The Egypt Project: Empowering Citizen Journalism in a non-Traditional Way

Being in Egypt is  interesting, not only for watching how a post-revolution society is like, enjoying a warm climate in the winter. But,  from a media researcher perspective, the country with more than 23 million internet users, 9 million Facebook users and over 71 million mobile subscribers form an interesting social media case.  Last Sunday I came back from Cairo, after spending two weeks in my home city, attending a series of meeting to get a new project starting .
Among the dilemma over a ‘superpower’ of people’s media proved by the ongoing Arab uprisings, the Interactive Cultures Center is a leading partner in an innovative research project to encourage disseminate citizen reporting in Egypt, by helping citizen journalists to bring their reports to the mainstream media. The center is joining forces with the not-for profit technology company, Meedan and the leaning independent newspaper in Egypt, Al Masry Al Youm.

The Egypt project is about gathering journalists in a virtual newsroom to report on  one specific theme, they would build on each other reports. The theme is  the upcoming parliamentary and Shura (Upper House) elections in Egypt, Meedan is building this newsroom, AMAY is publishing it and the professional journalists are their web and social media department staff, citizen journalists are recruited by a local partner and both citizens and professional journalists are to be receiving training workshops on a variety of topics that help them develop their reports.

Interactive Cultures is developing a curriculum for these trainings; so the citizens would learn more about how to make their media production appealing to the mainstream media, and journalists will get closer to the social media sphere, what does it mean that media is becoming social and all of them would learn how to verify the citizen reports.

Nevertheless, under the leadership of Prof. Tim Wall, I am monitoring the project and evaluating it .
The  project is going to benefit  both types of reporters  are benefiting, a  traditional way of improving popular journalism is conducting direct training to people on how to use social networks and make media reports, what should not be the case a country that already has a very active citizen journalists, proved by the vibrant networks formed organically by people during and after the revolution to cover the protest news across the most populated country ( 85 million) in the Arab region.

In other words, quality citizen reports are needed for all societies, but where the good citizen journalism practices are, the priority is to get these reports out of the social networks and make them available for people who do not use the internet. This is the gap the project is expected to cover; to optimize the audience (consumers) rather than the reporters (producers).

Now, I am  again booking a new return ticket to Cairo, to attend  the international conference of The Faculty of Mass Communication in Cairo University, in collaboration with the University of Westminster  and UNESCO, I’ll  present a paper about the interaction between social and traditional media, in which, the Egypt project is strongly present.

Egypt: Changing Reality with Virtual Tools

MA Social Media student Noha Hefny considers the role of social media in recent events in Ciaro.

In the same month, two peoples of the Middle East took to streets, trying to overthrow dictators who had been ruling them or more than 25 years. Cairo and Tunis share the same problems of poverty, unemployment and continuous price hikes. And both of them were counted among the ten worst countries to be a blogger, and also they were listed as enemies of the internet.

If you gave three sheets of paper to three persons, everyone will use it differently, a child would make a toy out of it, an artist should draw something, a poet may write a verse on it…etc, as everyone is using what he or she gets according to what he needs.

In the Middle East, common people are not allowed to communicate freely, because of political oppression, social conservatism or both. Now, a new type of media has enabled them to voice their opinions with the option of staying anonymous, allowing them to be heard. The story started with a citizen journalism covering the few protests taking place initially and developed with social networks aiding mobilization of offline actions on the streets.

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Music, Heritage and Cities at Un-Convention

Members of the Interactive Cultures research group attended/took part in a panel at the recent Un-Convention event in Salford writes Paul Long.

Jez Collins, the originator of the Birmingham Popular Music Archive chaired a panel consisting of: Dr Marion Leonard, who was the curator of Liverpool’s The Beat Goes On, and who oversees on ongoing project to examine how museums collect and preserve (or not) popular music; Alison Surtees of the Manchester District Music Archive; Eve Wood, the director of the documentary (2001) and Mike Darby of Bristol Archive Records.

Speakers offered insights into each of their projects, revealing the variety of practices in this field, the public appetite for music heritage and the innovations and connections that curation has been making. Surtees for instance outlined how the online MDMA had generated input from around 2000 individuals, half of which regularly posted material on the site. Some of these were members of the bands featured and indeed, these explorations of music past also connected with the present scene in ways that avoided the potential necrophilia of such work.

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New Centre Blogs

Two new blogs to bring to your attention.

First up is The Treehouse. The Treehouse is the name we’ve given to the shared office of the Centre for Media and Cultural Research on the 4th Floor of Baker Building at Birmingham City University.

 

This website reflects the casual, fun, collegiate and collaborative aspects of the working environment.

I’d also like to introduce you to Popular Music History – So What? which is my posterous blog and serves as a PhD research scrapbook.

 

It features some of the interviews I conducted around the end of 2008 with academics, curators, authors and media producers which were intended for a radio documentary about the political economy of popular music history activity. This endeavour (which I pursed outside my day job)  was promoted by my involvement as a volunteer with Home of Metal. This was a little while before the centre’s first studentship had been announced. Working through these ideas meant that when the position was advertised I was in a great place to write a proposal.

Dave Harte interviews Noha Atef

Dave Harte, leader of our MA in Social Media talks to new international student Noha Atef, who runs the website Torture In Egypt.

Birmingham Zine Festival

Discussions of fanzines are often in the margins of media and cultural studies literature but they do appear. A recent example is Chris Atton’s article Popular Music Fanzines: Genre, Aesthetic and the “Democratic Conversation” in Popular Music and Society (33.4, 517-531, 2010).

I was asked to talk about music fanzines at the Birmingham Zine Festival. This informal presentation relates my experiences of music fanzines around the end of the 1980s.

The Ins and Outs of Music Fanzines by Interactive Cultures

Social capital & social media

Social capital, and associated terms such as “whuffie” (Doctorow, 2003) or “guanxi” come up often in the comments and thoughts of social media users. It is often used in the sense of a currency, or stock, held by an individual where “I have a lot of social capital” is an online equivalent of “I have a lot of money” in the physical world. Continue reading

Social Media Reversals

At work in Groningen
Ard at work: Ard Boer (left), New Music Labs, Groningen

Last week, I spoke here about attempts towards a formula for measuring social media engagement about a music artist on Twitter. That was one of the conversations I had with New Music Labs founder Ard Boer, whose Tribemonitor service tracks social media and online metrics for artists and labels.

I’ve been working on a small, IDEA-funded Knowledge Transfer project with New Music Labs to help think through new ideas and approaches for Tribemonitor.

Ard and I spoke at length about the idea of innovative strategies for independent artists in the social media space. At present, a default approach appears to be to do whatever it takes to get followed and increase your audience size.

Artists will encourage their fans to ‘Add me on Facebook, Follow me on Twitter, Sign up to my email list, Friend me on MySpace, Subscribe to my RSS feed, Go to my blog…’ and so on. The idea behind this strategy is that the artist can then continue to develop their fanbase as a discrete number of people, and communicate with them (broadcast to them) on a regular basis.

However, a reflective discussion with Ard about the realities and psychology at work within the social media space suggest that an alternative strategy can be identified. It’s one that has a potential to use the medium more effectively, and around which an innovative business development can be formed.

And that’s to turn the process inside out.

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Measuring popularity in online music: social media, maths & the influence of fans


Photo by raygunb

I’ve just been in Groningen in the Netherlands to brainstorm and research Tribemonitor – an online information service to artists and record labels, created by New Music Labs.

The purpose of Tribemonitor is to measure the popularity of music artists based on social media buzz across a range of platforms, rather than on sales or radio airplay.

Measuring online buzz is not a simple thing to do, however. There are some scrapable and publicly accessible pieces of information such as Last.FM plays or numbers of MySpace friends that are obvious and countable. These simple statistical measures that make a good starting point that can act as a basis for artist consultancy (or reassurance): number of MySpace plays, number of artist followers on Twitter, number of YouTube views, etc.

But these metrics only measure what could be described as fan activity, rather than a useful and measurable social score, which would have more to do with the extent to which that artist is being discussed outside of their own sphere of influence. And this is the reason for this intervention.

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