69204 Entertainment Education A Solution for Cost Effective High Impact Development Communication An Entertainment-Education Report June 2011 oreword Table of Contents and Acknowledgements CONTENTS Executive Summary Project Goals, Methodology and Outputs Project Findings Proposed Next Steps Appendix ACKNOWLEDGEMENTS This report provides an overview of the findings of a six month project on entertainment education made possible through the generous support of an innovation grant from the World Bank Institute Innovation Competition. This work is the result of an intense six-month, two-country study that involved inputs from a large number of individuals and institutions across sectors, disciplines and geographies. We extend our thanks to those stakeholders, both abroad and in the United States, who gave of their time and offered their expertise, sharing insights and exploring possibilities. The project team was led by Margaret Miller (CGAP) and included Rocio Schmunis (LCSHH), Monika Samtani, Pritika Chatterjee, Aditya Mehta, Vicky Dhir, Sean Southey, Anya Maria Mayans, Jonah Rexer and Anna Greer. Members of the Innovation Competition grant included Mattias Lundberg (HDNCY), Arvind Gupta (WBIIN), Jacqueline Devine (TWIWP), Niraj Verma (SASFP), Mehnaz Safavian (SASFP), Maria Poli (LCSSO), Rodrigo Serrano-Berthet (LCSSO), Peter Siu (CGAP) Raj Nallari (WBIGC) and Natalia Cieslik (EXTCC). Support for the June 20 conference was generously provided by Jeanette Thomas and Shweta Banerjee (CGAP) and Jose-Manueal Bassat, Alexis Sampson and Ekaterina Svirina (WBI). Finally, the team benefitted from valuable support from the CGAP and FPD management teams including Tilman Ehrbeck and Alexia Latortue (CGAP) and Frank Sader, Klaus Tilmes and Janamitra Devan (FPD). 2 Executive Summary In international development, too often the magnitude  A lack of institutional mechanisms to promote cross- of the challenges far exceeds our ability to provide sector and cross-country learning, disseminate good practical, effective solutions. So when a potentially practices and promote strategic outreach. transformational technology or approach comes into view, which can reach scale in a cost effective way,  Activities focused in the health sector, with greatest every effort should be made to seize the opportunity. depth in HIV/AIDS and reproductive health / family Ramping up systematic, sustainable, scalable planning, and relatively little or no attention to other entertainment education could be one of these topics such as financial literacy and capability. opportunities. A Scoping Study on Extending Entertainment Education Mass entertainment media are ubiquitous. Worldwide 1.1 billion households have a TV, including more than 95 Between January and June 2011, CGAP and the Finance percent of Mexican households and more than 60 and Private Sector Network at the World Bank undertook a percent of households in India. Broadcast media have scoping study to determine the potential for expanding the proven a powerful tool for the spread of ideas and use of entertainment education for economic and social behavior change. The introduction of cable or satellite development with a focus on financial literacy and services in Indian villages has the same effect on fertility capability. Research was done in two major developing rates as adding several years to the average length of country media markets – India and Mexico – culminating in a girls’ schooling1. Analysis suggests this change is largely conference in Washington, D.C. on June 20-21. The the result of behavior modeling on characters in conference assembled leaders in entertainment education scripted radio and television dramas – a commonly from around the world to discuss how to extend the use of known type of entertainment education2. these tools and increase the impact they could have on development. There was broad interest in the World Bank playing an increased role in entertainment education. In Definition of Entertainment Education addition to the conference and this overview report the Entertainment education is the process of project produced other background documents including purposely designing and implementing a media country reports and a video on entertainment education. message both to entertain and to educate, in Funding for this work was provided through the World Bank order to increase audience members’ knowledge Institute’s Innovation Competition grant program. about an educational issue, create favorable attitudes and change overt behavior. (Singhal & Proposed Next Steps Rogers, 1999; Singhal & Rogers, 2002) 1. In partnership with commercial entertainment media and other key stakeholders such as civil society and governments, develop an institutional approach to Challenges Facing Entertainment Education entertainment education at the country level. While entertainment education has been employed for 2. Strengthen the results and evaluation framework to the past 40 years for a variety of issues across a large enhance our understanding of the development number of countries, the use of this powerful tool impact that different kinds of interventions, and remains relatively limited. This is especially true when combinations of interventions (i.e. TV or radio placed in the context of the amount of programming together with new media, SMS, comics, etc.) have. currently broadcast and consumed in media markets around the world. Some of the main challenges to more 3. Encourage the use of entertainment education in widespread use of entertainment education are: WBG operations and in projects led by partners in civil society and government, as a way to enhance  A project-funding model which makes it difficult to development impact. create long term partnerships with stakeholders, 4. Strengthen global networks and institutions for especially commercial entertainment media. entertainment education to facilitate knowledge sharing and capacity building. 1Jensen and Oster,2008. 5. Establish a programmatic trust fund to support work 2 Entertainment education has its foundations in social learning on entertainment education by the WBG and its theory developed by the famed psychologist Albert Bandura. partners. 3 Project Goals, Methodology and Outputs This main goal of this project was to analyze the potential This task was approached through a variety of methods for developing more systematic, sustainable and including: scalable approaches to delivering entertainment education.  Country level work in India and Mexico; Systematic - because entertainment education should  A literature survey of empirical research on the involve a clear research framework to help design the effectiveness of entertainment education; intervention and understand results including monitoring and evaluation to measure impact, which should be  A stock taking of leading programs and producers documented and shared to improve quality over time. of entertainment education to understand the business and funding models used; Sustainable – because donor and government funding for entertainment education is limited so approaches  A conference on entertainment education to which promote sustainable interventions, such as those share project insights, develop networks. developed in partnership with commercial media, are more likely to be maintained and expanded. Scalable – because mass media and new Table 1 on the following page lists 5 key project goals, communications tools like cell phones, social media and the specific methodologies used for each and the the internet provide opportunities for cost effective reach resulting outputs. The findings from these diverse activities to large populations which could increase development and outputs are synthesized in this report in the section impact. on project findings. 4 Table 1: Key Project Goals, Methodology and Deliverables GOAL METHODOLOGY OUTPUT(S) 1) Identify  Desk research  Stock-taking paper of approaches to alternative  Interviews (phone, in person) with directors of delivering entertainment education approaches to leading programs, other stakeholders including  Sections of other project reports including entertainment during mission travel to India, Mexico final overview document and country reports education  Information obtained at conferences, events 2) Identify potential  Mission to India (May 2011)  Back to Office Reports partners and  Initial outreach to Mexico (April 2011)  June 20 Entertainment Education networks [Note that a full scale mission was not fielded to conference recording, report out Mexico during the project. Due to country priorities,  Project document listing potential partners the WB Mexico country team requested the mission be postponed until fall 2012.]  Participation in PCI Media Impact conference, New York City, May 2011  Designing, planning and holding an international, cross-sector conference on entertainment education in Washington on June 20 3) Identify priority  Discussions with CGAP staff and WB FPD staff  Tip sheets on select topics in responsible issues in finance working on India and Mexico financial inclusion for entertainment  Review of relevant background documents  Document developed for SIDBI in India on education in the (internal WBG and external) possible use of entertainment education in focus markets  Interviews with Indian and Mexican government WB financial inclusion project officials in finance  Russia Financial Literacy Trust Fund proposal on the use of entertainment education for financial literacy in Oaxaca 4) Review the  Literature survey of empirical literature on impact of  Survey article submitted to World Bank evidence base entertainment education interventions Research Observer spring 2011, currently on the  Interviews with leading academics, researchers on undergoing revisions, to be resubmitted in effectiveness of impact of entertainment education summer 2011 entertainment education 5) Support local  Conversations with public and private stakeholders  Focus on awareness raising, more than capacity in India and Mexico on potential use of capacity building at this stage building entertainment education for finance and other  Outputs include document for SIDBI, Russia development topics Trust Fund proposal for Oaxaca mentioned above in Item 3 5 Project Findings Storytelling for the masses – new possibilities for modern EE Entertainment education fosters behavior change across a variety of issues Entertainment education is not new. Storytelling has been a form of entertainment education for millenia with Historically the majority of entertainment education has examples such as Aesop’s Fables and Shakespeare’s plays. gone toward population/family planning, reproductive What is new is the ability to use technology enabled health, HIV/AIDS and other health-related topics such as solutions to deliver entertainment education to larger malaria prevention, hygiene and safe drinking water. Other numbers of people, including those at the base of the non-health topics have been addressed but less frequently pyramid, in a cost effective way. and so experiences with these issues are not as plentiful or well known. These include: Mass media such as radio, TV and film are reaching ever larger numbers of people in developing countries. An - Human rights & - Gender estimated 1.1 to 1.4 billion households worldwide have a Governance television and radio penetration exceeds even these numbers. Paired with new communications tools such as - Environment & - Child Education & cell phones, which now number over 5 billion, it is possible Climate Change Adult Literacy to reach low income and remote consumers in emerging markets across multiple media platforms. Transmedia - Agricultural - International strategies (where stories and characters are repeated Production Relations across different media platforms) and 360o communications (where common messages or information Financial literacy and capability join the list are coordinated across media platforms but not necessarily using the same stories or characters) can To date relatively little has been done to address financial reinforce messages, provide additional, timely information issues through entertainment education. There are a few and significantly increase impact when compared with the notable exceptions such as the Nuestro Barrio 13-episode use of single or isolated media sources. drama created for the Hispanic population in the United States in 2005. Soul City based in South Africa also created While the spread of mass media is proceeding at rapid a “village makeover� show called Kwanda where financial rates in many developing countries, there are still many management and livelihoods were discussed at the underserved markets and opportunities to introduce community level. There are other entertainment education entertainment education in an environment where it will programs, including Makutano Junction and ShujaazFM in have a chance to be heard and seen, not just drummed Kenya, where financial literacy topics have been explored. out by competing programming. When done well, However, there are relatively few such examples. entertainment education can fulfill the unmet demand for both entertainment and information while promoting Several factors have reduced the attention that finance behavior change. There are many examples of this in receives in entertainment education beginning with limited developing countries including Soul City in South Africa, use – and funding - of these tools by donors and other ShujaazFM in Kenya, Kalyani in India and various soap development specialists for finance. In some cases there operas in Mexico and Brazil to name only a few. may be a perception that banks and other financial institutions have the money to pay for financial literacy and Highlight: ShuzaajFM, Kenya consumer outreach so it doesn’t need to be done through entertainment education efforts that are often donor In operation since only February of 2010, ShujaazFM has funded. Finally, concerns about the risks of financial managed to reach about half of all Kenyan youth. The products, or a lack of understanding of the issues and how show is produced by the firm “Well Told Story� and the they should be portrayed, may also reduce the willingness concept is ingenious – a disillusioned and unemployed of some programs to include financial topics. Kenyan youth named Boi creates a pirate radio program in his bedroom and everyday “commandeers� commercial At the same time, research undertaken for this project radio stations for 5 minutes. Topics addressed include indicates that financial topics, if well presented and health, financial literacy, civic participation and livelihoods. researched, can create “dynamite engagement� in The show combines radio with a printed comic – the only entertainment education as stated by noted EE expert one of its kind in Kenya – which is distributed via more than Arvind Singhal in a recent interview. Finance lends itself to 12,000 M-Pesa mobile banking correspondents. Facebook, twitter and a website are also involved to create a Transmedia story. 6 storytelling and entertainment education because it is a  In Namibia 80% of men with low education and high topic that touches virtually everyone, is a source of stress exposure to the program Desert Soul reported using and drama and is often part of other key life issues and condoms as compared to 20% of those with no decisions such as marriage and divorce, healthcare, exposure to the show. educational opportunities, gender empowerment, etc.  In Mexico, Miguel Sabido’s first social soap, In the two focus countries where we worked there are Acompaname prompted a 32% increase in the current concerns about fraud and business practices of number of new contraceptive users over the number financial institutions. In Mexico these discussions revolved from the previous year, and provided impetus for around the practices of cajas de ahorro (savings clubs) in 560,000 more people to attend family planning clinics the state of Oaxaca where many such institutions were than in the year prior to the show airing. established without adequate capital or supervision leading to a loss of deposits. In India the recent problems in  Viewers of a program which aimed to increase the microfinance sector, especially in Andhra Pradesh, acceptability of family planning in Egypt were 24.6% were the focus of discussions on financial literacy efforts. more likely to believe that a woman who uses The Small Industries Development Bank of India (SIDBI) contraceptives is ‘good’ than non-viewers. which is implementing a World Bank loan to strengthen financial inclusion is interested in promoting better decision The area where the literature is most conflicted is whether making on credit among consumers of microfinance. or not entertainment education has the capacity to promote long-term change. Many factors contribute to the Topics in finance also cover both immediately actionable ability of individuals to change behaviors and sustain those discrete behaviors, such as calling a help line or opening a changes including their environment, social relationships savings account, to longer term normative changes such and new messages or distractions that refocus their as budgeting family expenses, making regular savings attention and priorities. These insights help focus deposits or taking responsibility for one’s own financial life. entertainment education efforts on behaviors that can Both longer term, normative behavior changes and short have a lasting impact even if only performed close to the term actions can be supported through entertainment time of receiving the message. For example, a decision to education but, as with any issue, it will be easier to put a girl in school at a given point in time may create a measure the short term knowledge gains and behavior series of future decisions and benefits even if the message changes than those that occur over months or even years. on girls’ school enrollment is not repeated indefinitely. Irreversible procedures to control fertility or the decision to practice safe sex during early adulthood when risk of infection from HIV and other STDs is greatest are other Evidence of impact for entertainment education examples of relatively shorter term changes in behavior which can result in long term benefits. In terms of finance There is more than 40 years of experience with the use of short term behaviors with long term consequences could mass media to deliver entertainment education. Many include signing up for pensions or automatic savings quantitative and qualitative research studies have been products where these are offered or being aware of frauds done to understand how entertainment affects both being perpetrated in a community that could significantly knowledge and behavior, esepecially related to frequently affect wealth accumulation. treated health topics. Here the results of a survey of the empirical literature on the impact of entertainment The literature review suggests that entertainment education are presented3. education programs are most successful when the following conditions are met. The literature survey analyzed the research on entertainment education’s impact using theoretical 1) Extensive formative research is conducted. models for behavior change such as McGuire’s hierarchy 2) The audience is able to identify with the characters, of effects. With a focus on entertainment education culture or sentiments depicted. delivered via radio and television, there are many 3) The program is supported by other campaign examples of impact at virtually every stage in the behavior components such as alternate knowledge change process. Entertainment education using mass dissemination tools or on-the-ground behavior change media is successful in penetrating large audiences, promotion. increasing knowledge about the issue(s) presented, 4) There is a productive outlet in the community for the altering attitudes, achieving short term behavior change, social change to occur. and increasing interpersonal communication. Here are 5) Quality and effectiveness monitoring are in place via findings from just a few of the many empirical studies that mechanisms such as audience feedback. document the impact of entertainment education: These research based insights are in keeping with the  In Brazil, when the protagonist of a popular soap was experiences of practitioners as to what are key success diagnosed with leukemia, the registrations to the factors for entertainment education initiatives. (See Box X Brazilian National Registry of Bone Marrow Donors on the following page.) increased 450 percent: from about 20 a month to 900 a month. 3) The paper which this section draws upon has been submitted to the World Bank Research Observer and is undergoing suggested revisions with a goal of resubmitting 7 in August 2011 for publication. A turning point – Generation II Entertainment Education Figure 1 shows three approaches to delivering entertainment education, going from lower cost options Until recently, entertainment education efforts tended to focused on technical assistance on the left, to models involve the production of content – a television serial, a where content / programming is created and wholly radio soap opera or other entertainment program – which owned on the right. Between these two extremes are would then be broadcast through either public or private approaches that oppotunistically combine some technical channels. Much of this work was done on a project basis assistance with co-production or risk sharing of program which limited the opportunities to develop long term content. partnerships with local media or other stakeholders. While this model affords the funder maximum control of the Increasingly these models are becoming blurred as content and its dissemination, it is also the most costly. For programs that had previously focused on content creation example, in large developing country media markets start to experiment with co-productions, capacity building producing one season of a broadcast quality television and technical assistance. Some of the leading technical soap opera runs in the millions of dollars (estimates assistance models are also adding supportive activities to obtained by the project team range from $2 to $5 million). further influence programming / content. There are also Then once the program has been produced it must find a new entrants in the private sector – social enterprises that suitable broadcast slot, which may require an additional seek to combine for profit media ventures with financial outlay, especially if the show is not a proven entertainment education. Here are some illustrative commercial success. examples of leading programs in each of these categories: Within the past decade the approach to delivering Technical assistance (focus on in-script partnerships): entertainment education has slowly started to evolve. Generation II entertainment education has the following Hollywood Health and Society (HHS) is a project founded in characteristics: 2002, at the University of Southern California in the Norman  Greater reliance on partnerships with private / Lear Center, Annenberg School of Communication. The commercial entertainment media (vs. government defining role of this center is to provide technical controlled media such as public channels) assistance in form of accurate and timely information to including technical assistasnce and co-production entertainment industry professionals for health storylines. HH&S has a cadre of approximately 600 public health  Increasing use of multi-platform approaches such experts in research institutions, academia and private as transmedia storytelling, 360o communications practice across the U.S. who offer their expertise free of including interactive tools using cell phones, charge as they appreciate the power of media to internet and social media communicate critical information on the topics they work on. Conversations between health experts and media  Explicit links with development programs and professionals (typically writers or producers) are mediated social action campaigns to foster greater impact by HH&S staff to ensure a satisfactory experience. Information is also provided to writers and producers in  Strengthened methodologies and approaches to printed format and/or online, fact sheets, case examples, a formative research and pre-testing as well as ex quarterly newsletter called, “Real to Reel� and tip sheets post independent monitoring and evaluation written specifically for the creative community. Frequently this information is provided in response to enquiries from the producers and/or writers. In other cases HH&S proactively provides information through meetings with individual Figure 1 shows or workshops for larger audiences. Topic selection for Approaches to delivering entertainment education this outreach is based in part on their funders’ priority topics which include organ donation and global public health. Lower cost, less control Higher cost, more control Technical assistance and co-production: The Center for Media and Health (CMH) was founded in 1999 by Dr. Martine Bouman in Gouda, The Netherlands. CMH is the leading entertainment education institute in Netherlands and specializes in the use of cross-media formats for social change. There are four pillars of CMH’s work: (1) designing and implementing new communication strategies, (2) doing formative and summative research (3) consultancy (4) capacity building by designing EE teaching modules and giving workshops etc. An interesting feature about the CMH model is their ability to co-produce shows as the law in The Netherlands makes it possible for a nonprofit organization to enter into a co-production 8 agreement to have greater control over the content and combination of corporate social responsibility and program production process. diversification. Production model: Key Elements of Entertainment Education (not all the approaches discussed include all these steps) Soul City is a nongovernmental organization, founded in 1991 and based in Johannesburg, South Africa. Soul City  Situation analysis and needs assessment uses a combination of media forms like prime time  Formative research television and radio dramas which it produces and owns,  Monitoring and evaluation plan together with print materials and web platforms. Each carry  Building local partnerships a different storyline but all reinforce the program objective  Quality production by encouraging debate, informing the public and shifting  Rigorous dissemination plan social norms, attitudes and behaviors for health and development – the 360o approach. Research forms an  Independent summative evaluation integral part of Soul City’s projects. Their formative research process consists of engaging with experts and stakeholders Implications for entertainment education in the World Bank including government and civil society organizations to Group identify national priority issues and pretest messages to ensure that audience can relate to the content of the The potential for using mass entertainment media is shows. All Soul City projects are independently evaluated immense and growth prospects are very positive in as a part of monitoring and evaluation for their impact and developing countries, spurred by economic development for maintaining credibility with the funders and donors. Soul and technological progress. In this context it would be a City contracts local production companies for its shows shame not to capitalize on this resource to ramp up the use and invites them to bid every three years. The production of entertainment education, which today remains a houses are also invited to bring in writers for shows. Soul promising and proven development tool which is City’s team consists of over 80 staff members which underexploited. includes their lead-writer, executive producer, research team and social mobilization and advocacy teams. Part of the rapid growth of developing country media markets is linked to the increasing role played by commercial firms across a variety of media channels – from New approaches with emphasis on capacity building: television to radio to new media such as cell phones and internet. In most emerging markets governments have lost PCI Media Impact (PCIMI) in a non-profit organization the privileged position they once had, controlling which was founded in New York City in 1985. It’s mission is television, radio and other mass media tools. In India for described as “Telling stories, saving lives�. In 25 years, example, the dominance of the public television Media Impact has produced more than 3,000 episodes of broadcaster, Doordarshan, which could grab as much as 100 radio and television productions. Together, these 90% of the audience share in the 1980s, has given way to a programs have reached over 1 billion people in 34 plethora of commercial stations (550 and counting) that countries. PCIMI uses diverse formats such as comics, cell now vie for the viewers attention. As a result, entertainment phones, internet, books and posters, but the core mediums education models that recognize the critical role played they use are radio and television. The organization has by commercial media are more likely to succeed going moved from a model where they are actively engaged in forward. production to one where they focus on capacity building of local country resources and technical assistance in So what can the World Bank Group learn from the entertainment education projects. The shift to the new approaches to entertainment education discussed in this model helps PCIMI stick to its mission in a more cost- report? There are several key takeaways including the effective manner, while also giving a boost to the capacity importance of partnerships with commercial entertainment of local resources in the countries where the shows are media (ex. Hollywood, Health and Society and Center for produced. Media and Health); the key role of capacity building for both quality / relevance and sustainability (ex. PCI Media For profit ventures: Impact); the opportunities to link entertainment education to development programs and advocacy (ex. Soul City, Well Told Story (ShujaazFM), Participant Media, Cause Participant Media and Cause Entertainment, Well Told Entertainment, Broadcasters (TV Globo, other commercial Story) and the continuing role for content production or networks and dramas in countries around the world, etc.) co-production in some instances to ensure specific issues are all examples of commercial ventures that may are addressed (ex. Soul City, Center for Media and Health). incorporate entertainment education into their business model. Well Told Story, Participant Media and Cause In the past the primary model for entertainment education Entertainment are all social enterprises with a double has been project focused, especially in terms of bottom line approach to delivering entertainment interactions with country counterparts. Ramping up project education. TV Globo and other commercial broadcast based work will not create the kind of local partnerships media outlets / producers incorporate elements of needed to exploit the promise of entertainment education. entertainment education into their business models from a A more promising approach is to learn from what is working 9 in some key developed country markets such as the U.S. and The Netherlands, and adapt and extend these models in major developing country media markets. Salient features of this kind of approach would include: - Linking content experts in various sectors/disciplines to the creative community / commercial entertainment industry, in order to influence story lines, embed content, etc. World Bank staff with relevant content expertise in a particular topic could be part of this network, together with local experts in focus markets. - Support multi-platform communication approaches that are more likely to change behavior and link to development programs on the ground. This includes both transmedia and 360o communication strategies. - Support rigorous monitoring and evaluation of entertainment education interventions and facilitate knowledge sharing of these results across sectors, countries. - Promote capacity building at the country level through a variety of mechanisms including online tools such as a possible SmartKit, through possible outreach through networks such as distance learning) and by supporting practical experiences with scriptwriting, production, etc. at the country level in the context of local development programs and priorities - In some instances co-produce or risk share to support the development of new programs and content to be able to be more proactive in issues addressed and the timing for their inclusion in mass media. 10 Project Findings in India The Indian Media and Entertainment industry is one of two  Regionalization: increasing purchasing power across forms of entertainment, the other being cricket, whose tier 2 and 3 cities. In 2010, of total ad volumes on essence is culturally entrenched in Indians, locally and television 53% was on regional channels abroad, and has a deep impact on mindsets of entire generations.  Growing importance of new media with launch of 3G, emerging gaming platforms, and innovation in The Indian M&E industry grew from US$ 13 billion in 2009 to technological devices such as tablets US$ 14.5 billion in 2010. Backed by positive industry sentiment and growing media consumption, the industry is  Relaxed regulatory norms to steer growth such as estimated to achieve growth of 13% in 2011 to touch US$ auction of radio licenses, increase in foreign direct 16.4 billion. As the industry braces for exciting times ahead, investment (FDI) limits in the sector the sector is projected to grow at a CAGR of 14% to reach US$ 28.3 billion by 20151.  Social media reaches 84% of the online user base The traditional channels to penetrate the Indian viewers are television, films, radio and mobile. By 2015, television is History of EE in India expected to account for almost half of the Indian M&E industry revenues. Sectors such as gaming, digital Entertainment education as a concept has been in India advertising, and animation VFX also show tremendous since 1950s with TV serials like ‘Hum Log’ (India’s first soap potential in the coming years. opera that spoke about family planning), ‘Buniyaad’ (aftermath of the Partition of India) to films like ‘Mother Key highlights of the Indian M&E landscape2: India’ (‘poverty-stricken village women and her hardships), ‘Saaransh’ (corruption and bureaucracy through the eyes  Third largest TV market in the World (in terms of of a common man) to radio shows like ‘Taru’ (highlighting viewership) with 134 million TV households, 600 million social issues like women’s empowerment, dowry, girl-child viewers across 550 channels literacy, and health). TV and radio shows in the early 80s received attention from government bodies and non-profit  Largest producer of films in the World with 1,100 films organization like PCI Media. released year-on-year and 3.9 billion tickets sold annually Typically there has been no dedicated organization in India that focuses on entertainment education. Everyone  More than 99% of India can receive radio signals (even works individually to create social change but the potential the poor) with 1.5 million hours of content over 300 for entertainment education has not been reached, in part radio stations due to the one-off, project-focus of efforts to date.  771.2 million mobile phones and 549 million active Television mobile subscribers Television began in India in 1959 as an educational project Key trends and drivers for growth2: supported by the United Nations Educational, Scientific and Cultural Organization (UNESCO), and grew very slowly  Increasing media penetration and per capita during the 1960s. The big leap towards expansion of the consumption to tier 2, 3 cities and rural India country’s television audience occurred in the mid-1970s with Satellite Instructional Television Experiment (SITE), which  Increase in digitization (robust satellite growth of 75% in broadcast to 2,400 villages in six Indian states. net subscriber base over 2009 – essential for rural India) Doordarshan, the national government-run television broadcaster, was rapidly expanding in the 1980s until mid- 1990s with the advent of cable and satellite. During this time period Doordarshan, a free-to-air service showcased 1 mainly educational programs. KPMG analysis and industry interviews 2 FICCI-KPMG Media & Entertainment Report 2011 11 In fact, ‘Hum Log’, an entertainment – education program, and the truly popular films suggest in their contents a was patterned on previous experiences with soap operas cultural homogeneity between the ostensibly divided world for development in Mexico. 'Hum Log' was immensely of urban and rural India. popular with both its audience and its advertisers during the 17 months of its broadcast in 1984-85. ‘Hum Log’ was Many social reform movements impelled filmmakers to an attempt to blend Doordarshan's stated objectives of present reformist ideas and concepts for the so-called providing entertainment to its audience, while common man. ‘Dhahej’, ‘Padosi’,’Do Aankhen Baara strengthening social values of a pro-development nature. Haath’, to mention three of the most popular films, were The television series addressed many of the important strongly reformist and didactic in approach. social and moral issues confronting Indian society: amelioration of women's status, family harmony, family One of the most interesting aspects if cinema, Indian planning, national integration, maintenance ·of traditional cinema in particular, is that it has never espoused the culture, problems of urban life, dowry, and alcoholism. cause of social evils, or projected them in a positive light. This, indeed, is the reason why popular cinema has After, ‘Hum Log’ came shows like ‘Buniyaad’ Hum-Rahi’, become a cultural symbol for the Indian people, who see ‘Udaan’ which were extremely popular shows in India that films in close interaction with life, as they know it outside the cut across all demographics. At that moment, cinema hall. Doordarshan was at the helm with staggering viewership Cinema in India, whenever, preachy and educational has numbers. not worked or fell in the realm of art house. A small number With the introduction of private channels in India in the of cinemagoers are attracted to such a subject or film and mid-1990s, Doordarshan lost market share and launched a does not have the potential to influences the masses in metro channel and 15 regional channels. Most of the anyway. Films like ‘Firaaq’ (Riots in Gujarat), ‘I AM’ (Various private channels imported western content initially with social issues) have been showcased which fall in this values of consumerism and capitalism as the channels category. Whereas social issue based films which have an went commercial. entertainment value associated towards it have done exceedingly well. Films like ‘Taare Zameen Par’, ‘Chak De! In the mid-1990s the private channels were mainly Zee TV, India’ have been commercial successes and have Star TV and MTV India. Again the shows on the created awareness about various issues. entertainment –education were nearly non-existent as they Analysis of Gaps in EE in India dwelled into the commerciality of the program. One could find one-off shows like ‘Aap Ke Kacheri’ (Indian remake of Entertainment-Education has been prevalent in India for ‘Judge Judy’), and ‘Krishnaben Khakhrawala (Women’s over five decades. However, the efforts have been empowerment). conducted in isolated and fragmented ways, wherein they have been initiatives either of government, developmental Radio bodies, NGO’s, civil society organizations and foundations. Radio broadcasting began in India in 1927 by a private Over the last two decades the private bodies gained organization and was later taken over by the British in 1930, prominence in the media sector and their inclination whilst ruling India. It was then named All India Radio (AIR). towards developmental content was negligible as their Programming on AIR in the late 1940s and 1950s in India sole focus was to maximize profits via advertising revenue. consisted of news, current affairs, drama and music. Only in Government and/or public broadcasting has lost its way in 1957, 10 years after independence dud AIR launch Vividh terms of creating entertaining content, not maximizing the Bharti entertainment channel. potential of it having the widest reach in rural India even today. There have been efforts from individuals like Usha All India Radio has produced several entertainment- Bhasin in the form of ventures like Kalyani, but there has education serials dealing with such topics as social forestry, been no collective focus from the government, except sex education, substance abuse, gender equality, literacy, various departments creating PSA’s (Public Service and family size. Announcements) and the formation of DAVP, which has For instance, ‘Jeevan Saurabh’ a 13-espisode radio series further hindered the growth in this space. During this period broadcast in 1988, addressed various adolescent various developmental bodies undertook various attempts problems. In mid-1990s, entertainment-education programs to create content to achieve developmental goals and such as ‘Delheez’, ‘Tinka Tinka Sukh’ have been successful utilized their vast corpus of grant funding for this purpose. in educating the both rural and urban population. Tinka BBC World Service Trust, UNICEF, NACO etc. are few of the Tinks Sukh for example had estimated audience of 35 to 45 organizations that have done in this area. million people in 7 Hindi-speaking states of North India. However, most of content was heavily weighted towards the “issue� and less towards the commercial and Film entertainment quotient and in most cases did not The first Indian talkie film arrived in 1931 called ‘Raja generate results to its potential. There have been a few Harishchandra’. From its very early years, the Indian feature instances of successful entertainment-education film developed the admirable ability of focusing on both programming but overall this initiative has been sporadic. the urban and rural facets of Indian life. Its market and its Moreover, entertainment-education has been largely used audience encompass both the urban and rural societies for Public Health, HIV/AIDS, Population Control and Women 12 Empowerment issues since efforts have been driven by hungry for quality content and any process that enhances organizations that support development in these areas. the quality of the content and can achieve a double bottom-line is welcomed by the mainstream commercial While traditional media has been the focus area for entertainment media. entertainment-education all along, new media can be a great tool for penetrating the masses for change. Mobile, In terms of the business model, in the current television Internet and Digital Technology has only just begun to environment, producers create a pilot of 3-5 episodes and realize its potential and a “trans-media� approach, pitch it to a broadcaster, who picks it up at a certain cost wherein new media is an integral part of the strategy, is per episode and funds the same from advertising revenue. required. Therefore, content development for a television producer is limited to the cost of a pilot and for regional shows they are Furthermore, there has been a lack of knowledge sharing very inexpensive. This allows an opportunity for E-E to get in terms of the work that is being conducted. There is no involved actively in content creation by being a funding common platform where government bodies, donors, partner and have access to the creative control. NGOs and the creative community can liaise to share ideas and their learning’s from different entertainment- Therefore, addressing the gaps in the current environment, education experiences to have a better understanding of the new entertainment education models need to create the reasons for success and failure. a knowledge-sharing platform that not only conducts impact evaluation for content created, but also Opportunities for EE consistently acts as a catalyst for the creation of such content. This can be done by linking content experts with The media & entertainment industry in India has awakened commercial media, providing trans-media support and/or to the power it possesses in reaching out to the masses, partnering or co-investing in content development. impacting them and bringing about change and development. While an increasing number of government stakeholders are sensitized to the need to work with private commercial During the course of the scoping study for this project, media, a platform that engages all stakeholders is content creators of mainstream commercial content that important. Content experts, creative experts, corporate has the maximum penetration in the country showed bodies, media houses, media associations, government, strong interest to showcase accurate technical data NGOs, development bodies, donors and research institutes embedded in the content as long as it enhances the form stakeholders of an effective e-e process. There needs quality of their project and does not take away from the to be a common ground and/or platform to bring them entertainment quotient of the programming. Media is together. 13 Project Findings in Mexico The Media Landscape in Mexico incorporate messages of social awareness throughout his work. In the last ten years, production of Mexican films has The Mexican government’s laws stipulate that the primary grown considerably, and support by federal and state purpose of radio and television programming is to serve the governments has remained consistent. Today, Mexican public interest. This mandate means that media are pre- actors and directors of international standing generate disposed toward the mission of Entertainment- Education socially-oriented film projects and stage lauded festivals. It (E-E) programming, that is, to spark social progress and is important to note that most low-income families do not create enduring change for the better. go to the movies. Television. Ninety-nine percent of Mexican homes contain History of Entertainment – Education in Mexico a television, 90% of the population watches it, and nearly half watches between 2 and 4 hours each day. The largest The Entertainment-Education methodology was born in television company in Mexico is Televisa. The world’s Mexico—accidentally, inspired by a serial television drama leading Spanish-speaking private television company, it is named “Simplemente Maria�. Airing in 1970, this also one of the world’s largest business conglomerates. The telenovela featured a woman who pursued self-sufficiency second largest television company is TV Azteca, with two by literacy and sewing, and by attending adult education channels; it is held by Grupo Salinas, which also has classes. Floods of people followed her “example�, extensive commercial interests. purchasing sewing machines and returning to the classroom to learn to read and write. Miguel Sabido, then Both companies have social arms, foundations committed vice-president of Televisa’s research department, studied to public welfare. The Televisa Foundation has developed the social phenomena of this series and, based on Albert campaigns based on values, producing discrete television Bandura’s social learning theory and other theories of spots and embedding messages within entertainment communication and learning, created the E-E model for programming. Televisa is a pioneer in E-E programming, social change. In 1977, in response to the concern of the having produced and distributed the first-ever E-E country’s president at that time with the rate of population programming with Miguel Sabido, the founder of the field. growth (3.8 %), Sabido wrote and produced “Acompañame�, the first telenovela to focus on family In a recent interview, the foundation’s director general, planning issues. Within a year, the population growth rate Alicia Lebrija, asserted its interest in taking its civics values slowed dramatically. program “to a new level�. The Azteca Foundation works in social development, partnering with more than 600 NGOs Sabido went on to produce seven telenovelas for Televisa, on issues ranging from sustainable development in the each with large audiences and social impact. For countryside to public health to children’s musical example, the 1979 melodrama “Ven Conmigo� led to education. In a recent interview The foundation’s almost a million people signing up to the National Adult fundraising initiatives are announced monthly on television, Education Plan. Other E-E dramas were “Los Hijos de and its agenda shapes program themes. Nadie�, about street children in Mexico City, and the recent “Los Tontos no Van al Cielo�, addressing HIV/AIDS Radio. On average 9,925,240 people listen to the radio among other pressing issues. Currently, with the Televisa daily from Monday through Sunday, on nearly 1,500 Foundation, Televisa is producing “telenovelas with a stations. The federal government’s Mexican Radio Institute cause�, which include educational content in only a few (IMER) and the National Autonomous University of Mexico episodes of the various series. According to the El Universal (UNAM) are vested in the best interests of the citizenry. Their newspaper, producers and actors agree that E-E should coverage reaches across most of the country. There are return to the small screen. Carla Estrada, one of Mexico’s seven principal radio networks in the country, three of best-known producers (creator of hits like “Pasión� and which (Grupo ACIR, MVS Radio, and Radio Educacion) see “Alborada�), asserted her willingness. “It is possible [to do E- public service as integral to their mission. E] when the messages can be incorporated in an entertaining manner. That is to say, not to lose sight of the Cinema. Mexico’s film industry has its roots in a cinematic intention to entertain but to insert messages in a way that history that includes legendary auteur Luis Bunuel, who people can absorb them without difficulty.� produced much of his oeuvre in the country and sought to 14 Proposed Next Steps 1) Pursue institutional mechanisms to support Work with others to build capacity in entertainment systematic, sustainable, scalable entertainment education, as through global learning platforms, education at the country level, in partnerships with knowledge sharing, etc. There is a planned local commercial entertainment media, civil “SmartKit� or online platform, to be developed in society, government and other relevant 2012 which would highlight the use of stakeholders such as researchers / academia, entertainment education with a focus on financial professional organizations (sources of expertise) literacy and capability. A similar approach may and funders. be used for other issues and sectors in the future. 2) Results Framework 4) Fundraising Identify critical knowledge gaps related to Establish a programmatic trust fund to support this empirical literature on impact of entertainment work. education. These are likely to include studies that carefully review the additional benefit of transmedia and 360 o strategies and the impact of 5) World Bank Group support to expand use of entertainment education applied to finance. entertainment education in operations Formalize a community of practice in the World 3) Partnerships Bank Group on entertainment education, going across sectors and regions. Participate in the 5th International Entertainment Education Conference to be held in Delhi, Provide outreach events to increase awareness of November 17-20. Participation may involve these tools, with a focus in non-health sectors organization of a panel and other content and where the use is more limited. outreach activities. Identify mechanisms to support greater attention to entertainment education in WBG operations. 15 APPENDIX 1.Dashboard: Organizations and Academic Institutions Working in Entertainment Education 2.Entertainment Education in India Using Different Media 3. Entertainment Education in Mexico Using Different Media 16 DASHBOARD Organizations and Academic Institutions Working in Entertainment Education Working on diverse and broad Use of 360 Approach (multiple Working with local partners Training and building local Ent. Ed as part of broader Proven effective through Public-PVT. Partnerships strategic FRAMEWORK summative research Formative research Control of content range of tthemes Name Main Approach media fronts) Transmedia capacity PCI Media Impact Technical √ √ √ √ √ √ √ Assistance Population Media Technical √ √ √ √ √ √ √ √ √ Center Assistance Sesame Dev. & √ √ √ √ √ √ √ √ produce Ent. only Ed shows for target children chldrn. Soul City Dev. & √ √ √ √ √ √ √ √ √ produce Ent Ed shows for varied audiences Center for Health Technical √ √ √ √ only and Media Assistance; health Dev. & produce Ent Ed Breakthrough Dev. & only produce hum. Ent Ed rights BBC World Service Dev. & √ √ √ √ √ Trust produce Ent Ed JHSPH, Center for Technical √ √ √ √ √ √ √ Communication Assistance Programs Hollywood Health and Technical √ √ √ √ √ √ √ √ √ Society, USC, Assistance Annenberg School 17 Entertainment Education in INDIA Using Different Media Television Radio FILM Soaps Year Theme Shows Year Theme Movie Year Theme Nisarg Do Bhiga Hum Log 1984 Family planning Sampad 1987 Social forestry 1953 Rural uprising Zamin a Vigyan Methods of Women Buniyaad 1987 Partion of India 1989 Mother India 1957 Vidhi science empowerment Indian epic – Jeevan Marital Ramayaana 1987 1989 Anpadh 1962 Education value systems Surabh II Harmony Mahabharat Indian epic – Radio Substance Hare Rama Substance 1989 1990 1971 a value systems Date Abuse Hare Krishna Abuse Women Labour Udaan 1989 PREAL 1990 Adult literacy Kala Pathar 1979 empowerment exploitation Women Child Humrahi 1991 Cheer 1992 Saaransh 1984 Corruption empowerment enrichment Sexuality and Women Kalyani 2002 Health issues Dehleez 1994 population Damini 1993 empowerment issues Tinka Gender Kyuki Jeena Child education Communial 2008 Tinka 1996 equality, family Zakham 1998 Isika Naam and HIV Violence Sukh size Various social Balika Vadhu 2008 Child marriage Taru 2003 Chandni Bar 2001 Women abuse issues Beyond Aap Ki Various social the Women Lago Raho Peace & 2008 2006 2006 Kacheri issues Courtyar empowerment Munnabhai Violence d Life Women’s Krishnaben Women Taare Children’s 2010 Gulmoh 2009 health and 2007 Khakhrawala empowerment Zameen Par Health ar Style violence Majboor Kisko 2010 Labour rights 3 Idiots 2009 Education Bola 18 Entertainment Education in Mexico Using Different Media Television Radio Title Year Themes/Issues Title Year Themes/Issues La Tormenta (The 1967 French invasion of Y Dios Me Hizo 2006 Maternal health and support to Storm) Mexico Mujer (And God rural midwives Made Me a Woman) Los Caudillos (The 1968 Mexican struggle for Esta Boca es Mi 2006 Teenage pregnancy and Sexual Leaders) independence Boca (This Mouth is Health My Mouth) La Constitucion (The 1969 Principles of underlying Entre la Linea del 2007 Masculinity, sexual diversity and Constitution) the drafting of Mexico’s Bien y el Mal- Un gender constitution Juego de Hombres (On the Fence – A Guy’s Game) El Carruaje (The 1970 Story of Benito Suarez, Alla esta el Dinero 2007 National & international Carriage) hero of Mexico’s free- (The Money is Here) immigration dom struggle Ven Conmigo 1975- Adult Education De 10 @ 19 (From 2007 Sexual health among Teenagers (Come With Me) 76 10 to 19) Acompaname 1977- Family planning Cuando Ella esta 2007 Domestic violence and women’s (Come Along With 78 Enferma (When rights Me) She is Sick) Vamos Juntos (Let’s 1979- Responsible parenthood Yajual Banamil 2010 Go Together) 90 El Combate Adult education & Ombligos al Sol 2000- Sexual & reproductive health; literacy 2005 HIV & AIDS (The Battle) 1980 Caminemos (Let’s 1980- Sexual responsibility Cortando Suenos 2006 Sexual & reproductive health; Walk Together) 81 among teenagers (Cutting Dreams) HIV & AIDS Nosotras las Mujeres 1981 Status of women El Faro Luz y 2007 Sexual & reproductive health (We the Women) Sombra del Amor and rights; gender & sexuality; HIV/AIDS prevention & discrimination Por Amor (For Love) 1981- Family planning Slok’Obal Jk’Optic 2010 Conservation of biodiversity, use 82 (Sacred Plants of of plants for ceremonial use Ciapas) Los Hijos de Nadie 1997 Street children Corazon de Mujer 2011 Women’s rights & health (Children of No One) (Heart of a Woman) Ponle Corazon (Put 2011 Women’s rights & health, Your Heart in It) sustainable development 19 Entertainment Education 20