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- ‘Everyday Africa’ is an Instagram project which aims at eliminating African stereotypes.
- They photograph everyday life of common Africans to succeed in their initiative.
- With approximately 370,000 followers, it is one of the biggest visual libraries of a continent.
When schoolchildren in Washington, D.C., are asked to say the first thing that comes to mind about Africa, they use words like hot, desert, sand, poverty, hunger, war and Ebola.
These are all accurate things to say about that part of the world — but they reflect an “incomplete” picture, says writer Austin Merrill, who together with photojournalist Peter DiCampo has set out to document African reality beyond common stereotypes.
They are the founders of Everyday Africa, an Instagram community of photographers who strive to capture ordinary moments of life, such as children picking flowers in a field, or girlfriends chatting at a coffee shop. Their Instagram following has topped 370,000.
In addition to the Instagram feed, the book “Everyday Africa, 30 Photographers Re-Picturing the Continent,” recently hit bookstores in Europe, the United States and certain countries on the African continent. The book is filled with images documenting life in Africa that aim to shatter misconceptions often found in Western media.
Readers see a teenager rollerblading in the streets of Dakar, a DJ playing music in Lagos, a couple looking at the Atlantic Ocean in Cape Town. The book displays the full diversity and visual richness of African life.
Both DiCampo and Merrill invited a diverse “community of photographers” from all over the continent to contribute to the Instagram project and the book. Some are professionals, while others are skilled amateurs.
Ethiopian-American writer Maaza Mengiste prologues the book in an essay focusing on the power of the ordinary. “We sometimes forget that no matter what is happening in our lives, ordinary moments find a way to move forward,” Mengiste writes.
Peter DiCampo and Austin Merrill, both Americans, met while serving with the Peace Corps in Ivory Coast. In 2012, they received a grant from the Pulitzer Center on Crisis Reporting in Washington to cover the aftermath of Ivory Coast’s civil war.
While they were interviewing refugees and soldiers, Merrill remembers that around them “the vast majority of life was pretty normal, but that wasn’t coming through in the story that we were trying to put together.”
“We were seeing all these other moments, that were many sorts of truer to our daily life experience in that part of the world,” says DiCampo.
So, they took their cellphones and started to photograph what was around them. They felt, says Merrill, that the normal, everyday scenes of life “might be the most important thing we had to tell about that place, about that moment, instead of the crisis story.”
Media organizations tend to focus on breaking news, often triggered by an evolving crisis. Africa has many of those; but, as Di Campo puts it, “It’s quite difficult to have a global understanding when all you see of other parts of the world are really extreme stories.”
This is the gap that the “Everyday Africa” book is trying to fill; to look at the continent from the inside and from different perspectives.
DiCampo and Merrill, with the support of the Pulitzer Center, have also created media workshops that train elementary school students in the United States on how to document their lives and recognize stereotypes.
“We use the story of how we created Everyday Africa,” said DiCampo, “to engage the students in a discussion of how media representation affects them, their lives and their communities and we use our photography to teach basic photography lessons, so that by the end of the workshop, they have an everyday project for their own school or community.”
This social media model has hit a nerve. “The Everyday Africa platform on Instagram may very well be the biggest visual library of the continent,” writes Ghanaian photographer Nana Kofi Acquah.
“To task African photographers with the burden of changing how the continent is perceived, might be overwhelming,” writes Acquah; but, he adds, “a picture of the real Africa” is slowly emerging. VOA
With the festive season on in full swing, iconic brand Johnnie Walker, is all set to re-energize the country's after-hour culture. Through its one-of-a-kind campaign #RevibeTheNight, the brand brings together beloved music artists like Divine, Ritviz, Lisa Mishra, Taba Chake along with popular indie bands like When Chai Met Toast and Mad Boy Mink, among others to perform live across iconic community spaces in India.
The collaborative effort by Johnnie Walker aims to bring back the after-hour culture through live performances across popular hotspots in India. The brand's goal is drive social regeneration in India and bring back the vibe of socializing through local music artists and reignite the trade, driving social culture by executing the live events with Covid measures in place and a limited capacity audience capacity.
The collaborative effort by Johnnie Walker aims to bring back the after-hour culture through live performances across popular hotspots in India. | Photo by Vishnu R Nair on Unsplash
Prior to the world going into lockdown, the after-hour culture in India bloomed at celebrated community hubs, that eventually became a safe-haven for individuals, a place where they found their sense of self-expression and belonging, that fuelled progress. This community was driven through the culture of live music and enthralling performances that created their very own vibe, a vibe that built extraordinary, forever-lasting relationships. Through #ReVibeTheNight, one can reconnect with this community bringing music curated by artists who have a history of captivating crowds with their one-of-a-kind live experiences. Catch the gigs and live performances for artists in these venues/cities for the live performances.
(Artiicle originally published on IANSlife) (IANS/ MBI)
Keywords: johnnie walker, social, #revibethenight, performances, community, artists, culture, festivity, begin
By Nikhila Natarajan
In a continuing study on the effects of machine learning (ML) on public conversation, Twitter has confirmed that its algorithms amplify right-leaning political content. "In six out of seven countries - all but Germany - tweets posted by accounts from the political right receive more algorithmic amplification than the political left when studied as a group," Twitter blogged.
"Right-leaning news outlets, as defined by the independent organisations, see greater algorithmic amplification on Twitter compared to left-leaning news outlets." Since 2016, Twitter users are able to choose between viewing algorithmically ordered tweets first in their home timeline or viewing the most recent tweets in reverse chronological order.
"An algorithmic home timeline displays a stream of tweets from accounts we have chosen to follow on Twitter, as well as recommendations of other content Twitter thinks we might be interested in based on accounts we interact with frequently, tweets we engage with, and more. "As a result, what we see on our timeline is a function of how we interact with Twitter's algorithmic system, as well as how the system is designed."
The new research is based on tweets of elected officials of House of Commons members in Canada, the French National Assembly, the German Bundestag, House of Representatives in Japan, Congress of Deputies of Spain, House of Commons in the UK, and official and personal accounts of House of Representatives and Senate members in the US, as well as news outlets, from April 1 to August 15, 2020.
Tweets about political content from elected officials, regardless of party or whether the party is in power, do see algorithmic amplification when compared to political content on the reverse chronological timeline. | Photo by Sara Kurfeß on Unsplash
The study was conducted by Ferenc Huszar (Twitter, University of Cambridge), Sofia Ira Ktena (now at DeepMind Technologies), Conor O'Brien (Twitter), Luca Belli (Twitter), Andrew Schlaikjer (Twitter), and Moritz Hardt (UC Berkeley).
The questions probed were:
How much algorithmic amplification does political content from elected officials receive in Twitter's algorithmically ranked Home timeline versus in the reverse chronological timeline? Does this amplification vary across political parties or within a political party?
Are some types of political groups algorithmically amplified more than others? Are these trends consistent across countries?
Are some news outlets amplified more by algorithms than others? Does news media algorithmic amplification favour one side of the political spectrum more than the other?
Tweets about political content from elected officials, regardless of party or whether the party is in power, do see algorithmic amplification when compared to political content on the reverse chronological timeline. (IANS/ MBI)
Keywords: algorithmically, timeline, algorithmic, tweets, political, survey, twitter, study, germany, skew
Even as India celebrates reaching a milestone of 100 crore Covid vaccine doses, Snapdeal co-founder and COO Rohit Bansal on Friday lauded a man who facilitated 64 registrations for the vaccine on the CoWin portal. In a video shared on his Facebook and Twitter page, Bansal hailed Sonu Kumar as a "citizen celebrity".
Bansal said that Kumar not only helped "just co-workers and family but complete strangers too. With patience, empathy and uncanny jugaad". He added that Kumar joined him "many moons ago" and completed his open school from a parking lot.
"Education has helped this wonderful man enable others to get India back on track. Bravo! The CoWin portal on Thursday mentioned that a total of 100 crore vaccine doses has been administered so far to the eligible population under the vaccination drive in India, nine months after the nationwide inoculation programme was started to protect the people against Covid-19.
"It's a cause of significant celebration and happiness," Bansal said in the video. He said that while people just help a few around them, Kumar "bridged the digital gap" for 64 people, who were finding it difficult to register themselves online on the vaccine portal. Kumar said he doesn't feel that he has contributed much towards the 100 crore vaccine dose count. "I have been able to help only 64 people, if I was able to help more I would have been happier." (IANS/ MBI)
Keywords: cowin, covid, india, people, Rohit bansal, Sonu kumar, vaccine, snapdeal, registrations