“Fazerin Sininen -suklaan Suklaakoulu-kampanja“ Fazer-yhtiön hyväntekeväisyyskeräyskampanja. Yllä oleva vaalikampanjamainos Helsingin Sanomissa.
Suomen suosituin suklaavalmistaja Fazer julkaisee koko etusivun ilmoituksen johtavassa päivälehdessä. Yritys lupaa lahjoittaa 5 senttiä jokaisesta myydystä Fazer Blue -suklaalevystä koulurakennushankkeeseen Norsunluurannikolla. Juuri siellä yrityksen kaakaopavut viljellään lapsiorjien voimin. Tarvitsevatko nämä lapset koulun vai jotain muuta Fazerilta?
Sivun viite: Eeva Kemppainen (2026) Fazerin Sininen -suklaan Suklaakoulu-kampanja. followthethings.com/fazer-blue-chocolate-cocoa-school-campaign.shtml (last accessed <insert date here>)
“No one can live with Swiss Chocolate!” A campaign by the Swiss NGO Erklärung von Bern (EvB, known since 2016 as Public Eye) – called ‘Mit Schweizer Schoggi kann niemand leben!’ (‘No one can live with Swiss Chocolate!’) – comprising a research report, a guide, two spoof video advertisements & a public action. Videos embedded above in full. Download the research report here and the guide here (both in German).
Trade justice activists not only need to choose the right things to grab public attention, they also need a good sense of both place and time. Whichever country your NGO is based in, find out what its iconic commodities are – like Switzerland and chocolate. Research what its brands and manufacturers are doing to reduce exploitation in their supply chains, and launch your findings in the lead-up to an annual event where that commodity plays a huge part – like chocolate at Easter. Choose an iconic example of that commodity – like a chocolate Easter Bunny – that’s a signature product for one of your target companies – like Lindt with its Gold Bunny (the one with the bell around its neck). If it’s an human or animal character, use animation to bring it to life and invite members of the public to empathise with how ‘he’ or ‘she’ might feel if they found out the true story of their origins. Broadcast campaign ads featuring them finding this out on TV and at the cinema. Encourage people to sign a facebook petition demanding the companies’ supply chains be less exploitative – by sourcing more Fair Trade chocolate. Show that this is possible by making and selling a less explotative version of their signature commodity yourself – by printing out the petition signatures on a giant Fair Trade chocolate bar and giving that bar to the CEO of one of the worst-ranked companies at a public event. Show that your company rankings come from a solid research report based on a questionnaire sent to all of them asking what they have put in place to address the well known exploitations in their industry’s supply chains. Categorise each company’s response as ‘advanced’ (doing good things), ‘so-so’ (doing something but not enough) and ‘refused to take part’ (not returning the questionnaire). Make these rankings public and invite the companies to respond. What’s fascinating about this approach to activism is that it can effectively bring trade injustice into public debate – how supply chains work, what exploitations they contain, who and what causes them, how they can be addressed, and by whom? Companies can get cross with NGO that do this. They can argue that the assessments were unfair and inaccurate, and that they’re doing more than they are credited with. The NGOs can then publicly respond to these new claims, draw critical attention to them, question their assumptions, ask if there are deeds as well as words in them. What to many people might normally be inaccessible and overly-complicated explanations of labour rights and supply chain economics are easier can become more meaningful when things happen this way, because of the drama, the WTF-is-happening-to-things-I-love (material cultural) approach! With this example, we’re looking not at one piece of trade justice activism, but at three or four different pieces that were designed to work together (and as part of a long-running campaign, including things that have happened since). Pretty much every example of trade justice activism on our site has English as its first language. Here, we’re in Switzerland, so we’ve used online tools to translate the comments below from German and French (with a little Italian) into English. See what you think.
Page reference: Ian Cook et al (2026) No one can live with Swiss Chocolate! followthethings.com/no-one-can-live-with-swiss-chocolate.shtml (last accessed <insert date here>)
“Help Me Please PMP Staff Are Evil“ An anonymous note found in a make-up advent calendar ordered from amazon.co.uk, posted on facebook and reported in the Daily Mirror, Sun and other UK newspaper websites. Photograph of note reproduced above.
It’s the beginning of December. Christmas is coming. A British dad has ordered an Advent Calendar for his 13 year-old daughter from Amazon. It was supposed to come with a ‘love, dad’ note from him. But it came with a note from someone else too. Written by hand on the gift invoice, it said ‘Help me please PMP staff are evil’. PMP is an employment agency that Amazon uses to source temporary warehouse staff, especially at peak times of year like the lead-up to Christmas. April, the daughter, found it and showed it to her Mum, Kim. They had no idea who PMP were. But Kim posted it on facebook, tagging amazon, asking for an explanation. Amazon replied quite quickly, but so did her facebook friends. Then the story of the note reached the newspapers, it became a festive news feature. The Daily Mirror story was linked to a recent exposé by its journalists of appalling pay and working conditions at Amazon warehouses. This note linked what might otherwise be a distant story to the lives of consumers on the receiving end of the company’s cheap and conveniently-delivered goods. While there was some discussion on twitter, it was the comments section on the Daily Mail story where the discussion rapidly took shape. Was this a fake story? 15 minutes of fame for April and/or Kim? Made up by the journalists for some festive clicks? Should she have posted it online when the information on that invoice could easily have identified the writer? Could they have been sacked? Was Amazon warehouse work really that bad? Yes, according to the Daily Mirror exposé, and according to the commenters who seemed to have some experience of working in these places too. What impacts did this story have? If any? ‘Help Me Please PMP Staff Are Evil’ is one of many real and fake messages sent – accidentally and deliberately – by workers to consumers, showing them what work and life has gone into making their things, and sometimes asking for help. Click ‘message from worker‘ above to see the collection. Each one works out differently, so what happens as a result of this one being sent, received and made public? Keep reading!
Page reference: Ian Cook et al (2025) Help Me Please PMP Staff Are Evil (under construction). followthethings.com/help-me-please-pmp-staff-are-evil.shtml (last accessed <insert date here>)
“Letter from Masanjia” Documentary film starring Sun Yi, directed by Leon Lee, co-written by Sun Yi, Leon Lee & Caylan Ford, in English & Mandarin with English subtitles. Vimeo trailer and pay per view stream embedded above [may not work in your region]. Check here and here for other streaming options, and here to purchase and here to borrow a DVD or Blu-ray copy [may not work in your region].
One of the earliest examples of trade justice activism that we researched and added to our store was a letter that went viral in 2012 [it’s here]. Oregon, USA shopper Julie Keith had found a one page handwritten note in a box of Kmart Halloween decorations. It was a ‘message in a bottle’ from a prison labour camp in China. It asked her to forward it to the World Human Rights organisation, because these decorations had been made by political prisoners who were being tortured and forced to make these things. The letter was anonymous. She posted a photo of it on facebook asking for help. Soon, the story of the letter was featured in her local newspaper, and was picked up by international news outlets like CNN and the New York Times. They were eager to expose the scandal and to find the person who had written it. The New York Times found him: they called him ‘Mr Zhang’ who was no longer in jail. But the story then reached China via an online post – published and quickly deleted – that caused outrage on Chinese social media. Writing that letter had had the most amazing impact. Doing what its author had asked had had the most amazing impact. China’s ‘Re-education Through Labour’ programme was abolished, and 160,000 political prisoners were released from its prison labour camps. But the New York Times journalist wasn’t the only person who found the author. A Chinese filmmaker living in Canada called Leon Lee had also tracked him down. The author had watched his banned-in-China documentary about the human organ trade in China via a VPN connection. For that film, Leon Lee had interviewed former inmates of the notorious Masanjia labour camp where the author had been incarcerated. He’d used his contacts from making that film to find him. Lee talked to him via an encrypted Skype call. They decided to make a film about the letter, the labour camps, and political repression in China. But Lee was barred from China. If he’d travelled there, he’d have ended up in jail, or worse. So he trained the letter’s author – now happy to use his name Sun Yi – in covert filmmaking techniques, and how to smuggle encrypted hard drives to Canada to get the footage to Lee to make the film. The film that Lee made – Letter from Masanjia – had two parts: one looked back on the story of Sun Yi’s incarceration, decoration-making, letter writing and smuggling (illustrated by cartoons Sun Yi drew himself), and the other documented his ongoing persecution by the state after release for his past and continued activism (including making this film). When letter from Masanjia came out, it was a sensation. The plot was so unbelievable, so i-have-no-idea-what-will-happen-next, so emotionally complex, that it had to be true. Festival audiences around the world were blown away. It’s a classic ‘follow the thing’ narrative – people in other parts of the world make the things that Western consumers buy in horrible conditions. Here, however, the worker is in the narrative’s driving seat, first writing and smuggling the letter, and then filming (and drawing) the story that’s edited for release. The risks he has taken, and the calm, determined demeanour he shows in the process, amaze the film’s audiences. As does the meeting that takes place between him and Julie Keith in Jakarta, which ends the film. As does Sun Yi’s death in suspicious circumstances at the end of the filming. As well as being a hugely emotional producer-meets-consumer story, and a hugely brave and tragic success story of trade justice activism, Letter to Masanjia message is both anti-capitalist and anti-communist. There’s something in it for everyone. Any exposé of something ‘Made in China’ can do that. It generated tons of discussion and debate, which we’ve tried to capture below. This Halloween tale is incredibly scary.
Page reference: Ian Cook et al (2025) Letter from Masanjia. followthethings.com/letter-from-masanjia.shtml (last accessed <insert date here>)
“Xmas Unwrapped“ A short film edited by Toby Smith and Unknown FieldsDivision with Tim Maughan. Posted in YouTube, embedded above in full.
This short ‘Jingle Bells’ Chinese Christmas factory film comes from a larger initiative to rethink architecture. According to Unknown Fields Division co-founder Liam Young, ‘an architect’s skills are completely wasted on making buildings’. They should be turning their attention to the outsides that are inside them: i.e. the hidden geographies of infrastructure, logistics, commodities and connected landscapes. For ‘follow the thingers’ familiar with Geographer Doreen Massey’s concept of a ‘global sense of place’ [seethis example], this extroverted sense of place may seem familiar. But there’s so much to learn from Unknown Fields’ architectural experiments. First, from the thoroughly collaborative and interdisciplinary studio practice of Unknown Fields Division. Second, from the long-running postgraduate course at the Architectural Association in London where Liam Young has taken students on infrastructural ‘expeditions’ for many years. Third, from the writers, filmmakers, data-visualisers and programmers who have accompanied these expeditions and produced its highly-professional and publicly eye-catching work. Xmas Unwrapped is one such output – a ‘Christmas card’ – from a 2014-15 expedition called AWorld Adrift. We’ve asked our ‘Geographies of material culture’ students to watch it before writing their coursework over the Christmas break. It doesn’t have a explicit message, but it’s catchy and thought-provoking. There’s observational footage of people working in a basic factory space in China making Christmas decorations and Santa hats by hand. Other people box these up, load them into a container, and the film finishes with a view from bridge of a container ship sailing out to sea, taking them to their consumer destinations. If you watch it with the sound down and the film footage is undramatic. People just work. Their tasks are repetitive. Their heads are down. They say nothing. The footage does not aim – it seems – to evoke any emotion in its audience. But turn up the volume and it’s accompanied by a choir of children singing ‘Jingle Bells’ in Cantonese. And it’s this combination of film footage and music that provokes a reaction. It’s catchy. This film is a gentle form of trade justice activism. You could call it an appetiser. It’s trying to ‘pop the bubble’ of Western consumption by ‘joining the dots’ to Chinese factory production. It does not explicitly address trade injustice, exploitation, labour rights or any consumer or producer activism relating to this. The factory and logistics workers it features don’t have a voice in their representation. Unknown Fields Division isn’t making this work because they want audiences to do anything. Just to know and to reflect on the fact that its audience member’s things are made by people elsewhere in the world. This filmcan be used as a brief and gently provocative spark for discussions of trade (in)justice in any classroom [like another example on our site, Handprint] but also – especially – around a Christmas dinner table. Because Unknown Field Division‘s expeditions have so many people on them, this film is the tip of an iceberg. The most noticeable impacts it has are not on its audiences [as far we can see] but on the expedition’s students and collaborators. They produce other work that brings attention to this Christmas story, and to the wider project on architecture’s dependence on supply chain logistics. Follow the arguments below.
Page reference: Ian Cook et al (2025) Xmas Unwrapped. followthethings.com/xmas-unwrapped.shtml (last accessed <insert date here>)
“Barbie’s Dirty Secrets“ A documentary film presented by Isobel Yeung, and produced by Alasdair Glennie for Zandland, first broadcast on Channel 4, UK. Available on YouTube, embedded above.
Journalist Isobel Yeung latches onto worldwide success of the 2023 Barbie movie and its feminist critique of the toy industry to ask about the lives of the women who make these dolls in factories in China. She drives around Los Angeles in a Barbie pink Jeep, picking up expert passengers who know about Mattel – the LA-headquartered company that makes and markets this doll – and about the wealth enjoyed by its CEO Ynon Kreiz. These scenes are intercut with Yeung’s phone calls to a fixer in China who is tasked to get an undercover reporter into a Barbie factory wearing a hidden camera. This reporter lasts just one day handling scolding hot plastic Barbie limbs with her bare hands, and is withdrawn for her own health and wellbeing. A second undercover reporter then gets a job assembling plastic figures from a forthcoming Disney Moana movie. He seems to last a day or two, unable to meet rising quotas for new employees, but he captures conversations with his co-workers about life and work in the factory. This undercover footage is shown to a representative of a labour rights NGO who is horrified by the violations that she sees. The film then shifts its attention to another Mattel brand – Fisher Price – and a dangerous cot which has been linked to the deaths of babies, and legal cases against the company. [We don’t detail this below, because we are interested in the way that this film connect the labour, marketing and consumption of Barbie dolls]. Our website has documented many landmark examples of trade justice activism when it was new – from the late 1990s in particular – and when it could have shock value and noticeable impact. Audiences in the 2020s, however, seem no longer to be shocked to find labour exploitation at the end of a supply chain. Corporations are better set up to handle the damage that such revelations may or may not do to their reputations and sales. And ‘trade justice activism’ like this is now pitched by production companies to broadcasters as a form of ‘buzzy’ media content. But, for us, there are glimmers of a more complex theory of change at work here. Less than a week after Barbie’s dirty secrets was broadcast, a China Labor Watch report was published that detailed exploitative and dangerous factory conditions in Barbie factories in China. Isobel Yeung refers to such a report in the film. The role that Barbie’s dirty secrets therefore had, we speculate, was to work alongside this NGO research, to make the report’s findings public, and to connect accusations of Mattel’s feminist corporate hypocrisy through the same media as the Barbie movie: film. Should anyone studying trade justice activism expect to final any single example having an impact in and of itself? No. And is possible to follow just one thing? It doesn’t look like it here. Check the comments below.
“Chocolate: Last Week Tonight with John Oliver (HBO)“ A monologue by John Oliver on his Last Week Tonight show broadcast in the USA on HBO. Full monologue posted on YouTube embedded above.
Satirist John Oliver is delivering his weekly monologue on late night American TV. It’s the day before halloween, where millions of chocolate sweets will be given to children knocking on doors in scary costumes [see our ‘Gifts & seasonal’ department for other Halloween examples]. But what’s scarier is the fact that the cocoa in that chocolate was probably picked by children in the Ivory Coast and Ghana in West Africa. Despite longstanding critiques of child labour in chocolate’s supply chains; despite legislation being passed to remove it; despite the major brands’ own schemes to eliminate it, child labour – and the modern slavery that often supplies it – persists in an industry that continues to make multi-$£billion profits. Oliver’s monologue is about consumers’ love of chocolate and the corporate evils that feed it. He combines acerbic takes on the chocolate corporations’ social responsibility rhetoric and advertising practices (including the distractions of a ‘f*@kable’ green M&M) with footage of filmmakers meeting children who pick cocoa, their families and communities. One clip of a Dutch journalist’s ‘gotcha’ moment with a Nestlé executive is particularly powerful. Admitting that coca farming communities suffered poverty and that’s why children had to work, the man from Nestlé abruptly ends the call when asked why he doesn’t just pay them more. That journalist went on to start his own ‘slave free’ chocolate company – Tony’s Chocolonely – which Oliver holds up as an exemplar. The chocolate business can work differently, because it is working differently. What’s needed to help this along – Oliver says – is regulatory change. With each episode of his show published on YouTube; with his use of humour to make depressing topics palatable to viewers; and with his championing of Tony’s – this was a provocative show. Commenters shared how much they loved Tony’s Chocolonely too, or that they were going to try some as a result of watching the show. Others criticised the writers for parroting Tony’s marketing materials, and pointed out that its journalist founder had left because Tony’s couldn’t make slave-free chocolate. Others said that other, more ethical, chocolate brands were available if you knew where to look. But, people chipped in, shopping differently isn’t the only way to tackle trade injustice. Trade justice can be achieved only via multiple forms of pressure, from multiple angles, constantly. And Oliver’s monologue didn’t help. Chocolate researchers criticised it for being full of the usual stereotypes. Cocoa farmers have never eaten chocolate? Nope. They may just pretend not to have eaten it for gullible Western filmmakers. And the writers bypassed – like most coverage does – those in producer countries who are trying to make a positive difference. For Oliver, it’s the Western brands and consumers who can save the day by acting more ethically. Yes, that’s very important. But it’s not enough. Can there be ethical consumption under capitalism? That’s the bigger question. It’s what everyone’s talking about here.
Page reference: Ian Cook et al (2025) Chocolate: Last Week Tonight with John Oliver (HBO). followthethings.com/chocolate-last-week-tonight-with-john-oliver-hbo.shtml (last accessed <insert date here>)
“Those With Justice: A Disney Factory In China“ A short film directed by Karin Mak and translated by Jessie Wang for, and an NGO Report published by, Students & Scholars Against Corporate Misbehaviour (SACOM) & Sweatshop Watch. Watch the film in full above. Read the report – here.
Inspired by student anti-sweatshop activism in the USA, students in Hong Kong come together to protest the opening of Hong Kong’s Disneyland. They visit the factories where the Disney merch that is going to be sold there is made. They talk to the factory workers, and are horrified by what they learn. There are dangerous and exploitative labour practices behind the happy smiling image of Mickey Mouse and Friends. One group of students – who call themselves Students and Scholars Against Corporate Misbehaviour (or SACOM) – write a report about the working conditions in four of Disney’s hundreds of Chinese supplier factories. It’s called Looking for Mickey Mouse’s Conscience – A Survey of the Working Conditions of Disney’s Supplier Factories in China. They do this with the help of a California-based NGO called Sweatshop Watch, who send a delegation to China which includes University of California Santa Cruz film studies student Karin Mak. Mak films the factory workers talking about these working conditions, and produces an 11 minute documentary called Those With Justice: A Disney Factory In China. This focuses on one of the four factories – Hung Hing Printing & Packaging – which makes children’s books for Disney. Here, she finds, the workers are constantly reminded about the delicate fingers of Western children. They mustn’t be harmed by paper cuts. That’s why they have to use dangerous hot glue presses to stick the paper covers to hardback copies of a Mickey Mouse’s Haunted Halloween book, for example. The film and the report show images of their burned, crushed and mangled fingers. These injuries are caused by equipment and the speed at which they have to work to meet their targets. Mak’s film is used by SACOM and Sweatshop Watch (and other labour rights NGOs) to launch the report. It helps this Disney sweatshop story to get traction in the international new media. Now Disney is under pressure to respond. What follows is a fascinating to-and-fro between a huge multinational corporation and a small, determined, skilful and well-connected group of Hong Kong students. This is a fascinating and important example of successful trade justice activism. Piecing the story together below, we have found a variety of factors that have contributed to this success – some planned, some not – and a fascinating discussion about what counts as ‘success’.
Page reference: Ian Cook et al (2011) Those With Justice: A Disney Factory In China. followthethings.com/those-with-justice.shtml (last accessed <insert date here>)
“I Found This In A Box Of Halloween Decorations” A letter written by ‘Mr Zhang’ (Sun Yi) in a Chinese prison factory and found in a box of Kmart Halloween decorations bought in Oregon, USA by Julie Keith. Original letter recieved by Julie Keith and posted online shown above.
In 2013, shopper Julie Keith is unpacking a box of styrofoam Halloween decorations she bought from her local K-Mart. In between the ghoulish plastic gravestones, she finds a folded-up letter. It’s written in English by someone who says that they’re a prison factory worker in China who has helped to make this product. They give the address of the prison (called Masanjia) and say that its inmates work long hours and have been tortured, beaten and insulted. It asks its recipient to forward the letter to the ‘World Human Rights Organisation’. Julie thinks it’s genuine and posts a photo of the letter on her facebook with the caption ‘I found this in a box of Halloween decorations’. It gets a flurry of responses. Is it genuine? What should she do with it? There isn’t a ‘World Human Right Organisation’. The discussions spread. The post is shared many times. Soon it’s being reported on the local TV news. Next it’s a global news story. Who is this person? How did they write this note? How did they smuggle it into a box of Halloween decorations? How many letters did they write? What did they hope would happen? What danger were they in for doing this? Can journalists find the author and verify the story? And, most importantly, why are ‘made in China’ goods coming from prison labour? Isn’t that illegal?
NB a documentary film about this letter was released in 2018. We will add a page on its making, reception and impacts soon.
Page reference: Harry Marriot, Alex Partington, William Finley, Milly Bowen, Sarah Murray & Jenny Sharp (2014) ‘I Found This In A Box Of Halloween Decorations’. followthethings.com/i-found-this-in-a-box-of-halloween-decorations.shtml (last accessed <insert date here>)
“China, Britain And The Nunzilla Conundrum“ A radio documentary presented by Anna Chen (a.k.a. Madam Miaow), produced by Sally Heaven for BBC Radio 4. Audio clip embedded above. Listen to the full radio documentary on the BBC website here (when available, with account, screengrab above) and on Box of Broadcasts here (with University subscription).
Chinese-English comedian and writer Anna Chen loves kitsch, ‘tat’, and (to some) offensive ‘stocking filler’ gifts like the clockwork fire breathing nun ‘Nunzilla’ and ‘Dashboard Jesus’ (not to mention elastic band holder ‘Mummy Mike’ and singing fish ‘Billy Bass’). Unsurprisingly, they’re ‘Made in China’ but, she wants to find out, what do they tell us and the people who design and make them about Western culture, religion and values? What gets lost and found in translation? And what do the factory workers who make them think they are for? How do they imagine the people who buy them? And what can tracing the relations between the designers, makers and consumers of cheap plastic kitsch tat tell us about China-UK relations? This is a serious piece of cross-cultural commodity following. It’s enjoyable and worrying. But there aren’t any exploited workers. What’s it hoping to achieve?
Page reference: Ian Cook et al (2024) China, Britain And The Nunzilla Conundrum. followthethings.com/china-britain-and-the-nunzilla-conundrum.shtml (last accessed <insert date here>)
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