right wing, transform values the business elite and the Catholic Church. In 2006, he backed extreme anti-abortion legislation that led to a total ban on abortion. The issues of incest The decision for Puntos to draw on the genre of the and domestic violence developed in Contracorrien- family drama was strategic. For years, the organi- te are close to home for Ortega, who was at the zation has advocated that change in the family can center of a public scandal when his adopted dau- lead to change in society. By staging complex sto- ghter accused him of incest. He denied the charges ries within the family household, the organization and the experience appears to have deepened his has been working to “reframe family values so that and the first lady’s animosity towards the women’s instead of reinforcing unequal power relations, movement, seeking both ideological and tactical families are a place to explore mutual respect and means to lessen their impact. Within this charged equal opportunity.” (A. Bank. Interview by Elizabe- environment, Puntos has persevered in their man- th Miller. Video Interview. Nicaragua, September date to use media to foster debate, challenge stig- 28, 2012). Discourses about the family and the insis- mas and draw connections between diverse forms tence of stereotypical gender roles are often used to of violence against women. justify and reinforce the subordination of women and young people at home as well as in economic The organization chose to place their family drama and political realms. If in mainstream media, wo- in the historic colonial city of Granada, one of the men are consistently seen as caregivers and not as most beautiful and touristic cities in all of Central capable economic managers, decision makers or America, because as a city in transition, it reflects leaders this impacts cultural norms and percep- the rapid economic and social transformations tions. Bank explains, the country and the region are undergoing. Like the British and North American television series, We wanted to make a family show, because part of Downtown Abbey or All in the Family, Contraco- our understanding of the world is that what goes rriente profiles a family responding to the society on in families reflects what is going in society and transforming around them. For years Nicaragua vice-versa and all of the issues of power and autho- was known as the land of volcanoes, lakes, poetry, rity and autonomy and who gets to make decisions and Sandinista revolutionaries. Today it is recogni- and who has access to resources and what you do zed as a hot spot for retirees, tourists and global bu- with those and how that all works is true on the mi- sinesses seeking land, business opportunities, and cro and the macro level and is often imbued with

MEDIACIONES Nº15 ISSN 1692-5688 JULIO-DICIEMBRE 2015 all kinds of cheap labor - from factory laborers to culates the relationship between globalization and sex workers. An increased focus on gender in po- structural violence as “the searing unevenness of verty alleviation strategies such as free trade zones capital’s investments and disinvestments, the so- or micro-credit plans identifies women as critical cial costs of the privatization of public life, and the economic contributors but it does not take into ac- excruciating predations of all manner of state vio- count that women or girls may not have control lence.” (Katz, 2001, p. 1214). Katz is careful to point over the resources they generate. Most recently out the importance of analyzing both globalization Nicaragua is garnering attention over a hotly con- and its encounter with existing social relations and tested new inter-oceanic canal, being built by the material social practices in particular places. While Chinese. If completed, this project will inevitably recognizing the importance of an in-depth analysis introduce a new set of economic and environmen- of any one place, she calls for a gendered opposi- tal transformations and challenges. tional politics that moves across scale and space, an approach that is situated, but at the same time Globalization has presented opportunities as well scale jumping and geography crossing. (Katz, 2001, as new forms of exploitation for Central American p. 1216). women and girls who face increasing levels of violence in both the private and the public spheres. By focusing on the experiences of one family ba- Across Central America and the Caribbean, migra- sed in Granada, Puntos presents a situated feminist tion and the sexual exploitation of adolescents, analysis of globalization within a fictional genre. have increased as communities confront the pres- They use non-actors struggling with these issues sures of diminishing social services and reduced in their everyday lives, situate them in a neighbor- economic and educational opportunities. Bank hood in transition and then grapple with questions, explains the urgency of representing how adoles- processes and partnerships that extend far beyond cents are coerced into abusive sexual relationships the city of Granada, Nicaragua. Through this repre- within this larger economic framework; “The issue sentational strategy and by activating a regional of the commercial sexual exploitation is a problem advocacy network in the development and distri- that has exploded all over the world. It exploded in bution of the project, the organization is also, I su- many other parts of the world, in Asian and Eastern ggest, working towards Katz’s vision of a gendered Europe and its exploding here now, with all of the oppositional politics. Their strategy is deeply im- things that are connected to that such as organized mersed in a local context but also seeks out regio- crime, drugs, smuggling and trafficking.” (A. Bank. nal and international connections to address the Interview by Elizabeth Miller. Video Interview. Ni- impacts of globalization on women’s lives. caragua, September 28, 2012).

Through the series, Bank and her production team Networks and organizations as suggest that while economic trends such as tou- protagonists in a collaborative rism, free trade zones, and micro-credit have been process introduced as ways to involve women in the global economy, they do not necessarily ensure women’s When I first arrived to Nicaragua to begin docu- economic autonomy or advancement. Geographer menting script-writing sessions for Contracorrien- and theorist Cindi Katz defines globalization as, “a te, I observed that Bank, rather than reviewing system of social relations of production and repro- scripts or dialogue, was busy preparing for a series duction nourished by uneven development across of consultations. One day she was meeting with a range of spatial scales.” (2001, p. 1214). She arti- trade union organizers and workers to discuss

86 Elizabeth Miller AT HOME, IN BED AND IN THE STREET: FEMINIST MEDIA STRATEGIES FOR SOCIAL ENGAGEMENT the textile workers storyline and the next day she was meeting with representatives of a network For years Puntos has developed media strategies to of organizations working on sex trafficking at the support legal and political processes that advance border. For Bank, developing these alliances was the rights of women. For example in the first te- as essential and creative as developing storylines. levision series, Sexto Sentido, they introduced the Puntos has developed a unique experience in colla- story of Elena, a young girl dealing with domestic borating with organizations, unions, and networ- violence, to raise awareness of the country’s first ks and through strategic alliances they have been law against family violence. This was a law that able to broaden the terms of timely political and Puntos had worked hard to establish in coordina- social debates about the rights of women and gir- tion with the national network against violence ls. They have either developed or tapped into exis- that they helped form. The law had the potential to ting regional, national and international networks save women’s lives but was not well known. In one to create representational strategies, shape public episode Elena begs her mother to leave an abusive stories and contribute to campaigns and actions. relationship and explains to her how she might use In explaining the powerful combination between the law to protect herself. By informing her mother, networks and media, Bank explains, “this strategy Elena was simultaneously informing thousands of helps us get to places in ways that laws and policies Nicaraguans watching the episode. Over the next don’t.” (A. Bank, comunicación personal, 28 de sep- several episodes, the organization demonstrated tiembre 2012). Their unique version of crowdsour- how Elena’s mother or any Nicaraguan woman cing knowledge and collaborating with networks might use a legal mechanism in coordination with has been effective in challenging the cultural con- support networks to address the violence she was texts that influence behaviors, policy and political facing. frameworks. Documentary maker and media theorist Margaret Political scientists Margaret Keck and Kathryn Si- McLagan suggests that globalization and the on- kkink discuss the potential of transnational advo- going expansion of mass media, popular culture cacy networks to reach beyond national legislation and consumerism have resulted in the decentrali- and policies. These networks are made up of “ac- zation of democratic practices and that “media are tors working internationally on an issue, who are not simply conduits for social forces, but rather are bound together by shared values, a common dis- key sites for the definition of political issues and course, and a dense exchange of information and communities and the making of active and atten- services.” (Keck & Sikkink, 1998, p. 89). In descri- tive publics.” (McLagan, 2005, p. 223). Sociologist bing the potential of these networks they explain, Manuel Castells also maintains that communication is a central form of power. He argues that whi- What is novel about these networks is the le opposition and dissent are connected to econo- ability of non-traditional international ac- mic, political, military, ideological and cultural con- tors to mobilize information strategically to tradictions of power, they come into play through help create new issues and categories, and emotions of hope or outrage that are circulated via to persuade, pressurize, and gain leverage networks and large scale communication proces- over much more powerful organizations ses. (Castells, 2012). Puntos has developed methods and governments. Activists in networks try to activate publics by initiating communication not only to influence policy outcomes, but processes across a range of platforms to inform, to to transform the terms and nature of the de- frame issues, and to engage people in public deba- bate. (Keck & Sikkink, 1999, p. 159). tes and political processes. So for example while

MEDIACIONES Nº15 ISSN 1692-5688 JULIO-DICIEMBRE 2015

Elena, the fictional character, was struggling on na- What makes change is collective action. tional television to find a way to support her mom, And collective action means organization Puntos had initiated a national media campaign and coordination. Things don’t happen ei- using Elena as the spokesperson for a series of pu- ther by magic or strokes of pens or by an blic service announcements. They hosted debates individual thinking “I have a new idea and on their youth radio program, visited high schools, am going to change myself in the world ” it distributed pamphlets that explained how to use happens because people are in interaction. the law, and initiated a range of activities to encou- (A. Bank. Interview by Elizabeth Miller. Vi- rage audiences to develop awareness, analysis and deo Interview. Nicaragua, September 28, empathy towards a character they might otherwise 2012). judge. On the program and through the coordina- ted activities, audiences were introduced to a range of ways they might confront violence in their own Professional convener, Adam Kahane writes that homes, in schools, on the radio, through legislation “the complex and vital challenges we face cannot and in streets. be addressed effectively by any one leader or organization or sector, and so we need to build our ca- Keck and Sikkink suggest that transnational ad- pacity for co-creation.” (Kahane, 2010, p. 127). The vocacy networks are political spaces, in which di- script consultations for Contracorriente facilitated fferently situated actors negotiate, formally and a means to co-create storylines through a meanin- informally, the social, cultural and political mea- gful exchange of information, ideas and insights. nings of their collaborative efforts. Their analy- The group was able to socialize diverse perspecti- sis helps underscore why Puntos has invested so ves and experiences related to sexual abuse and much time and energy in engaging networks and the sexual exploitation of adolescents that were not organizations as key protagonists in the both the circulating publically in other research forms or re- development and the dissemination of their media ports and then apply the collective insights to cha- initiatives. By convening groups to review scripts racter development. Group consultations in some or discuss outreach, Puntos is cultivating a unique cases led to a significant reworking of a character. political space and a method for groups to articula- This was the case in the development of Jessica, te values, share strategies, develop skills, and ulti- the young protagonist in the sexual exploitation mately strengthen networks. storyline. Bank explains,

To represent the sexual exploitation of adolescents One thing that was unanimous in develo- in the burgeoning tourist economy of Granada, the ping Jessica’s story was that the organiza- Contracorriente team called on the expertise of tions working on the issue didn’t want her a network of thirty organizations across Central to be portrayed in absolute poverty, to make America, working against the trafficking of adoles- getting involved in sexual exploitation seem cents. Puntos hosted individual and group consul- like a purely economic endeavor. They tations over several years to develop the storylines wanted to show that the things that make and to shape engagement strategies. Bank explains a girl vulnerable to getting into this kind of how this consultative approach is informed by a situation are often not largely economic. long-standing commitment to the power of collec- They are social and emotional, what they tive processes. call factors of vulnerability. And although poverty is one of them, it is not necessarily the main one. Another thing is that they

88 Elizabeth Miller AT HOME, IN BED AND IN THE STREET: FEMINIST MEDIA STRATEGIES FOR SOCIAL ENGAGEMENT

did not want for it to look like there was a the chance to get together in this way its not cause and effect relationship of sexual abu- the kind of work they do regularly, so it puts se in childhood leading to being involved them in a whole different space, plus they in commercial sexual exploitation. We had learn about television and storytelling. (A. thought Jessica would be a survivor of se- Bank. Interview by Elizabeth Miller. Video xual abuse and they said ‘please don’t do Interview. Nicaragua, September 28, 2012). that!’ (A. Bank. Interview by Elizabeth Mi- ller. Video Interview. Nicaragua, September The consultants and the scriptwriters were tasked 28, 2012). with identifying thorny issues and also imagining possible resolutions to the problems addressed. In this respect Puntos was also facilitating an opportu- A significant mandate for this storyline was to shift nity for creative speculation. In the collaboratively the stigma away from Jessica and her mother, as created publication, Speculate This!, speculation is mothers are too often held responsible for whate- defined in the following way, “Speculation, we sha- ver troubles their children encounter. Instead the ll argue, is essentially always about potentiality; a groups wanted to focus on the role of the perpetua- reach toward those futures that are already latent tors of violence and the systems that support them. in the present, those possibilities that already exist It was also important that Jessica not be framed embedded in the here and now, about human and simply as a victim. How do you tell the story of a nonhuman power, which is, in effect, the ability to teenager who is raped and trafficked, and still give become different from what is present.” (Uncertain her agency? Scriptwriter Helen Dixon describes the Commons, 2013, p. 5). challenge, “We want to show how this one girl has been victimized by sexual exploitation and how Puntos’s approach to television drama has been to this one guy is drawing her in but also show how move beyond the representation of reality and to she is active in putting her foot in it, and we have to use fiction as a vehicle to present potential circum- also show how she is active in getting out of it. This stances for transformation. Bank explains, “We are is what we owe to young women is to raise them up trying to take the reality of people’s lives and give as social subjects.” (H. Dixon. Interview by Eliza- it a push to get people to think in new ways about beth Miller and Deborah Vanslet. Video Interview. their experience and their lives so they might then Nicaragua, September 28). be able to do things differently.” (A. Bank. Inter- view by Elizabeth Miller. Video Interview. Nicara- Bank is quick to point out that creative consultation gua, September 28, 2012). So for example Milagros with thirty organizations is not the most efficient Herrera, a community organizer in Granada wor- way to write or validate a script but that the con- king against sexual exploitation and trafficking, sultations played a vital role in permitting groups identified the lack of coordination between the to reflect on their ongoing work in a new way. She police and community organizations as an area to explains: improve. Her hope was that the show might both accurately represent the alienation that groups or One of the interesting things about having individuals feel when trying to communicate with consultations with various groups at the the police, but also lead to a better coordination of same time is that they get to talk to each other services for both victims and families.1 about their own experience. And so in addi- Milagros tion to working on the stories they are wor- concerns presented a unique creative challenge king on their own thinking about what they are doing, and their own practice. Having 1 En la casa, la cama y la calle, directed by Elizabeth Miller (Nicaragua, 2014), DVD.

MEDIACIONES Nº15 ISSN 1692-5688 JULIO-DICIEMBRE 2015 for the writers and producers. How do you repre- dictions, and with whom audiences can identify. sent the weaknesses of a police force, such as lack (Svenkerud et al, 1996). It was a strategy used in of training, corruption, excessive violence or even the development of Jessica’s character and the re- abuse, and at the same time collaborate with them presentation of the police force. Strategic ambigui- to change the system? ty was also helpful as a method in forging alliances across ideological divides. When I asked Eloy Developing strategic alliances with Isaba, Executive Secretary of the National Coalition non-conventional partners against Human Trafficking, what it was like part- nering with a feminist group, he responded with a baffled expression. I restated the question asking A critical step in producing Contracorriente was to what it was like to forge a relationship with Pun- forge strategic alliances with police, business ow- tos and the other groups engaged in writing the ners, and even government agencies that are gene- scripts. He replied that it had been wonderful, and rally loathe to coordinate with non-profit groups, later laughed that he hadn’t really thought of Pun- much less feminist ones. The Contracorriente pro- tos as a feminist organization. Through the creative duction team felt their perspectives were impor- process of co-creation, both the police force and the tant and recognized that they could be critical pla- Government’s Coalition Against Trafficking had put yers in implementing change. In representing the aside the general government claims that feminist police, the challenge was to convey the very real groups were hostile, hysterical or even hard to work problems of the system without portraying them with. Eloy Isaba had actually put aside the fact that as entirely hopeless or corrupt. The writers had to Puntos was a feminist organization. He was more find a way to convey just enough reality for a credi- focused on the group’s shared accomplishment of ble story, without alienating the collaborating poli- rescuing their young protagonist, Jessica. For Pun- ce, who would eventually be responsible for impro- tos and government officials, co-creation was a me- ving the system. In both the fictional and the social thod that permitted all partners to put aside diffe- advocacy realm, Puntos was piloting new forms of rences and engage in a shared creative endeavor. collaboration and had to strike the right balance between applying pressure and offering support Initially I had understood the script consultations for the services to work better. Bank explains, “In as a strategic way of validating scripts and buil- the program we had to demonstrate that one way ding social engagement around the television se- to get the system to work is by collaborating with ries. While making En la casa, la cama y la calle the community organizations that are doing local and through interviews with Eloy Isaba and other advocacy work.” (A. Bank. Interview by Elizabeth partners, I came to realize how the creative pro- Miller. Video Interview. Nicaragua, September 28, cess itself had led to a series of unique processes 2012). Both the creative process and the resulting whereby new relationships, networks and collec- fictional scenarios played a role in encouraging a tivities were forming. In discussing the significan- range of players to come together and imagine new ce of building relationships in social movements, ways to address ongoing problems. Co-creation in theorist and organizer Marshall Ganz explains that developing fictional storylines became a rehearsal an exchange of information transforms into a rela- for future on-ground collaborations. tionship when “a mutual commitment of resources is made to a shared future.” (Ganz, 2013, p. 513). In Strategic Ambiguity, a term frequently referred scripting the sexual exploitation story, the shared to in the script sessions at Puntos, is central to future became the resolution of Jessica’s storyline storytelling and entails developing characters who and collaboration facilitated what Ganz refers to as make mistakes, who are rife with personal contra-

90 Elizabeth Miller AT HOME, IN BED AND IN THE STREET: FEMINIST MEDIA STRATEGIES FOR SOCIAL ENGAGEMENT a relational capacity that facilitates future collabo- pects of communication has been a long-term com- rative actions. (Ganz, 2013, p. 514). By facilitating mitment for Puntos. For Contracorriente, the orga- a creative space, Puntos established trust with the nizers decided to create an all women’s crew. Bank diverse groups involved and set the stage for future explains, “we considered that in addition to being potential actions and coordination. about women’s rights the show could be a school for learning production and it would up the skill level The groups involved in the creative consultations of women makers in Central America.” (A. Bank. were also learning the elements of storytelling. Interview by Elizabeth Miller. Video Interview. Ni- They were helping to construct relatable charac- caragua, September 28, 2012). Because the film and ters, compelling plots, and reflexive messages, a television industry in Nicaragua is small, they had skill set that could be applied to future endeavors. to recruit women from the region. They offered on Ganz suggests that developing stories is critical in set training in production, sound, and cinematogra- building social movements and emphasizes the va- phy. They involved Latinas working in Hollywood lue of a public narrative, the story of a movement, to help the crew reinforce skills in scriptwriting, as a process where a group defines a set of values directing, acting, script supervision and continuity. that can lead to actions. (Ganz, 2013, p. 522a). While offering training, Puntos was also fostering Throughout the script writing process and the valuable networks for future productions. production of Contracorriente, Puntos collabora- ted with more than two hundred organizations in Another critical component in the Contracorriente six different countries. And through these consul- production was to cultivate a safe space for the ac- tations, they facilitated processes of learning and tors, crew and scriptwriters in order to address the creative problem solving. They convened a unique complex issues that might arise. The organization creative space to explore public narratives around encouraged peer support, made therapists availa- the impact of globalization on women’s lives as ble to actors and scriptwriters, and offered ongoing well as strategies to confront personal and structu- workshops to address the long-term impact of vio- ral forms of violence. lence, shame and secrecy. They thought carefully about how to stage sensitive scenes, like when Jessi- On set: a site to explore new modes ca is drugged and raped by Richie, who she thought of production was her boyfriend but is actually a pimp. With the sexual exploitation storyline, Bank and her team had to balance how to offer the young actor enou- Feminist media groups like Puntos advocate for gh support, but also find a way to depict the horrific complex and responsible ways to represent wo- nature of the violent acts. She explains, “On the one men and the challenges they face. While scholars, hand we had to figure out how to stage the scenes artists and organizations have developed a range to protect the actress. On the other hand we had to of methods to analyze how women are represented figure out how to evoke a sense of danger and vio- in the media, there are fewer projects where the lence. If we didn’t show enough then the audience explicit mandate is to get more women behind the might not know how horrible this is and if we show camera.2 Training and involving women in all as-

2 The International Association of Women in Television and cartoonist Alison Bechdel that rates a program favourably if Radio conducted a multi-country participatory research at least two named female characters talk to each other about project to improve conditions for women in the media called, something other than a man. Film Fatales claims that less than “Towards Gender Sensitive Indicators for Media: Best Practices fifteen percent of independent features are directed by women for Gender Perspective in Media and in Media Content.” and offers mentorship and support to American women Cinemas in Sweden are introducing a gender-bias rating filmmakers. for films using the “Bechdel Test,” designed by American

MEDIACIONES Nº15 ISSN 1692-5688 JULIO-DICIEMBRE 2015 too much it might be sensationalist.” (A. Bank. In- 2005, p. 371). By acknowledging the production it- terview by Elizabeth Miller. Video Interview. Nica- self as an opportunity for personal and collective ragua, September 28, 2012). reflection, Puntos encouraged actors, the crew and collaborating organizations to analyze the impacts In the final episodes of Contracorriente the young of gender inequality, violence and globalization protagonist, Jessica turned her life around by spea- on their own lives. By forging a safe space and ac- king out about her experience with sexual abu- companying the staff through complex emotional se, exploitation and traffickers. Tamara Salas, the processes, they set the stage for both personal and young actor who plays Jessica, similarly became a social transformation. national spokesperson, visiting schools and encouraging girls to break silences. Once the program Multiple tasks, platforms, publics, was on television, Salas and the two other lead ac- and challenges tors in the storyline, became full time organizers of national and regional events. The three actors were Early on Puntos discovered that by delivering con- responsible for coordination with the local poli- tent across many platforms, over time, they could ce, the schools, community centers, the press and increase the potential for impact. So in the case of everyone involved in the larger campaign, “Alert Contracorriente, in addition to airing eighteen epi- and Eyes Wide Open.” Salas explained that her in- sodes on mainstream television they developed a volvement in the campaign impacted her role in range of companion projects including a parallel ra- her own family and that she was increasingly con- dio series, talk shows, a national campaign against fident confronting gender issues at home with her the trafficking of adolescents and more. In explai- mother and boyfriend. The two other actors on the ning the logic of a multi-authored, multi-platform, tour, who play the mother and the pimp respecti- multi-public approach, Bank is quick to explain that vely, also felt that with the support of Puntos, they media on its own does not change the world. “You were able to address personal issues and this put need to combine that with all kinds of other actions them in a better position to help youth. Both actors on the ground.” (A. Bank. Interview by Elizabeth had experienced violence at home as children and Miller. Video Interview. Nicaragua, September 28, as a result of the series and their role on the tour, 2012). One strategy that the group has used to en- they had revisited the silences in their own pasts. sure diverse forms of public participation has been In the documentary they candidly discussed the to design strategies that take into account unfore- complexity of integrating their position as spokes- seen connections or plans. Media scholar Virginia persons with their own histories of violence. While Lacayo, formerly the director of Sexto Sentido, has challenging, the series and the tour had permitted used complexity science to articulate why descri- them to come to terms in a new way with the vio- bing values or processes that lead to effective inter- lence and trauma in their own lives. ventions is more helpful than trying to articulate best practices. She suggests that the danger in pro- Prioritizing a safe space is very much in line with moting templates or success stories is that they can the group’s practice of valuing the everyday as a inhibit innovation and flexibility within the field. site of potential transformation. Media theorist (Lacayo, 2007). She also suggests that rather than Clemencia Rodriguez explains how “Puntos works defining a fully defined set of outcomes at the onset towards developing awareness? and the empower- of a project, Puntos typically develops a range of ment of individuals who will in turn collectively initiatives, tests them out, and then figures out how dismantle dominating cultures and re-invent new to link the diverse pieces together. (Lacayo, 2007). forms of more equitable interaction.” (Rodríguez, Planning carefully but staying flexible and opening

92 Elizabeth Miller AT HOME, IN BED AND IN THE STREET: FEMINIST MEDIA STRATEGIES FOR SOCIAL ENGAGEMENT up processes for consultation, collaboration and competition. When Puntos initiated Sexto Sentido new possibilities for circulation, permits partners, there were four national television channels but by staff and even fans to take initiative and assume the time they began airing Contracorriente there diverse forms of leadership. were over twenty channels. More channels have meant lower reception ratings; for Sexto Sentido While the goals and the reach of Puntos are wide, 90% of polled audiences had seen the program resources are frequently scarce and as a result, and 60% were regular weekly viewers whereas for the organization has cultivated a strategy they call Contracorriente 26% of polled audiences have seen “todologos” or permanent multi-taskers. Bank exp- the program and 20% were watching it regularly.3 lains that multi-tasking serves the group in a num- Nicaragua is a small country so 20% translates to ber of ways. approximately half a million viewers.

“Having people do more than one thing is not just With the world on their screens, Nicaraguan au- a question of efficiency. When people are involved diences have increasingly high expectations for in various aspects of the work, they have a much production standards. This has implied a higher broader and deeper understanding of what they price tag for each production despite the fact that are doing, so for the actors to be in touch with the television infrastructure in Nicaragua has not im- organizations, in the thematic consultations and in proved much in the last decade. Beyond produc- the implementation, it gives them a whole different tion costs, certain stations have required payment sense of what this is all about.” (A. Bank. Interview to air the program. To pay for this, Puntos created by Elizabeth Miller. Video Interview. Nicaragua, additional alliances with groups interested in the September 28, 2012). impact that the show could have. Funding for the program has come from a range of foundations but Bizmark Martinez, the charismatic actor who plays continues to be a challenge for non-profits and me- Richie, the pimp, played a critical role in the natio- dia initiatives in the region.4 nal campaign against sexual exploitation. On tour his role was to facilitate dialogue about the male characters in the series and to inspire young men to think about masculinity and to rethink their relationships to systems of exploitation. His role has been critical in demonstrating that the struggle against violence involves men taking risks and speaking out. While Richie and other young actors in the series began as protagonists on television, with training and support they become protagonists off screen as well and ultimately strengthen the reach of the project. 3 There is no system of rating in Nicaragua, but external evaluations were done for both series. For Contracorriente, CIET International (http://www.ciet.org/en/country/nicaragua/ The media landscape in Nicaragua shifted consi- ) conducted surveys involving 6,000 people thirteen years and derably in the eight-year lapse between the two te- older in forty-three urban and semi-urban areas all over the country. The survey included questions to discover whether levision series and Puntos has had to adapt to an people had watched Contracorriente and whether they’d seen/ increasingly distracted and fragmented audience heard about the campaign “Alert and Eyes Wide Open.” base. While television is also still widely popular 4 Private and public funders from Spain, Germany, Holland, Norway, Mexico and the U.S. include but are not limited to: throughout Nicaragua, there is increasingly more Women’s World Banking (US), Ford Foundation, Hivos, United Nations.

MEDIACIONES Nº15 ISSN 1692-5688 JULIO-DICIEMBRE 2015

Conclusion

Puntos has used the series Contracorriente, to make connections between domestic and structural violence and present victims of violence as social subjects, with both complexity and agency. They are using the program to redirect attention from the victim to the perpetrators, and to the systems that enable violence. They are modeling alternative modes of production by offering leadership skills and professional training for women in an industry largely dominated by men. By collaborating with non-profit groups, unions, advocacy networks, police and governmental agencies they use the creative process as a method to gather information, instigate dialogue, co-create strategies of representation and resistance, and then widely disseminate their results across both mainstream and alternative networks. They recognize the potential to impact cultural norms, inspire action and foster alliances at every stage of production. In this way, they are enacting Cindi Katz’s vision of gender oppositional politics by piloting social change strategies that are situated in everyday life but contest global structural inequities. They are using media to activate individual and collective agency in their efforts to contest violence in bed, at home, in the streets, at work, and around the world. And how many other family drama’s around the world are attempting to address the impacts of globalization on women’s lives in a dramatic yet critically informed way?

94 Elizabeth Miller AT HOME, IN BED AND IN THE STREET: FEMINIST MEDIA STRATEGIES FOR SOCIAL ENGAGEMENT

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Kahane, A. (2010). Power and Love: A Theory and Practice of Social Change, (San Francisco: Berrett-Koehler Publishers.

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