Categories
11 London Charity Helicopter Marketing Peter Kenny The Writer Ltd. TV advertising

Zooming in on drought

I should mention here that some of the work I was doing in Chad has now started to go live. The audience for this particular execution (below) is those watching faith channels on TV, particularly Evangelical Christians. After much discussion with the  11 London team with Tearfund I came up with the positioning Give Like Jesus, and evolved the questioning format that poses the thought “Would Jesus…”  I wrote the initial script for this advert, however, as it became a very collaborative process and I cannot take credit for the final wording.

The filming was done by Brad Bell, with Tearfund’s Steve Adams and 11 London’s MD Matt Hunt doing the drone shots, which Brad incorporated. Before I went to Chad I imagined (from the comfort of my Brighton office) a shot that would dive down from the sky onto an isolated village, thinking this would enable us to show the lack of infrastructure and support for these people living with the consequences of terrible drought. I also liked the way it focuses attention from a vast landscape down to the detail of lives lived there.

I call this approach Helicopter territory. A film director will fill the screen with an actor’s face in close up when the story requires us to see things from that actor’s perspective. Think of Janet Leigh in the Psycho shower scene, and we are left in no doubt that that the actor’s thoughts and expressions are important to the story. In this advert we come in from afar so we can see the context. By locating and locking onto an individual, however, we pin the landscape and its drought to an individual. And when that person is vulnerable, and immediately relatable, we have taken a big step towards bringing the subject to life.

Even in Chad, this shot proved fairly simple to achieve with a drone camera. The shot had to be done in reverse, with the drone hovering in front of the child,  before climbing into the sky. I think the results are excellent.

I sincerely hope that Tearfund is successful with its campaign to raise money for those people we met in Chad and others like them who have been affected by erratic rainfall across the Sahel region of Africa.

Categories
a writer's life Autobiographical Charity Marketing Peter Kenny The Writer Ltd.

More reflections on Chad

P1000179
Village child, near Oum Hadjer, Chad.

A month or so has passed since I returned from what was a particularly intense experience in Chad. I spent a day this week sitting with filmmaker Brad Bell tweaking the edit of some of the shots from our trip so I found myself reliving some of my experiences.

Some impressions take longer than others to surface. I find myself often gratefully thinking about my sheer luck of being born where I was. In Chad the average life expectancy for a man is 50.8 years. I’d likely be dead already if I had been born there. The situation in Chad is dire and this drought will trigger a major hunger crisis across Africa’s Sahel region. People in a community we visited hinted that they were already quietly burying children due to the effects of malnutrition.

Normality is an amazing thing. It is stronger force than we think.  Near the village we were working in during the day, was the town of Oum Hadjer. It seems normal enough. You can buy a cold coke if you can afford it, go to the market and trade and drive around about your business in cars and on scooters just like a normal town. Women from the village went there on donkeys to trade the mats they wove attempting to replace some of their lost income due to the failure of their crops. The fact is they cannot sell their mats at a high enough price to justify the labour. It takes them, for example, five days work to earn enough money for two days food. But they go anyway. What other choice do they have?

Common sense alone says some of these women going to the market were grieving recently-lost children. But people carry on, supported by the comforting fiction of normal life. In times I have been in grief I have noticed how everyday life can seem strangely banal and on the other side of a veil. You wonder why people can’t seem to tell that you are full of misery. It makes me wonder about these women carrying on under the burden of their grief.

IMG_2200
Women returning from visiting Oum Hadjer, Chad

They carry on because there is no alternative, and there were other children to take care of. My friend Catherine Pope reminded me that infant death in the UK in the nineteenth century was far more commonplace than it is now. When many infant deaths are the norm, perhaps there is comfort in knowing your peers are likely to have experienced it too. Like in wartime when people lose their sons, if death becomes commonplace does it lose something of its sting?

Although I realised it was an inappropriate metaphor for the dry Sahel, I kept thinking that if we looked up above the dusty land we would see a tsunami of death and starvation racing towards the village instead of the wide sky and unrelenting sun.

The people we talked to lived in earthen huts but were every bit as intelligent as us, and could see plainly what was happening all around them. One woman told us a little about plans she had to expand into cattle farming and take on more land in a kind of franchise, but now her life is reduced to thinking about where she can get food from for the next meal. This is the grimmest end of ‘normal’ life, when the routines of daily life shrink to abject necessity. As the lack of food hits you, you can’t think properly. Simple things begin to seem impossible. The fiction of normality can’t help anybody then.

Currently, with terrorist attacks, entire populations being forced to move in fear of their lives, we are clinging, ever-more tightly, to rigid ideas of what we consider normal life. What is normal is a collective hallucination. We have to wake up from it sooner or later.

P1000170
Girl carrying water on a donkey, Chad

 

Categories
Charity Film Marketing Peter Kenny The Writer Ltd. Travel Working

Filming in the centre of Chad

IMG_2024
The Chief of the village holds the drone camera

As an Africa newbie, a visit to Chad was in at the deep end. Chad is a landlocked country unappetisingly described by Wikipedia as the ‘dead heart of Africa’. It proved a difficult place to gain entry to. Despite having the right papers, as soon as our team of five landed we were shepherded from the airport into a hot, ramshackle office and given a grilling. Luckily our guardian angel Passiri arrived with a policewoman, and our problems began to melt away.

Our team was led by Steve whose leadership and clarity of purpose on this trip were inspiring, our photographer Pete is someone driven by a deep humanitarian instinct to move between disaster areas taking amazing photos, while Brad our filmmaker and cameraman, is a quietly spoken Canadian with an original mind and a fantastic eye. My old friend Matt Hunt and I were there to witness conditions for ourselves, contribute, help out and write stuff on the hoof. My remit was to help ensure the vision I had when writing the material was kept in mind. The team, many of us new to each other, collaborated excellently. This work was superbly enabled by the local team led by Passiri, and our two highly-diplomatic translators Tchang and Sylva.

The capital N’Djamena seemed to crackle with tension. This is due to the terrorist Boko Haram organisation, who in June set off a bomb in the main market, which killed a dozen or more. The threat from this appalling outfit feels very real. While we were far away from trouble in the heart of the country, another marketplace bomb went off near Lake Chad, not far from N’Djamena, killing 37 people.

Our journey from N’Djamena was a good ten hours by road, through a flat open country of the Sahel’s semi arid scrubland and trees, and interrupted only by armed roadblocks and goats or cattle crossing the road, or stubborn donkeys refusing to move out of the way. We glimpsed many villages of traditional mud huts with thatched roofs from our Toyotas. Here and there we could see people travelling on donkeys and camels, or at work driving cattle, carrying water and so on in the bush.

Not long out of N’Djamena we passed an enormous oil refinery. We had been told by locals that the Government signed a disadvantageous deal with Exxon Mobil, and while there was clear evidence of recent building in the capital, it is said that precious little oil revenue has trickled down to the poor.

Hour after hour we travelled deeper into the centre of Chad, until at sundown we arrived at the edge of Oum Hadjer, and a compound that was to be our base for the next six nights. Early next morning we got to work. First, protocols had to be observed: we met the secretary general, the Government’s chief representative in the area, then the mayor of Oum Hadjer, and finally we were driven to one of the local villages to be introduced to the Chief and the community.

The chief and people of the community prepare to be filmed on the last day of our shoot
The chief and people of the community prepare to be filmed on the last day of our shoot

Once these formalities were over we could start talking to ordinary people. I felt punched in the guts by the stories the women of the village told us. They had pitiful amounts to eat, one day’s food in the bottom corner of a little plastic bag. The crops were diseased and withered. The rainy season had not happened, the rainfall replaced by a heartbreaking drought. One woman showed us how they dug up ant’s nests to find grain that the ants had dragged underground. This grain stolen from insects was what one lady would feed her children with the day we spoke to her.

The children were obviously malnourished, their orange hair is a sure sign. Others had tiny bodies, one little boy had stump-like arms, deformed feet, and had only one eye and yet he smiled at us cheerily.

The overarching cause of these problems is climate change. The change in the weather means areas of the Sahel, a semi-arid scrubland between the Sahara and greener regions of Africa, are rapidly becoming desert. As the rains fail, the soil quality deteriorates. All around we can see the soil rapidly eroding into sandiness and large trees and bushes becoming islanded in a dry sea of poor soil. On one drive I asked Tchang our translator to ask the Chief who was travelling with us, what the name of the place we were driving through meant, ‘The place where crops grow’ he said. We looked out at the window at the desiccated scrubland. Little grows there now, and certainly no crops.

There are steps that can be taken to limit the spreading desert. Planting trees is one remedy to reduce the combined effects of drought and human agency, irrigation and water conservation initiatives are another. But optimism is hard to come by when you can walk on vast stretches of a sun-baked riverbed that should be deep underwater at this time of year.

IMG_2182

Personally I found this trip to be an endurance test. While we were there the temperature soared to 49°C, the hottest I’d ever experienced in my life (and far hotter than the 36°C it should be at this time of year). Steve and Brad came down with sunstroke and vomiting, I had diarrhoea that Steve fixed for me with antibiotics and we all were dehydrated or had too much sun at some point. But everyone, including me, just picked themselves up and carried on. Compared to the trauma we were seeing around us, our ailments were minor. We filmed and photographed everything we needed, and the use of a drone was a real boon, as the people in the village community loved it, and would laugh with delight and gather every time we flew it.

Curiously, this journey has left me thinking about God. My own faith is a simple one. I believe in God. I have personally drawn spiritual nourishment from a variety of sources including both Testaments of the Bible, but also from attending Buddhist retreats and in my reading, such as the Bhagavad Gita. Generally though I find the man-made structures and hierarchies of religions to be obstacles and distractions.

The charity I am working with is a religious one, and there was prayer woven into each day we were in the field. I had absolutely no problem with this. Not to pray in gratitude for our food when a few kilometres down a dusty track the people of an entire village are in desperate need would have been unthinkable.

Oum Hajder, the town we used as our base, is a predominantly Muslim community, a fact the call to prayer reminded us of each day. It started a couple of hours before dawn from the town’s main mosque, until other more distant voices joined in as dawn grew nearer. A memorable soundscape added to by the crowing of cockerels and other animal and insect noises bubbling up from every direction of the dry land. We attended the Church next door on Sunday, and I found it to be an explosion of sung joy and dancing. God is known by everyone in Oum Hadjer, and surely this must count for something.

After our passports had been examined on nine separate occasions in the airport at N’Djamina, and the plane soared up over Chad, I felt both relief and a responsibility not to give-in to helplessness.

I recalled standing on the edge of the fields as the team were shooting scenes that I had first imagined sitting in my office in Brighton. I had to keep pinching myself thinking that it really was me actually standing in the centre of Africa with the other guys of our team. But now I have seen this situation with my own eyes, it is something I cannot unsee.

I am lucky enough to have the opportunity to do something, to write the most compelling material I can to persuade people that this situation our team encountered is something that needs urgent attention. It seems that it’s time to step up.

Categories
Charity Guernsey Marketing Poetry Travel

Ready for Chad and missing writing poetry

Chad

Final stage of prep seems now to be done. Passport renewed, visa obtained, jabs jabbed (although inconveniently I had a fever when I went for my yellow fever jab so I had to return a few days later) anti-malarial Malerone tablets bought, while my wife has armed me with lots of practical things like wet wipes, hand sanitisers and so on. Final thing to buy is a mosquito net, and I need to locate and deploy my inner hairy-chested man of action.

My inner h-c man of action especially required after a day of compulsory security training. Essentially the training gave you an idea of what to do in every conceivable worst case scenario, delivered by a man who has spent much of his life working in the most hostile environments, bless his white-rimmed eyes. Lots of advice from what to do if you are being robbed (simply give them everything) right up to the best position to take on the floor if someone throws a live grenade into the room. Rather melodramatically a dummy grenade was thrown into our room, prompting us to flatten ourselves on the floor, heads pointed away from the blast. Hardly soothing stuff.

Nevertheless, the script I wrote which we are filming seems to have been approved by everyone, and next week we see how reality matches our expectation. I am hoping we can edge beyond the normal tropes of DRTV and see if we can get something exceptional. Fundraising DRTV advertisements have some rigid but proven conventions so it is definitely about striking a balance between abiding by conventions and managing to surprise people.

Poetry

I’ve not had much chance to engage with poetry over the last few weeks, due being very busy in my Peter Kenny The Writer Ltd mode. This is making me itch to write poems again.

I particularly enjoyed being on the Telltale Stand for the Poetry Book Fair. More than anything I value the chance to get a snapshot of what is going on in poetry in the UK, and also to drift about chatting to some old friends and putting some names to faces. I bought books too. One simply because I liked its name: Infragreen by Kate Bingham, and another because it was connected with Guernsey: Timothy Adès translation of How to be a Grandfather, by Victor Hugo. I spoke with Timothy who had just returned from the Guernsey Literary Festival, and had bumped into Edward Chaney there. I also bought a Carcanet New Poetries IV anthology. I love these Carcanet anthologies. They invite a kind of personal statement of its poets, which is a potential minefield. Some are illuminating while others make me hoot with laughter at their portentous vacuity. All adds to the fun.

Me, Robin Houghton, Siegfried Baber, Sarah Barnsley
Me, Robin Houghton, Siegfried Baber, Sarah Barnsley

My favourite moment on the Telltale stand was when a woman looked at the four free poem postcards we were giving away. Silently she picked up one after another, read the first line or two through her magnifying glass, and replaced the card on its pile with a visible shudder. She came to Sarah Barnsley’s card last, and lo! She regally retained it before moving on. Praise indeed.

In fact Sarah Barnsley’s new pamphlet is just out from TelltaleThe Fire Station contains some truly exceptional poems.When I get back from Chad I will write more about them.

cover-image-FireStation

Categories
Charity TV advertising

F*ck the poor? The eternal DRTV charity ad dilemma

I find myself writing DRTV (direct response TV)  scripts for a charity and trying to dodge the weary ‘tried and trusted’ tropes. For we all know how these things are supposed to play out, when we are going to be asked for just £3 a month and to brace ourselves for the money shot of a defenceless large-eyed animal or child.

It is comfortingly familiar to the British public. They don’t like the formula to be messed with. Witness the minor furore in 2013 over the hilarious campaign for the Marmite yeast spread. The TV commercial for this British food institution mocked DRTV conventions and sparked hundreds of complaints to the UK’s  Advertising Standards Authority. Soon after, Marmite’s parent company Unilever donated £18,000 to the RSPCA (the Royal Society for the Prevention of Cruelty to Animals).  A small but significant sum compared to the cost of making the advert.

Marmite Rehoming Centre
Marmite Rehoming Centre

The spoof ad showed a rescue unit’s ‘neglect’ inspectors forcing entry into homes to discover jars of Marmite that had been left in the back of food cupboards. The voiceover, gravely describing these events, was by respected BBC journalist Michael Buerk, whose reporting of the Ethiopian famine in 1984 helped to spark the Band Aid charity. The neglected jars were removed in miniature pet carriers and taken to the Marmite Rehoming Centre. This advert ended with the payoff copy line: Love it. Hate it. Just don’t forget it.

Many viewers were initially taken in, but then felt their finer feelings were being ridiculed when it became clear it was all about a yeast spread and not abused animals.

Meanwhile, a year after everyone else apparently, I have just discovered a fascinating advert for the Pilion Trust, where a brave person walked about the streets of London with a placard saying ‘Fuck the Poor’ and the results secretly filmed. Naturally this was met with outrage. When he swapped over his sandwich board for one that said ‘Help the Poor’, he was roundly ignored by one and all.

The eternal challenge of Charity DRTV is to create enough anxiety to force engagement. The road lies in mixing enough of the ‘Fuck the poor’ element into your ‘Help the poor’ message. Showing how the poor are being fucked, and then offering a route to help. You must watch this if you haven’t seen it.