how to confront afro-pessimism: a case study of the africa for norway campaign

7/22/2019 How to Confront Afro-pessimism: A Case Study of the Africa for Norway Campaign

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Arne R Cool0

A confrontation of Afro-pessimism: A case study ofAfrica for Norway: Radi-AidA project in Cultural Globalization

7-1-2014 International Studies and English Language, 4t sem.,AAU


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A confrontation of Afro-pessimism: A case study of Africa for Norway: Radi-Aid1

STANDARD FRONTPAGEFOREXAMINATION PAPERS


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Abstract

Now the tables have turned sounds the chorus in the mock-campaign Africa for Norway: Radi-aid

produced by The Norwegian Students and Academics International Assistance Fund (SAIH). This project

report is asking how SAIH has built a mock campaign confronting the negative stereotypical image of Africa

in the Norwegian Society. Categorizing SAIHs critique of the image of Africa in the Norwegian Society as a

notion of afro-pessimism has help structure a methodology based on Johnsons Cultural Circuit. Letting

afro-pessimism being the point of departure for the cultural analysis, has helped increase the

understanding for why the Radi-aid became a success story. Building four focus areas of analysis it helps

create an understanding of which dynamics was a part of shaping Radi-aid to become a cultural

phenomenon which could inspire society to construct a discourse which turns it back on afro-pessimism.


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Table of contentSTANDARD FRONTPAGE FOR EXAMINATION PAPERS ..................................................................................... 1

Abstract ............................................................................................................................................................. 2

An anecdote from Zimbabwe ............................................................................................................................ 4Introduction ....................................................................................................................................................... 5

Problemformulation ...................................................................................................................................... 6

Methodology ..................................................................................................................................................... 7

Everyday life ...................................................................................................................................................... 9

Afro-pessimism .............................................................................................................................................. 9

The Norwegian missionaries ....................................................................................................................... 11

Norwegian do-gooder regime ..................................................................................................................... 11

Africa Barometer A Norwegian Survey .................................................................................................... 12Production ....................................................................................................................................................... 14

Who is SIAH?................................................................................................................................................ 14

Financing .................................................................................................................................................. 15

Video ........................................................................................................................................................ 15

Lyrics ........................................................................................................................................................ 15

Music ....................................................................................................................................................... 15

Motivation ................................................................................................................................................... 15

Inspiration .................................................................................................................................................... 16Text .................................................................................................................................................................. 18

Africa for NorwayNew Charity Single out Now! ...................................................................................... 18

Reading ............................................................................................................................................................ 22

Viral data ..................................................................................................................................................... 23

Media spread ............................................................................................................................................... 23

SAIHs response to reactions ....................................................................................................................... 23

Conclusion ....................................................................................................................................................... 25

Appendix 1: Why Africa for Norway and What do we want....................................................................... 27Appendix 2: Africa Barometer ......................................................................................................................... 28

......................................................................................................................................................................... 29

Appendix 3: Transcription of Africa for Norway New charity single out now........................................... 31

Appendix 4: Collection of online articles dealing with Radi-aid ...................................................................... 33

Bibliography ..................................................................................................................................................... 39
http://c/Users/Dell/Documents/5%20semester/cultural%20globalization/Cultural%20Globalization%20-%20How%20to%20confront%20afro-pessimism%20-%20a%20case%20study%20of%20the%20Africa%20for%20Norway%20campaign.docx%23_Toc376842608http://c/Users/Dell/Documents/5%20semester/cultural%20globalization/Cultural%20Globalization%20-%20How%20to%20confront%20afro-pessimism%20-%20a%20case%20study%20of%20the%20Africa%20for%20Norway%20campaign.docx%23_Toc376842608


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An anecdote from Zimbabwe

An anecdotal story can remind us of certain facts. A number of people on the streets of the Zimbabwean

capital Harare were asked a few years ago what they associated with Europe. One woman exclaimed:

Europe? It is awful! I have seen it on TV. I would never ever like to go there, there is only war and

misery.

This little story is a healthy reminder of two misconceptions in the debate on images. Firstly, when we talk

of images of Africa and the rest of the Third World we invariably think of the negative images of

catastrophe, scandals and misery conveyed through the mass mediathe story above helps to remind us

that it is the normal task of mass media to give priority to drama. To understand how images are formed

and changed we need to look at our channels and arenas of image formation. And they do exist.

Secondly, we are reminded of the fact that the sense of distorted images does not come from lies or false

representations. The TV that the woman had seen had not lied, there were wars in Europe, but it is the

selectivity which performs the trick of distortion, and a heavy dose of generalisation. We can easily

identify the source of the Harare womans information as reports from the wars in former Yugoslavia,

possibly also Chechenya and Northern Ireland. While we cannot deny the existence of wars and misery,

we hasten to add that this certainly is not all there is of Europe.

Mai Palmberg, Dalsbruk, Finland, June 2000

Page 9 in the Introduction inEncounter Imagesin the Meetings betweenAfrica and Europ (2001


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Introduction

I could not help but to bring the small anecdote from Palmbergs book about the woman from Harare,

capital of Zimbabwe, since I expect that it brings some kind of reflections to most Europeans, is it possible

to label this euro-pessimism? This generalization hurts, because it would be hard to recognize for most

Europeans in the 21stcentury, and most important, just because there is problems some places in Europe

does not mean that it is a bad place to be, does it? The question is if you would recall the same kind of

despise if I was stopped in voxpop on the streets of Aalborg and used the same answer to a question on

whether I wanted to move to Africa: Africa?It is awful! I have seen it on TV. I would never ever like to go

there, there is only war and misery. Would you feel offended? Well I am sure that some Africans definitely

would. This experience of presenting other as something primitive and suffering is far from new, and

when it happens in the context of Africa it has been given the expression afro-pessimism, but how do you

confront it? The Norwegian Students and Academics International Assistance Fund (Studentenes og

Akademikerenes Internasjonale Hjelpefond (SAIH) have made a campaign called Radi-aidby the fake

organization Africa for Norwayreversing the giver and receiver position in the aid paradigm. Due to this I

was immediately attracted to the campaign since it is addressing an interesting issue in cultural

globalization, being how we are constructing the image of other cultures in a world there is becoming

increasingly interconnected.

What provoked this project was a desire to understand the efforts that have beenmade by SAIH to produce

the mock campaign videoAfrica for Norway - New charity single out now!1.The campaign video is the first

one, and most successful one in terms of views on Youtube, in a series of three viral videos Africa for

Norway - New Video! Radi-Aid - Warmth for Xmasand Lets save Africa Gone wrong2. Through satire

the videos present stories that seem to be upside-down, challenging the narrative of fundraising

campaigns, coming from the global north (Norway) to the global south (Africa). Overall the three campaign

videos are addressing the theme of the helpless Africa. To help understand where the idea of this

helpless Africaand what it covers I have drawn on a concept, which were introduced to me by Anne HegeSimonsen, namely afro-pessimism, in her paper Fantasies and Experiences: The Norwegian Press Coverage

of Africa 1900-2002. She has used this concept to describe which tendencies that have emerges in the

1The campaign video can be watched on the website:http://www.africafornorway.no/or on Youtube at

http://www.youtube.com/watch?v=oJLqyuxm96k(Africa for Norway: Radi-aid)2http://www.youtube.com/watch?v=pkOUCvzqb9o(Africa for Norwaywarmth for Xmas), and

http://www.youtube.com/watch?v=xbqA6o8_WC0#t=25(Lets save Africa Gone wrong). I have chosen to only focus

on the first one in this project, though the introduction will bear the description in the context of all of them to helpthe reader understand the context of the campaign.
http://www.africafornorway.no/http://www.africafornorway.no/http://www.africafornorway.no/http://www.youtube.com/watch?v=oJLqyuxm96khttp://www.youtube.com/watch?v=oJLqyuxm96khttp://www.youtube.com/watch?v=pkOUCvzqb9ohttp://www.youtube.com/watch?v=pkOUCvzqb9ohttp://www.youtube.com/watch?v=pkOUCvzqb9ohttp://www.youtube.com/watch?v=xbqA6o8_WC0#t=25http://www.youtube.com/watch?v=xbqA6o8_WC0#t=25http://www.youtube.com/watch?v=xbqA6o8_WC0#t=25http://www.youtube.com/watch?v=pkOUCvzqb9ohttp://www.youtube.com/watch?v=oJLqyuxm96khttp://www.africafornorway.no/


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Norwegian news media in the coverage of the African continent from the 1980s and onwards carrying the

title Afro-Pessimism Takes Over, the introduction to the section is the following quote:

A last moment of change, in this overall analysis of newspaper reporting (from 1900-2002

inclusive), occurs in the 1980s when politics in Africa figures less and less in Norwegian

newspapers. Development aid becomes the focus of Norwegian news on Africa, and after

the fall of the Berlin Wall, only the apartheid regime in South Africa is still discussed in

political terms. Most other African countries are covered in Norwegian news media, as a vast

hunger and/or disaster area, commonly described as Africa.(Simonsen, 2010, p. 37)

This quote helps setting the frame for the whole idea of Africa in the Norwegian context, being afro-

pessimism. It illustrates how the media use to have some kind of sensitivity and respect diversification ofthe different entities on the African continent, but how it has turned to a reductive representation

discourse since the 1990s and onwards.In this project will afro-pessimism therefore set the frame for what

the campaign is struggling against, namely the perception of Africa3.Since the Radi-aid is built on satire it is

important to direct the reader in the motivation of the production organization SAIH. To help the reader

understand how the campaign situates itself in the realm of confronting afro-pessimism I can only

encourage the reader to take a look on Appendix 1: Why Africafor Norway and What do we want.

Problemformulation

How can SAIHs mock campaign-video, Radi-aid: Africa for Norway - New charity single out

now!be interpreted as cultural production criticizing the imageconstruction of Africa in

Norwegian society in the field of afro-pessimism?

3One thing that will probably be repeated over and over again in this project report is one of the points which are

actually the root of the problem itself being that Africa is going to be articulated as Africa, neglecting its hyper cultural

diversity, reducing it to a unity. For that I will excuse immediately, but it becomes unavoidable when dealing with a

campaign called fake organization called Africa for Norway. So now I have made clear that I am myself aware of thisreproduction.


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Methodology

There has been produce two journalarticles about the Radi-aid campaign already, one by scholar David

Jeffress called Humanitarian relations: Emotion and the limits of critique(2013) functioning as an essay in

Critical Literacy: Theories and Practices (7:1, 2013) and an essay byformer president of SAIH,Erik Schreiner

Evans, entitled Save Norway! in The Fletcher Forum of World Affairs (37:2, 2013). Since both of the works

takes the shape of an essay there is not much methodology to be inspired by. In order not fall into the

same category I have chosen to draw on a very simple method being Richard Johnsons Cultural

Circuit(Chambers, et al., 2004, pp. 37-43)(Hervik, 2011, pp. 11-17). This method is comprised of four

elements turning around in a circle being A) Everyday life, B) Production, C) Text, D)Reading, E) Everyday

life. To ease the overview I have inserted an illustration from Chambers, et al., p. 38:

This is the simple form of the Cultural Circuit. Below I will describe how I will apply this method to the

analysis of the cultural product: Radi-Aid. Since it is a very broad method I have put together my own

points of focus in this analysis fitting into the method, since the method allows multiplicity. First of all in

everyday life it is important that the context of the campaign is set. In the introduction I claimed that Radi-

aidis as a confrontation of afro-pessimism, so therefore the first exercise will be to present the concept. To

investigate whether afro-pessimism has any presence in Norway, I have chosen to bring in the quantitative


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survey conducted by Opinion for The Norwegian Council for Africa carrying the title Afrikabarometer

2011. To give this project a kind of historical context I have chosen to bring a short section on colonialism

and missionary work, since it build the foundation for a relationship between Norway and the African

continent. Building on this I have chosen to bring in a concept called the Norwegian do-gooder regime by

Terje Tvedt since it helps increasing the general cultural understanding of the ideas that dominates the

Norwegian society and especially the development aid field, which is the playing ground for SAIH.

In the production phase I am asking who isSIAH and the production partner IKind Media. As a part of the

production phase I have been searching for what has inspired them to create the campaign. SIAH has

created a small platform for why and what they want (Appendix 1), which is the empirical foundation for

the analysis, for what are motivation for the campaign, the question is whether the desires and the product

is matching?

In the product point I will be looking at the video itself. I will perform a short textual analysis of the

lyrics.How does the intertextuality appear? Which idioms are used?What is the scenery of the video? I have

been trying to take a critical stance, not accepting that it is all thought through, are any contradictions

appearing although that it is a parody?

In the reading point I will look at how the video could be perceived by the reader? How does it correspond

to the motivation put forward in the platform? Since it is the realm of viral marketing it is then a very

different situation than in a campaign video in the television. Here it is interesting to look at how it has

been shared, as well as which comments it has received. Do the video reach the people that it aimed for?

Returning to everyday life, does it have some effects on the discourse in the everyday life, specifically, how

has it been perceived by media and fundraising organizations?

If this has not crossed your mind yet, then this analysis leads very much to looking at what is going on

around the video than the video itself.


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Everyday life

To get a grasp of what is the most important in everyday life in a cultural analysis of the Radi-aid

campaign, then one needs to ask the question what is Africa image in Norway? This question is asked

within the assumption that whole continent can have an image.

Afro-pessimism

There seem to be no general theory of what afro-pessimism covers, simply because no-one has yet done a

coherent work of what the concept covers yet (de Bbri & Louw, 2011, p. 335). In reality it has been an

expression, which has been thrown around by academics and journalists and who knows who, without

anybody taking a serious time to theories the concept in academic work. As stated in the introduction I was

introduced to this expression by Anne Hege Simonsen while reading her analysis on the Norwegian press

coverage of Africa (2010, p. 37). Based on her use a very simple point of departure would be that it covers

the negative (pessimism) discourse surrounding the African continent.The expression was used the first

time in Norwegian context by Inge Amundsen in his academic article Afropessimism. A response from

below?, where he discusses the negativity by development scholars in African state building (1993, p.

135).

The reason why I became so attracted to this expression is that it fits perfectly with what SAIH is trying to

combat through the campaign Radi-aid. In the section Why Africa for Norway you find that they want tofight the image of Africa and promote a more nuanced one. They write that the image of Africa looks rather

like this: If we say Africa, what do you think about? Hunger, poverty, crime or AIDS? No wonder, because

in fundraising campaigns and media thats mainly what you hear about. (Appendix 1: Why Africafor

Norway and What do we want). This is not far from the description that you find in Nothias work, who is

currently preparing a PhD on the subject of afro-pessimism:

Broadly, it refers to a sense ofpessimism about the continents ability to overcome pressing

challenges relatedto poverty, health, development or governance. This concept will often

besummoned in the discussions around Africas image in Western media, to attackcoverage

seemingly reductive, negative and grounded in colonial tropes of thecontinent. (2012, p. 54)

Nothias framework for the notion of afro-pessimism goes very well along with the parameters of setup by

SAIH in the previous paragraph. Returning to the opening of this section I stated that there was no

complete work mapping the concept of afro-pessimism though will I like to bring in that de Bbri & Louw

(2011) has created a very interesting table to illustrate the varieties of afro-pessimism:


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This table identifies that there exist at least five ideas about afro-pessimism. It is a very simple table which

has been based on much collection of empirical data, and the criteria to the left in the table seem very

random. The point of bringing this table to the readers attention was that now there exist an

exemplification of the diversity of the meaning of afro-pessimism depending on who is communicating, and

therefore the concept of afro-pessimism is based so far on pure subjectivity. Having this in mind I will

claim that the Radi-aid campaign should be placed as belonging to the afro-pessimism criticizing western

media representation.

Having the Radi-aid campaign situated in the realm of confronting afro-pessimism then Arnfred and Utas

does some interesting observation which dynamics is useful in the struggle against afro-pessimism:

A keyword in the new discourse on Africa is agency. This focus on African agency is to some

extent a polemical response to previously dominant trends of Afro-pessimism. Instead of

looking at Africans as hapless victims, it makes more sense and opens more perspectives to

Illustration 1(de Bbri & Louw, 2011, p. 336)


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focus on what is actually going on(2007, p. 5)

This stems well with the fictional narrative that is setup in the Radi-aid campaign giving the Africans

agency.An agency which is fictionally constructed, but gives inspiration to what is needed to overcome

afro-pessimism. The whole appearance of afro-pessimism goes back to the times of colonialism, which

were not a defector a Norway as other European countries. Instead, what established the relationship

between Norway and Africa and created the first images of Africa in Norway was the appearances of

Norwegian missionaries of the African continent.

The Norwegian missionaries

In this section I briefly want to give a clue how Norwegian missionaries have contributed to the notion the

negative stereotypes there exist in the Norwegian society today and how the dynamics of that time can be

transformed to how Africa is portrayed today in Norway. Norway has since the end of the 19th

century until

the time development aid had been sending out more missionaries pr. Capita than any other country

(Tvedt, 2007, p. 627). It is important to recognize how the current images of Africa are not only a part of

the news media, educational system and fundraising campaigns, but also religion, which bear ground to

one of the first kinds of establishing a popular images of the suffering African, that needed salvation.

Christian missionaries falls very much into the category of fundraising campaigns in todays society, since

they had to construct images of the primitive African, in order to collect financial support from the local

society to cover the cost of setting up mission community to spread the Christian religion (Palmberg, 2001,

p. 16).

Norwegian do-gooder regime

Norway is famous around the world for its initiatives in the development aid sector. Tvedt has

characterized this as the Norwegian do-gooder regime, based the deeply rooted notion of a self-image as

Norway as a good nation. It implies that those who are well-off give those who are not so wellf-off, which is

viewed why Norway gives development aid. The do-gooder regime does not give any moral superiority topeople working in the development aid industry. It has its focus on the analytical aims on how power is he

exercised and vis-a`-vis the external world, additionally looking athow it rhetorically has been influenced

by andinfluenced the systems verbal self-presentation can best be interpreted within such aframework.

(Tvedt, 2007, p. 621).

In Borchgrevinks analysis of Tvedt in his Paper Images of Norwegian Aid he brings out some interesting

observations:


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Development assistance is a noble cause because of its intentions, Norwegians are therefore

proud to be among the most generous, and aid debates tend to focus on targets for aid

levels as percentages of GDP. As Tvedt points out, this concern with intentions implies a

particular ethical stance, one where the purity of motive is much more important than the

effects of an act. (2004, p. 176)

So, why is thisanimportant factor when we are dealing with a campaign addressing how Africa is depicted?

Well it introduces the idea that the goodness regime is more about giving, than who is receiving the gift,

which seems to something deeply embedded into Norwegian culture.

Connected to this regime of goodness or do-gooder regime Anne Hege Simonsen does some very

interesting observation in terms of bridging this concept to the one of afro-pessimism:

Most Nordic citizens, including journalists, are proud of living in relatively egalitarian

societies, and they believemaybe navelythat the world would be a better place if

everybody lived like us. The problem with this egalitarianism is that other ways of life are

often perceived as non-equal and in need of correction. We compare, not always

consciously, an idealised image of our own societies with the most negative sides of African

societies. This is not a good point of departure for a dialogue with Africa. (2003, p. 16)

This observation that the egalitarian and idealist worldview strengthen some elements of afro-pessimism

should help increasing the understanding for why we produce negative image and stereotypes about Africa.

But how does this depict into a survey?

Africa Barometer A Norwegian Survey

To get an impression of how Norwegians are perceiving Africa currently I have chosen to draw on a survey

(quantitative method) done by Opinion on behalf of the Norwegian Council for Africa in December 2011.

Based on 534 participants it gives some sort of impression about the current state of mind in Norway about

Africa. I have chosen four tables which I found the most relevant for depicting the current state of afro-

pessimism among Norwegians. I have inserted them inAppendix 2: Africa Barometer.

The first table asks what are the first five words that comes to your mind when thinking about the word

Africa. The number one score answered by 62% is poverty/hunger whereas the third most answer by 44%

is war/conflict.

The second table asks Last time you read/heard news from Africa, what were they about? The highest


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score was war/conflict/turmoil with 73%.

The third table asks Continuing the same thought about the last time you heard/read news from Africa,

how did you perceive them? With a score of 66% it indicates that two out of three indicated that they

were negative.

The fourth table asks Did you feel that you had enough background information? Combining the two

most popular answers (partly and yes) indicates that the participants received enough background

information.

The fifth table asks Which kind of information about Africa do you want to see more of? The two most

popular answers were more in-depth going articles explaining the background of news and the second one

being more success stories and positive news. This shows how the public desires a different image of

Africa.

So what can we use these answers for? Well it confirms Anne Hege Simonsens observation about the

media discourse, that afro-pessimism seems to be the dominant view not only in the media but also in civil

society. Naturally, one should always question surveys, how much do they in reality reflect?


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Production

In the production phase I will look at which elements have taking part in shaping the campaign video. An

important feature of the campaign video is the webpage devoted to it:

http://www.africafornorway.no/.The central questions of this section are who was involved, what was the

inspiration and motivation? To put the production into perspective there has been more than 70 people

involved including music, video production, lyrics, planning and marketing(Girling, 2013).

Who is SIAH?

Norwegian Students and AcademicsInternational Assistance Fund (SAIH)was founded in 1961 as an anti-

apartheid organization. SAIH is a solidarity, aid and advocacy organization thathas been working on global

issues and access to education since its beginnings under the motto Education for liberation. SAIH

focuses on education in development cooperation, as well as political advocacy in Norway and North/South

information.SAIHs work is financed by the contributions paid by students over the semester fee, the SAIH-

academics, NORAD, Operation Days Work, LNU (The Norwegian Children and Youth Council) and FOKUS

(Forum for women and development). Approximately 140 000 students in Norway annually contribute with

over 6 million Norwegian kroner to SAIHs work. SAIH works primarily in the area of education, providing

assistance to projects in South Africa, Zambia, Zimbabwe, Bolivia andNicaragua(SAIH, 2013). In addition to

what is to be found on SAIHs webpage then Evans, a former president of SAIH, brings an interesting

perspective:

Working among othercharitable organizations, SAIH has often felt uneasy about the

narrativeof the starving and suffering Africa that some organizations keep tellingas part of

their fundraisingand that is confirmed by media without thetime or resources for in-depth

journalism.(2013, pp. 179-80)

The Radi-aid campaign situates itself in the field of the North/South information arena, but it is not the

first time that SAIH makes a campaign for a more diverse image of Africa. Actually, it is the third time that

SIAH puts focus on the representation of Africa through a campaign. The first time was in 1999-2000 with

the title Vrt bilde av Sr4(Our Image of the South), and the second time in 2007 under the title Afrika n

- en sak har alltid flere sider5(Africa now - a case always has more aspects). Furthermore, there is a whole

section of the webpage dedicated to the theme Vrt bilde av Sr(Our Image of the South)storing articles

written by SAIH activists under the theme6. This indicates that it is a theme that activist in SAIH has been

4http://saih.no/Bloggers_United/Tidligere_kampanjer/1999_00__V__rt_bilde_av_S__r/index.html

5

http://saih.no/Bloggers_United/Tidligere_kampanjer/2007__V__rt_bilde_av_S__r/index.html6http://saih.no/Tema/V__rt_bilde_av_S__r/index.html
http://www.africafornorway.no/http://www.africafornorway.no/http://saih.no/Bloggers_United/Tidligere_kampanjer/1999_00__V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Bloggers_United/Tidligere_kampanjer/1999_00__V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Bloggers_United/Tidligere_kampanjer/1999_00__V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Bloggers_United/Tidligere_kampanjer/2007__V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Bloggers_United/Tidligere_kampanjer/2007__V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Bloggers_United/Tidligere_kampanjer/2007__V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Tema/V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Tema/V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Tema/V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Tema/V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Bloggers_United/Tidligere_kampanjer/2007__V__rt_bilde_av_S__r/index.htmlhttp://saih.no/Bloggers_United/Tidligere_kampanjer/1999_00__V__rt_bilde_av_S__r/index.htmlhttp://www.africafornorway.no/


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dealing with for a long time, and that the Radi-aid campaign is another, but new approach taking to combat

the stereotypical image of the suffering Africa.

Financing

NORAD (the Norwegian State Development Agency) gave SAIH NOK 99,000 and full freedom to make the

mock-campaign, additionally SAIH received another NOK 50,000 from the Norwegian Children and Youth

Council (LNU)(Dovelopment Today, 2012). According to Evans did SAIH spend less than US$30,000, which is

some NOK 170,000 (2013, p. 179).

Video

SAIH contracted the South African media company iKind Media, based in Durban, to handle both the music

video production and the music recording. The video is shot in Durban. KwaMashu Community

Advancement Projects (KCAP)is a performing arts school situated at the Ekhaya Multi Arts Centre in

KwaMashu (a northern township of Durban) provided some of the actors and singers to the radi-aid

video(Carter, 2012), as well as some of them were volunteer students (Martin, 2012). The art school is a

former SAIH project under their South Africa division, with the purpose of providing underprivileged youth

an opportunity to learn a range of integrated arts and creative disciplines (Carter, 2012).The video-clips

from Norway in Radi-aid are from the state channel NRK. SAIH requested to use pictures of freezing

Norwegian Children playing in the snow, they were not allowed since it was against the ethical guidelines.

(Dovelopment Today, 2012)

Lyrics

The lyrics have been composed by the Norwegian music group Bretton Woods, who labels themselves a

developing country band.

Music

The music is composed by the young South African musician Wathiq Hoosain, who has been studying in the

Oslo International Music Academy since 2010 until present(Martin, 2012). It is interesting to see an

element that has a foot in both grounds.

Motivation

An important factor in shaping the cultural product the Radi-aid campaign is the motivations behind the

campaign. Since it is a spoof-video it has been really important for SAIH to communicate their actual ideas,

being why and what they want through the campaignswebpage. The section of the webpage reminds me

of a small political platform or manifesto communicating how the image of Africa in Norwegian society


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should be constructed and in a greater context in the Western media. To keep it in the notion and the idea

of the Radi-aid campaign, one could be tempted to entitle it the Africa for Norway Manifesto. So what

does it contain? The full manifesto can be read in Appendix 1. As mentioned previously does it contain of

two parts, a part analyzing how Africa is image and what dynamics constructs this image, somehow it falls

depicting how afro-pessimism is constructed and which perimeters that constructs afro-pessimism.

Interestingly they present a strain of thought how the negative image of Africa only activates people for a

short period: while these images can engage people in the short term, we are concerned that many

people simply give up because it seems like nothing is getting better. Africa should not just be something

that people either give to, or give up on. So how to confront this negative image of Africa and create a

more devoted interest? Well the manifesto indicates four points, which I have inserted below, though not

containing the comments which is to be found in the Appendix 1:

1. Fundraising should not be based on exploiting stereotypes.2. We want better information about what is going on in the world, in schools, in TV and media.3. Media: Show respect.4. Aid must be based on real needs, not good intentions.

This point to four interest areas being fundraising campaigns, education, TV, media and the development

aid sector. The key message becomes that more attention is needed on the subject on how the Western

countries have a negative impact on the developing countries; in the Norwegian context it is a message

aimed at the national do-gooder regime it needs self-reflection.

Inspiration

Looking at inspiration to the campaign one needs to look in two directions since it is as spoof, which

campaign videos do Radi-aid want to criticize, and how are there reference to these, and secondly have

other campaign videos done the same? On Radi-aids webpage there is a section devoted to this entitled

Other Videos, this is divided into two columns one being our inspiration (containing eight videos) and the

other one being other fun stuff (containing seven videos).In the category of our inspiration you find

music campaign videos as Do they know it is Christmas by Band Aid with front figure Bob Geldorf, USA for

Africa with Were the World and the Norwegian contribution to Live aid: Norway for Africa. The title from

the live aid show has been reversed to create the fake organization Africa for Norway, though the video

does not use any stereotypical images of Africans; it is instead Norwegian musicians on a beach and in a

market town. In the video Norway for Africa the imaginary reference to Africa becomes a black kid, which

most likely lives in Norway. The inspiration to the video is more likely drawn from the band aid video and


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USA for Africa video.

The idea of having Africans aiding a Scandinavian country is neither a new idea. Help Swedenis a

campaign by UN Development Programme (UNDP) in Sweden and is constructed in a way were the fictional

group HelpSweden in Ghana is collecting money in a market to help the cold and barren

Sweden(Barthal, 2008). The identity of Sweden is constructed by showing still photos of Swedish people

and the Swedish Royal Family, selling traditional industrialized Swedish products and the campaign group

wearing and sharing merchandise for HelpSweden. The message of the campaign is though slightly

different than Radi-aid being: When the rich gives to the poor its called international aid. When the poor

gives to the rich it is called business as usual. Turn the world around.www.helpsweden.org

(HelpSweden.org, 2008)

The campaign video that I see as having the most similarities with the Radi-aid spoof is Pimp my Aid

worker7,though not brought on their webpage. It is a music video spoof facilitated by Norwegian artist

Morten Traavik in corporation with Zambian musicians under the name AID AIDUnited Support of Artist

for Aid Workers. As the name indicates it deals with aid workers and the message that aid workers should

be acknowledge for the hard work and needs support. The video uses the same kind of agency as Radi-aid

with African musicians being the voice to help the white aid worker, and through this it falls into the

same category as Radi-aid, thedifference is that the song is written and produced by Zambian musicians

(Traavik, 2010). Letting this be the piece of inspiration, I will continue to take the reader through an analysis

of the Radi-aid campaign video itself.

7Visit campaign website and watch the video at:http://www.pimpmyaid.org/
http://www.helpsweden.org/http://www.helpsweden.org/http://www.helpsweden.org/http://www.pimpmyaid.org/http://www.pimpmyaid.org/http://www.pimpmyaid.org/http://www.pimpmyaid.org/http://www.helpsweden.org/


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Text

In the previous section of the cultural circuit I looked at the production phase, who was involved, what was

the inspiration and motivation, in this section I will analysis the cultural product Radi-aid itself.

Africa for Norway New Charity Single out Now!

Africa for Norway is a fictitious non-profit organization which encourages Africans to collect their old

unused radiators for donation to freezing cold, suffering Norwegians.The music video aimed to parody

eighties Band Aid videos such as Do They Even Know its Christmasand highlighting Western medias and

fundraisers often grossly biased perspective in its depiction of Africa, when it comes to portrayingdisease

and poverty as a widespread standard in Africa.

The Radi-aid video can be broken into two parts the introduction by Breezy V and the song by Africa for

Norwayby the ficitional Africa for Norway choir. The opening paragraph and the lyrics of the song can be

found inAppendix 3: Transcription of Africa for Norway New charity single out now.

The introduction to the campaign is a monologue by Breezy V sets the stage for the mock video, one can

say that he sets the frame for the parody. The scenery of the introduction with Breezy V is a crosscut

between panoramic shoots of Durban the Skyline (representing wealth), harsh video material of how

blizzards can make the Norwegian winter really challenging, and door-to-door collection of radiators

around neighborhoods in Durban loading the radiators into a pick-up truck.

In between the lines Breezy V is questioning if it is possible to live under these weather conditions with

statements such as: in this time of need for Norway. You know helping them out. A lot of people

arent aware of whats going on there right now. Then the video clips to a snow/windy scene from Norway

(Norwaytexted in the right corner of the clip), showing how a man is almost blown away in the snowy

landscape. Then he is continuing by drawing a parallel between the difficulties Norway isfacing comparing

them to poverty. Here it is important to emphasize that he is not mentioning Africa, but that it is based on

the receiver to make the connection between poverty and the association of Africa, then leaving the

receiver questioning oneself whether one should make that connection? The same technique is used in the

two following sentence, associating Africa with sun and starving people. I will label this technique it goes

without saying using classical stereotypical images of Africa. The text looks like this:Its kind of just as bad

as poverty if you ask me. Sunlight puts smiles on peoples faces. People dont ignore starving people so why

should we ignore cold people?This finishes with an ironic reference to death, since people dying of

starvation was used as the activation of the receivers moral code: Frostbite kills too.


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The second part is the song itself. It has four core scenes: the classical choir scenes, recording studio

scenes, winter footage from Norway, and collection of radiators. The first verse of the song is a crosscutting

between choir/recording studio and winter scenes from Norway containing freezing faces, snow-blocked

roads, snow-drowned houses, flooded streets, crashed trucks, heavy wind all the damages that a blizzard

can offer.

The singers are almost dressed as pop-stars at least they are young, good-looking Africans. The reference to

pop-stars are not totally misplaced, if one jump to the part of press photos at the webpage for the

campaign then the press pictures are entitled after Afro-American musicians being: Beyonce, Rihanna,

Bruno Mars, Lauren Hill, Macy Gray, Ray Charles, Sugababes, Usher8. So they are dressed to impress to

fight the African stereotype. Probably, the improvisation of Ray Charles, being the man with the sunglasses

on the piano becomes the most accurate. Giving the actors of the spoof character names of American pop

artist seems though to be failing the whole idea of Radi-aid.

The song consists of two different verses and two times chorus, and then a finishing epilogue. The two

verses are very different the first verse is about how difficult it is for Norway to be freezing and that

Africans should help, whereas the second verse is a appraisal of how good Norway have been to help

Africa, so that is why Africans should give back.

In Norway kids are freezing is the opening line of the song, referring to the pity that it is constructed for

the suffering African is always a child, since it is expected to increase empathy. Unfortunately, it does not

correspond with the images of Norwegians in the footage since it is all adults, after all NRK would not allow

use of freezing kids from their footage due to ethical guidelines. Its time for us to care.Theres heat

enough for Norway. If Africans would share.The African agency is articulated, while at the pictures of

blizzard Norway is the image scene, the is classical aid rhetoric, there is a disaster, a reaction is needed. In

the following lines the agency is questioned Yet, Africans keep thinking we cant contribute. The warmth

weve got wed like to share but we cant distribute. Again using a classical aid scheme, by appealing to the

fact that everyone can do something, it is a matter of taking power into your hands. This rhetoric is usually

used for appealing to donation, and in this case it becomes donation of radiators.

The chorus uses the classical idiom the tables have turned to refer to a change of the power relationship,

the giver and receiver relationship has changed. By starting the two first lines with now it refers to that

historically it has look different, firstly that Norway has been the donor, but is now the receiver, and

secondly that it previously has been Norway for Africa as the Live Aid song of 1985. Building the narrative

8https://www.dropbox.com/sh/wq1kbs1tycuxf0w/CqgiWSes-T/Arica%20for%20Norway%20Photos
https://www.dropbox.com/sh/wq1kbs1tycuxf0w/CqgiWSes-T/Arica%20for%20Norway%20Photoshttps://www.dropbox.com/sh/wq1kbs1tycuxf0w/CqgiWSes-T/Arica%20for%20Norway%20Photoshttps://www.dropbox.com/sh/wq1kbs1tycuxf0w/CqgiWSes-T/Arica%20for%20Norway%20Photoshttps://www.dropbox.com/sh/wq1kbs1tycuxf0w/CqgiWSes-T/Arica%20for%20Norway%20Photos


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that Africa now is the donor (the giver) and the strong one after the tables have turned brings a

responsibility which is And theres no way we can close our eyes.We see that they freeze. This model of

getting your message through and getting the donation through has been express as chugging (charity

mugging)the appeal that you know that there is something wrong (they freeze) and you need to do

something with your economical surplus in order to help (in this case radiators and heat). This rhetoric is

repeated in a different shape in the next two lines as wellAs Africans concerned. Lets send our heaters all

the way. The chorus is finished by stating that the action is taking place Radi-aid to Norway. With a

tropical breeze (Tropical Breeze). The tropical breeze idiom carries a kind of intertextuality as well since it

gives association to charter holiday commercials, it falls into a category of easiness, relaxation, and creates

a feel good atmosphere, somehow becoming self-reflective to the African mentality, something positive

being the contrast to the blizzard there is destroying Norway. Whilethe chorus is running then we aresent back and forth between the chorus recording and the radiator collecting.

Especially, the second verse becomes conspicuous, because it returns to the Norwegian do-gooder-regime

and builds up the historical power relationship of the Norwegian development aid industry, which in reality

was supposed to be broken down by the chorus stating now the tables have turned. This can all be

summed up in two lines: Norway gave a helping hand. They taught us what to do. Here I think the

campaign is failing itself, because its intention is to promote the African incitement. This construction

removes the Norway in the Radi-aid song from only being the victim/suffering to also carry some agency.

This taught construction is inmy view the most interesting, because it seems to be not going along the

whole parody idea. If one questions whether it is ironic, it can be more or less diminished by the following

line And now its payback time. This implies likelywise a power structure, that falls along with Knut

Nustads observation in the power of the gift (Borchgrevink, 2004, p. 172). The footage of the second verse

is jumping from the different artist singing in the studio to ending with a scene at the Durban harbor front,

where there is a drop-off spot for radiators, creating a narrative, that the activist do not need to go door-

to-door to collect radiators but people are bringing radiators themselves. This cross cutting is repeated in

the second chorus, though crosscutting from the choir to the drop-off spot of radiators.

The epilogue of the song is containing even more simple lyrics, but it also has the function of addressing the

viewer directly Say yes! Join Raid-aid! on repeat with the notion of sending the heaters all the way to

Norway. The video finishes off with the radiators being loaded on a pickup truck. One thing that I have not

mentioned is that the expression of the characters in the video is constantly smiles and joy, which creates a

feel-good atmosphere.The video leaves me with some different impressions. It is made to fight the

stereotype of Africa, but at the same time it is highly reproductive of the African identity. The question is


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whether this is unavoidable when the tool of communication is done through a parody?

So what is the point of all this? By using humor and reversing the whole picture it challenges the viewer to

think, to put it in popular speaking it breaks down the emotional barriers, and it challenges the

stereotypes, or rather it challenges how we construct stereotypes. Framing it differently, the viewer knows

all the way through that this is fiction, that Norway does not need the help of radiators, but does the

viewer also know that Africa is not only suffering continent, which constantly needs help? Well it seems like

it is time to challenge some of the ideas embedded in the Norwegian culture about the do-gooder regime.

As the reader might sense I have already starting interpreting what the readings of this cultural product

could be, which sends me to the next phase of the cultural circuit, the reading.

.


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Reading

Imagine if every person in Africa saw the Africa for Norway video and this was the only

information they ever got about Norway. What would they think about Norway?

This is the opening sentence of the earlier discussed self-proclaimed Africa for Norway Manifesto by SAIH

which is found in Appendix 1 and its the frame for what I will try to do in this section of the cultura l circuit

namely how is the cultural product, Radi-aid campaign, read or rather in this context viewed and

interpreted. The quote helps us understand that Radi-aid will be interpreted in the context of what cultural

narratives and knowledge the reader carries along. If you have no prior knowledge of Norway as the quote

suggests your interpretation would be very much different from how a Norwegian would interpret the

music video. This is probably the most difficult part of the analysis since it requires acquaintanceof oneself

with the receiver of the video. Since it is a viral video it brings some totally different perspectives into

whom the reader is, because it is based on sharing, so the sender SAIH, does not have the same kind of

control with the audience as would be seen in more traditional settings of information campaigns using TV

and newspapers as media. At the same time it allows one to gain some data regarding how it spreads, how

many views etc.

I have been very much divided whether I should share the upcoming observation in the everyday life

section or in this one, but as you might guess I have chosen to share it here. Again, I have drawn on the

analytical skills of Anne Hege Simonsen though this is a more hypothetical assumption trying to categorize

Norwegian people interested in Africa into three lines of perspectives:

1. The humanistic approach, telling us that nothing in human life is foreign. We all inhabit the

same planet and we should all be interested in one another.

2. The altruistic approach, telling us that we (still) have a civilising mission: people in Africa

need assistance, food, money and democracy.

3. The self-protective approach, telling us that we should help them to help themselves.

Otherwise the bottle called Africa will turn itself upside down and pour all its people into

Europe.(2003, p. 15)

This gives a clue to how the Radi-aid campaign might be received depending on which category the reader

belongs to. The ordering from 1-3 to three can probably also determine the matter of skepticism towards

the campaign.


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Viral data

The Radi-aid campaign haves some 2.3 million views (IP addresses) by January 2014. The Youtube stats

gives an indication of which age group the video is most popular among which is the 35-54 year olds.

Looking at some data that reveals some more dedication could be exemplified through the statistics of

Facebook where the largest group of followers are 25-34 year old females at 17%, followed by 25-34 year

old males at 14.4%(Girling, 2013). Does gender and age in reality say that much about the receiver? Well, at

least the age can help indicate that mock campaign gets most clearly through to the Band Aid

Generation. Girling ask why is has reach this relative success in the field of social media: firstly its

different, creative and funny. All three of these factors are key ingredients for shareability as I like to call

it (2013).

Media spread

An important part of the reading of the Radi-aid campaign has been its ability not only to spread through

social media and viral video but also in the traditional media which it reached through the social media.

Among television stations the campaign reached BBC focus on Africa, BBC World Service and BBC radio

4,Al-Jazeera (two times), CNN, NPR, ZDF, Deuche Welle (on three languages worldwide), Swedish , Danish,

Dutch, French, South African, Norwegian TV etc., and of newspapers it reached the big English language

newspapers: The Guardian, Huffington Post, Washington Post, New York Times, AFP (news agency) (Edland-

Gryt, 2012). Furthermore the campaign experienced huge popularity in the blog-sphere helping it to spread

around social media as well. SAIH has created a google-document with the different media entities they

have collected, which counts 325 different entities being online media, from newspapers, blogs, radio, and

online TV, which can be found in Appendix 4.

SAIHs response to reactions

This massive exposure has of course also contributed to personal reaction to SAIH. There has been a lot of

interviews to pick from, but I have picked out one rather long answers in interview by Michel Martin (from

NPR: National Public RadioUSA) with Erik Evans the president of SAIH when the campaign was lunched:

MARTIN: What reaction are you getting?

EVANS: Oh, overwhelmingly positive. It's...

MARTIN: From whom?

EVANS: Well, funny you should ask because we get a lot of reactions from all over the world


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now - which, really, we hadn't anticipated. But the reactions from people in Africa are - they

have only been positive so far. There has been - a few negative reactions. Some of the

reactions have been, you know, along the lines that you just mentioned; that oh, but you're

also European, and you're criticizing this, and you're also one of these organizations. But

funny enough, the people actually, you know, coming forth with this kind of criticism are all

in Europe or in the U.S. So - I mean, the people that we talk on behalf of, in the video, have

no problem with this.(Martin, 2012)

The answer reveals that the campaign has been received really positively, especially the form the African

responses have there been a positive attitude towards the campaign. One critical point though, which I

have touched upon earlier,is the questioning the agency of the Radi-aid campaign wrapped up as being by

Norwegians for Norwegians performed by Africans.

Bringing the Radi-aid campaign into the Everyday Life section again one can ask what it hasachieved.

Keeping the lesson short hopefully it has opened the eyes of some NGOs to the power of producing

something different than the stereotypical images of Africa. In order to confront afro-pessimism new

narratives needs to be created. The dangers is that of a single story, and if we develop a world were cultural

globalization develops simplistic stories about the others we need to challenge them.


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Conclusion

Confronting stereotypes are not easy. Without doubt has The Norwegian Students and Academics

International Assistance Fund (SAIH) been challenged when coming up with the idea of creating a mock

campaign to confront stereotypes about Africa.

By following Johnsons cultural circuit has been able to shed a light on the dynamics that has created the

campaign.

The everyday life section recognized that Radi-aid campaign situated itself in the same shelf as afro-

pessimism, but also that moral standards of the Norwegian culture had an effect on this through Terje

Tvedts do-gooder-regime. Combining the concept of afro-pessimism with the idea of a Norwegian do-

gooder-regime has helped increase the understanding for why humor has been a great part of confronting

the stereotypical image of Africa.

The production phase contributed to the understanding that SAIH had very much experience in the field of

communicating against the simplistic notions and negative images of Africa. In the production phase it was

also unlocked how the Radi-aid campaign very much looked like a combination of HelpSweden.org and

Pimp my Aid Worker in the context of the band-aid parody.

Using humor and reversing the whole picture it challenges the viewer to think, to put it in popular speaking

it breaks down the emotional barriers, and it challenges the stereotypes, or rather it challenges how we

construct stereotypes. Framing it differently, the viewer knows all the way through that this is fiction, that

Norway does not need the help of radiators, but does the viewer also know that Africa is not only suffering

continent, which constantly needs help? Well it seems like it is time to challenge some of the ideas

embedded in the Norwegian culture about the do-gooder regime.

Keeping the lesson short hopefully it has opened the eyes of some NGOs to the power of producing

something different than the stereotypical images of Africa. In order to confront afro-pessimism newnarratives needs to be created. The dangers is that of a single story, and if we develop a world were cultural

globalization develops simplistic stories about the others we need to challenge them.


27/42



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Appendix 1: Why Africafor Norway and What do we want

Illustration 2 Cutting from http://www.africafornorway.no/why


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Appendix 2: Africa Barometer

Illustration 3(Opinion, 2011, p. 9)



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Appendix 3: Transcription of Africa for Norway New charity single out

now

This is a very simple transcription of the Africa for Norway -New charity single out now!campaign video

based on the subtitles in the video.

Africa for Norway

(Textbox: Breezy V, rapper:)

0:00I'm basically heading up a team

0:01that's getting Africans together

0:03in this time of need for Norway.

0:05You know - helping them out.

0:08A lot of people aren't aware of what's going on there right now,

0:14It's kind of just as bad as poverty if you ask me.

0:17Sunlight puts smiles on peoples faces.

0:20People don't ignore starving people

0:21so why should we ignore cold people?

0:23Frostbite kills too.

0:24Africa, we need to make a difference in Norway.

0:27We need to collect our radiators,

0:29ship them over there,

0:30and spread some warmth,

0:31spread some light,0:32and spread some smiles.

0:33Say yes to Radi-aid.

Song:

(1stverse)

0:50In Norway kids are freezing

0:55It's time for us to care

1:01There's heat enough for Norway

1:06If Africans would share

1:10Yet Africans keep thinking

1:13we can't contribute1:16The warmth we've got

1:17we'd like to share

1:19but we can't distribute

(Chorus)

1:26Now the tables have turned

1:32Now it's Africa for Norway

1:35And there's no way

1:38we can close our eyes

1:39We see that they freeze

1:42As Africans concerned


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1:44Lets send our heaters all the way

1:48Radi-aid to Norway

1:50With a tropical breeze

(2

nd

verse)1:54Here in Africa

1:57we've had our problems too

2:04with poverty, corruption

2:06with HIV, and crime

2:09Norway gave a helping hand

2:12They taught us what to do

2:15And now it's payback time

(2ndchorus)

2:23Now the tables have turned

2:29Now it's Africa for Norway2:32And there's no way

2:34we can close our eyes

2:36We see that they freeze

2:41As Africans concerned

2:45Lets send our heaters all the way

2:47Radi-Aid to Norway

2:50With a tropical breeze

(epilogue)

2:58Join Radi-aid!

3:01Say yes! Send our heaters all the way3:04Join Radi-aid!

3:07Say yes! Send our heaters all the way

3:11Join Radi-aid!

3:12Say yes, Radi-aid!


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50. 'African heat for cold Norway' video debunks myths - Yahoo! News South Afri51. Saudi Gazette - African heat for cold Norway video debunks myths 52. News - African heat for cold Norway video debunks myths53. Les Africains invits donner leurs radiateurs aux Norvgiens - 7SUR7.be54. L'Afrique se mobilise pour aider la Norvge - Infos - Replay55.

"Envoyez des radiateurs africains en Norvge !" - Afrik.com : l'a56. Les Africains offrent leurs radiateurs pour rchauffer la Norvge | MinuteB

57. Le Tlgramme - Monde - Solidarit. L'Afrique vole au secours de la Norvge58. Quand les Africains donnent leurs vieux radiateurs aux Norvgiens - Norvge59. buzz une bonne cause: Africains, donnez vos radiateurs aux Norvgiens qui o60. Des Norvgiens ont froid, Africains, donnez vos radiateurs !61. "Africa for Norway" : le clip norvgien qui casse les clichs sur62. Les Africains invits donner leurs radiateurs aux Norvgiens - 7SUR7.be63. Spoof video asks Africans to help freezing Norway | ArabNews64. Des radiateurs africains pour la Norvge? Une vido dmolit les clichs - I65. Africains, donnez vos radiateurs aux pauvres Norvgiens qui ont froid! - Le66. Radi-Aid, Africa for Norway cherche casser les strotypes sur lAfriqu67. Africa for Norway - Modern Wifestyle - I'm Katrin Bjrk. This is my blog ab68. Africa Rising | The Generation69. #Goedverhaal: Afrikanen hebben er genoeg van om het goede-doelwit te zijn70. Essie O. : Africa for Norway71. Africa For Norway - The Awesomer72. Media Source Africa: "Africa for Norway" Global Aid Spoof Goes Vi73. Saving the Savior: Africa for Norway - @TheSocyCinema74. 3 cool social media campaigns from Africa | Digital in the round75. There Might Be Starving People In Africa, But What About The Cold People In76. Radi-Aid: 3rd world aid for 1st world countries. @musobaidi77. Africa for Norwaythe tables have turned! | Solfant78. NRK.nonyheter, tv og radio fra Norge og hele verden79. 1,6 millioner har sett afrikanere samle inn radiatorer til Norge - Gjre og80. Non-profits who really understand humour when creating viral video campaign81. Non-profits who really understand humour when creating viral video campaign82.

Ethiopian children and tablet computers [501822704] | The Africa Report.com83. Juste un peu d'eau pour faire des Ricor | Boz and Phiz

84. Africa for Norway, video non profit dellanno AfroFocus85. 9 Non-Profits That Get Web Humor86. Radi-AID: Africa for Norway Christmas charity single - Opinion - This Is Af87. Africa for Norway Global Aid Spoof Goes Viral | NationofChange88. Africa for Norway video dell'anno - Affaritaliani.it89. Africa for Norway musica contro gli sterotipi | Spettacoli | www.avvenire90. Md Africa for Norway i Datolinjen by Orhan Gkcen on SoundCloud - Hear the91. Africa for Norway on Deutsche Welle talkshow "Agenda" 25.12.12 -92. Africa for Norway: Radi-Aid campaign returns for Christmas - Truthloader -93. Africa For Norway : Aljazeera Web Video Of The Week - YouTube94. South2North - Comedy: 'An agent for change' - YouTube95. RADI-AID: Africa for NorwayThe Way to Go? | Glokal96. Africans Join Together to Aid Frozen Norwegians | @ActonInstitute PowerBlog97. Radio 1 - Oddaje98. Do they know it's Christmas? Radi-Aid: Africa For Norway | The South Africa99. Muck Rack - Journalists comments on: Africa For Norway - New charity single100. Contra los estereotipos: leccin de humildad - Wiriko101. Psych: In New Charity Campaign, Africans Deliver Space Heaters to Freezing102. Development Today | Aid spoof video opts for gentle approach103. The power to construct discourse: Radi-AidAfrica for Norway Public Di104. Activist Communication: Radi-AidAfrica for Norway Campaign | rabble.ca105. Frostbite Kills (and so do stereotypes) | Third World Paradise106. Viral Video Alert: Africa For Norway (Now with Arabic Subtitles) 2famous.TV107. Afrika hilft Norwegen - oder so - ZDF heute journal - ZDFmediathek - ZDF Me108. Hjelp frysende nordmenn - vl.no109.

Naudhjelp til Noreg vekkjer oppsikt | Framtida
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