Telling Corruption’s Story, or Why is Corruption So Boring? (Part 2)

In my last post, I identified challenges inherent in creating campaigns that move laypeople to action against corruption, and I proposed solutions to these challenges. In this follow-up post, I will assess how two very different campaigns score on the factors previously proposed.

I’ll start with a less successful campaign: Transparency International’s call to “Unmask the Corrupt.” In late 2015, TI announced its Unmask the Corrupt campaign, which aimed, among other things, to “highlight the most symbolic cases of grand corruption.” The first phase of the campaign encouraged individuals to submit cases of grand corruption, from which TI would select semi-finalists to be voted on in the second phase. In the third phase TI would “look at the cases that have received the most votes and . . . openly discuss with all how the corrupt should be punished.” From 383 submissions, TI selected 15 semi-finalists, which included the “Myanmar jade trade,” “Lebanon’s political system,” and the “U.S. State of Delaware.”

In early 2016, TI announced that it had imposed “social sanctions” on the finalists (including Lebanon’s political system and Delaware). The toothiest of these sanctions were TI press releases which led to some negative coverage of the finalists in important media outlets. TI also launched #StopKadyrov, an Instagram-centered campaign against Chechen leader Akhmad Kadyrov, who had received all of 194 votes in the second phase of Unmask the Corrupt. An Instagram search for #StopKadyrov reveals that the hashtag has been used in a total of fifteen posts. When assessed against the factors I sketched in my previous post regarding the criteria for effective narratives—in particular, the importance of placing the audience in the role of potential heroes of the narrative, depicting a compelling (and repellant) antagonist against whom to struggle—these mediocre results are not surprising.

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Telling Corruption’s Story, or Why is Corruption So Boring? (Part 1)

In 2010, a group of talented young musicians from across the globe gathered in Nairobi, with the financial support of Transparency International and Jeunesses Musicales International. Their mission: to write and record a viral hit that would not only communicate the gravity of corruption to young people (a crucial demographic for anticorruption activists), but would also make them want to share the tune with their friends. The diverse band of artists left the studio with “Against Corruption,” a reggae jam complete with Lebanese Arabic hip-hop verses and flamenco-tinged guitar riffs. You can watch the music video here, or listen to the audio here.

Despite its all-star cast and catchy hook, however, the big budget music video has been viewed just over 600 times. This kind of failure to turn big anticorruption dollars into effective campaigns that generate excitement, activism, and action on the ground isn’t unique. The anticorruption community’s proposed revolution may well be broadcast, but its soundtrack will be probably be, dare I say, boring. And as a result, few will tune in.

Why is that? What makes it so much easier to capture an audience’s imagination when speaking about issues like the refugee crisis or modern-day slavery than to tell the story of corruption, whose effects are similarly destructive?

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