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Ahava Stolen Beauty

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Health & Beauty

Ahava Stolen Beauty
An activist campaign organised by CODEPINK Women For Peace.
12 video YouTube playlist compiled by the US Campaign for Palestinian Rights embedded above shows protests taking place at multiple sites selling Ahava products in Canada, USA, The Netherlands, Israel & France. Click here for more footage of campaign protests and explainer videos. Click here for Code Pink’s ‘Ahava Stolen Beauty’ campaign website.

After the aftermath of Israel’s invasion of Gaza in 2008-9, members of the American women-led grassroots peace and human rights organisation CODEPINK visit a factory on the bank of the Dead Sea which makes cosmetic products from its salts and minerals on occupied Palestinian land. According to the Geneva Convention, occupying forces cannot take or profit from the natural resources of an occupied territory. Sold in department stores, spas and Ahava stores around the world, Ahava products are stamped as ‘Made in Israel’. Critics say that the company’s profits support the illegal settlement where the factory is based. So CODEPINK encourage women are concerned about beauty and disgusted by the occupation to use their consumer power to boycott Ahava products, and to use their citizen power to protest at their sites of sale (in bikinis and bathrobes to attract attention). When the US arm of Ahava later launches an #ahavareborn rebrand campaign on twitter and asks for suggestions, critics pile in with sarcastic slogans about aspects of the occupation that Ahava products can help to conceal or wash away. As the boycott gathers momentum, supporters of Israel criticise it – and the wider Boycott, Divestment & Sanctions (BDS) movement that it became part of – as antisemitic, and pro-Israel consumers start counter-campaigns, buycotts, encouraging people to buy as many Ahava products as they can from targeted stores. But, despite this, Ahava stores shut, retailers refuse to stock Ahava goods, governments pass legislation forbidding ‘Made in Israel’ to be printed on goods produced in occupied Palestinian territories and, eventually, Ahava moves its factory to an unoccupied site. To add to this mix, laws forbidding the boycotting of ‘Made in Israel’ goods are passed around the world. This is an epic, controversial example of effective trade justice activism. The message was simple: there was no beauty in occupation. The repercussions of this actvism are with us today

NB this page is a taster. There’s much more to add after out new site is launched. Please check back.

Page reference: Ian Cook et al (2024) Ahava Stolen Beauty (taster). followthethings.com/ahava-stolen-beauty.shtml (last accessed <insert date here>)

Estimated reading time: 19 minutes.

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Where Heaven Meets Hell

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Grocery | Health & Beauty | Home & Auto |

Where Heaven Meets Hell
A documentary film produced by Sasha Friedlander for Sasha Films LLC & Independent Television Service
Trailer embedded above. Search for online streaming here. Track down a DVD copy here.

Filmmaker Sasha Friedlander visits a stunningly beautiful active volcano in Indonesia called Kawa Ijen. Heaven. It’s a place that loads of tourists visit to take photos of this bubbling cauldron of toxic sulphur gas. They’re also shocked and amazed to see men emerging out of these sulphur clouds carrying on their shoulders baskets containing blocks of raw yellow sulphur, mined hot from the volcano’s insides. This is unbelievably picturesque, hard and dangerous work (physically and chemically). Some say it’s a vision of hell. Friedlander sticks around, her tiny crew following the sulphur miners down into the volcano to better understand the work that they do, their lives and their reasons for doing a job that’s clearly so poorly paid and so extraordinarily hazardous to their health. Making this film is hazardous to the filmmakers’ health too. They struggle with their working conditions. This film they make provides intimate portraits of four men who do this work and their families. Audiences are moved by what they see. It’s beautiful and horrific. Friedlander returns to the village where most of the miners live to show the film to their families. That’s filmed too. They’re shocked. The men hadn’t told their families what their work was like. Some commenters say that workers unhappy with their jobs should get a safer and better paid job somewhere else. They’ve ‘chosen’ to work there. This film shows why making a different ‘choice’ is not as easy as it sounds. Where Heaven Meets Hell follows the journey of sulphur up and out of the Kawa Ijen volcano, to the cabins where the miners get paid for it by weight. But that’s as far as the following goes. Sulphur (and its derivatives) can be found in countless commodities and the processes used to make them – e.g. it’s used to refine sugar, and its an essential ingredients of matches – because it brings specific properties that producers and consumers rely upon. Where Heaven Meets Hell is an excellent example of a follow the thing project that ‘starts somewhere different’. It doesn’t start or end at a factory, for example. Those followings can be nice and linear, easy to trace, easy to convey to an audience. But starting in a place where a raw material is extracted from the earth presents a different view of international trade. So many raw materials like sulphur travel along countless supply chains, and become ingredients in countless industrial processes and commodities. Following raw materials can be much, much more complex. The supply chains of something basic like sulphur can infiltrate so many other supply chains, so many other things, so many other places and lives. This means that any trade justice ‘solutions’ that audiences might want to support are from straightforward. Try boycotting sulphur! Start by looking for sulphur compounds on ingredient labels. That’s the top of the volcano.

Page reference: Ian Cook et al (2016) Where Heaven Meets Hell. followthethings.com/where-heaven-meets-hell.shtml (last accessed <insert date here>)

Estimated reading time: 53 minutes.

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Manufactured Landscapes

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Home & Auto

Manufactured Landscapes
A documentary film directed by Jennifer Baichwal, starring photographer Edward Burtynsky, for Zeitgeist Films.
Trailer embedded above. Search online for streaming availability here.

Filmmaker Jennifer Baichwal follows industrial landscape photographer Edward Burtynsky as he visits factories, dumping and recycling sites in China and Bangladesh. His photos are stunning, beautiful, mesmerising and disturbing. Her film picks out the details and follows them, ‘unfreezing’ his photos in time. On the one hand, it’s a portrait of the artist at work. But, on the other, some say it’s a critique of the way that his work is more interested in the aesthetics than the politics and ethics of global capitalism. As he’s high above or far away trying to get a stunning visual composition framed and lit just right, she documents lives and livelihoods up close. People watching the film say that it transforms the cinema into an art gallery, as his photos linger long on the screen. Many remark on the ‘beauty’ of his work. It’s sublime. But is Baichwal’s film complicating these aesthetics with ethics? Or does his interest in capitalist industrialisation’s huge scale, order, patterns and visual contrasts ,and his eye for pollution, invite the viewer to see these ethics at play?

Page reference: Lucy Bannister, Harriet Beattie, Katy Charlton, Lawrence Cook, Daisy Livingston, Romain Tijou & Alex Tucker (2011) Manufactured Landscapes. followthethings.com/manufactured-landscapes,shtml (last accessed <insert dae here>)

Estimated reading time: 36 minutes.

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Phone Story

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Electronics

Phone Story
An iPhone, iPod Touch & iPad game created by Paolo Pedercini & Michael Pineschi for Molleindustria in partnership with the Yes Lab.
Banned from the App Store. Google Play archived page here. Play online here. Game website here.

Imagine you’re on Apple’s App Store looking for a new game to play on your iPhone or iPad in September 2011. You see one called Phone Story. Its levels show how your iPhone or iPad were made. The rare metals that make them work so quickly – like Coltan – are extracted from the soil in the Democratic Republic of The Congo by children. The devices are made in a factory in China where the regime is so relentless that workers jump to their deaths from the roof. When a new model comes out, people queue for days and it seems they would run across a busy highway to get to the store before someone else. And then there’s all the e-waste that is generated when the phones that are replaced get thrown away. So, how do you progress through the levels? You’re a soldier who has to bash kids on the back of the head if their Coltan-digging slows. You’re ambulance crew trying to catch workers trying to jump to their deaths from the factory roof. You get the picture. This ‘first anti-iPhone iPhone game’ is hilariously cruel, tasteless, offensive, meta. But it’s 100% based on what’s happening in Apple’s supply chain right now. And what’s more offensive: the game or what it depicts? 901 people pay 99cents and download it. But it’s only available for 4 days, before Apple remove it. People speculate. How on earth did it get there in the first place? And what does its removal mean for free speech? Phone Story went viral as the ‘game Apple didn’t want you to play’. But, you could still play it on your Android phone or computer. You can still do the latter, here. How well would you want to do? What does it mean to get a high score?

Page reference: Eeva Kemppainen, Charlotte Edwards, Toby Bain, Wilhelm Wrede, Sophie Biddulph & Jamie Hall (2012) Phone Story. followthethings.com/phonestory.shtml (last accessed <insert date here>)

Estimated reading time: 46 minutes.

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Find Your Doppelganger

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Apps

Find Your Doppelganger
A concept for a mobile phone app submitted by Rachel Grant as part of a BA Geography dissertation at the University of Exeter, UK.
Full concept text below.

Student Rachel Grant likes to try out the latest apps on her smartphone. She’s tried ones that tell you which celebrity you look like. That’s OK. But there’s a photographer who finds unrelated people who look exactly alike. The technical terms is doppelganger. He arranges for them to meet, photographs them together and finds they feel connected, like lost relations. So what if there was a phone app – like the ones that help you find your celebrity lookalike – that could scan your face and introduce you to your supply chain doppelganger? A garment worker? A tungsten miner? A tea picker? A delivry driver? A plastic recycler? Someone who helped to make your stuff? Might you feel more empathetic towards supply chain workers if they looked like you? Would it be easier to imagine walking in their shoes? What if the ‘Find Your Doppelganger’ app gave you the chance to chat? What if you met up? What impact could meeting a lost ‘relation’ like this have on you?

Page reference: Rachel Grant (2024) Find Your Doppelganger. followthethings.com/doppelganger.shtml (last accessed <insert date here>)

Estimated reading time: 5 minutes.

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Machines

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Fashion

Machines
A documentary film directed by Rahul Jain with cinematography by Rodrigo Trejo Villanueva for Jann Pictures, Pallas Film & IV Films.
Trailer embedded above. Available on demand on Vimeo here and Dogwoof here. Available on Box of Broadcasts here and Kanopy here (with institutional login). Search online for other streaming options here.

Director Rahul Jain revisits the fabric factories of his youth to document machines and people that print patterns on the rolls of fabric bought by clothing manufacturers to make the shirt, dress or pair of tights that you or I might wear. His film is beautiful, atmospheric, metronomic, disturbing. Watching the machines at work, and the people tending them, is mesmerising. The cinematography is wonderful. It seems like a proper ‘fly on the wall’ documentary for a long time. When the workers later start to talk about their lives and work in this place, it’s depressing, hopeless, boring, toxic, abject, unhappy. This is a powerful film that moves audience members viscerally, but Jain doesn’t want them to do anything to help the workers. Towards the end, workers telling Jain that he’s just like a politician. He visits. He hears problems. He leaves. Nothing changes. So what can a film like this do? What’s the point of making it? How do audience members respond? What difference can it make? Is it about this factory and its workers? Or capitalism as a system? Is this trade justice activism? Or an arthouse film? The answer is open…

Page reference: Annily Skye Jeffries (2017) Machines. followthethings.com/machines.shtml (last accessed <insert date here>)

Page also available in Finnish here (coming soon)

Estimated reading time: 62 minutes.

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Beautiful Clothes, Ugly Reality

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Fashion

Beautiful Clothes, Ugly Reality
A parody catwalk show by garment factory workers sponsored by the Workers’ Information Centre & United Sisterhood Alliance, Phnom Penh, Cambodia, filmed & posted online by Heather Stillwell. See the Chenla Media version here.

Six months after police shot into a crowd of protesting garment workers in Phnom Penh, Cambodian garment workers turned to another kind of protest, a fashion show. Wearing the clothes they were paid so little to make and re-creating scenes from the violent crackdown on their street protests on stage, they challenged Western brands to play their part in stopping this violence and exploitation and paying the people who make their clothes a decent wage. Canadian photojournalist Heather Stillwell’s online film of the show went went viral. How did this happen, and what impacts did it have?

Page reference: Caroline Weston Goodman (2018) Beautiful Clothes, Ugly Reality. followthethings.com/beautiful-clothes-ugly-reality.shtml (last accessed <insert date here>)

Page also available in Finnish here (coming soon)

Estimated reading time: 50 minutes.

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The Messenger Band

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Fashion

The Messenger Band
A protest girl band / labour rights NGO including Em [aka Saem] Vun, Leng Leakhana, Chrek Sopha, Nam Sophors, Kao Sochevika, Sothary Kun, Van Huon & others based in Phnom Penh, Cambodia.
Band profile and selected music videos on YouTube embedded in playlist above. The Messenger Band YouTube channel here & facebook page here.

One of the most fascinating, inspiring examples of creative trade justice activism we have found. Made by garment workers, for garment (and other) workers. In 2005, a labour rights NGO based in Phnom Penh, Cambodia hold a talent concert for women working in the city’s garment factories. They want to form a girl band. Inspired by Bob Marley, it’s called ‘The Messenger Band’ because its songs and performances will carry a message to garment and other workers about their rights. They will write and perform in the style of contemporary Cambodian pop music. Sweet and beautiful songs with choreographed dance routines. But the lyrics will come from their community research with garment and other workers about their lives and struggles, and their knowledge of global trade and labour rights. They will record CDs and music videos to post online, and will perform at local concerts and during labour rights protests. Their audiences will learn the lyrics and sing along. The ‘MB’ wants to empower its audiences to claim their rights and to hold their employers to account. They sing in Khmer for Khmer-speaking audiences. They are not talking to overseas consumers, asking them to do anything to help their situation. They take advantage of the fact that women and performance are not taken seriously by the Cambodian authorities. But they are taken seriously by the working class audiences who love and learn from their music. What they do has a huge impact. Much more impact than a labour rights workshop! Labour rights organisations and NGOs outside Cambodia admire their work. They are an inspiration.

Page reference: Lily Bissell, Grace Hodges, Fran Ravel, Julia Sammut & Ellie Reynolds (2020) The Messenger Band. followthethings.com/the-messenger-band.shtml (last accessed <insert date here>)

Estimated reading time: 62 minutes.

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Simpson’s couch gag (series 22, episode 3)

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Fashion | Gifts & Seasonal

Simpson’s couch gag (series 22, episode 3)
An animated ‘couch gag’ intro to an episode of The Simpson’s directed by Banksy & produced by Matt Groening for 20th Century Fox.

Every episode of The Simpsons opens with a ‘couch gag’. The one in episode 3 of series 22 is guest-directed by the British graffiti artist Banksy. Starting as usual with a tour of Springfield which ends with the Simpson family sitting on their couch in front of the TV, it then takes viewers into the unbelievably exploitative South Korean sweatshops where the show’s animators work and Simpsons merchandise – including t-shirts, toys and DVDs – is produced. This gag clearly doesn’t show exploitation that’s happening along 20th Century Fox’s real world supply chains. Ranks of animators don’t work in grim and grimy sweatshop conditions with child labourers, rats and toxic chemicals. Unicorns don’t punch the holes in their DVDs. And the tongues of severed dolphin heads don’t lick the tape that seals warehouse boxes. The animators pointed this out afterwards. So what was Banksy trying to say? Lots of people speculated online.

Page reference: Will Davies, Thomas Edwards, Joseph Englert, Chris Henshall, James Osbaldeston, Jack Parkin, Michael Swann & Aidan Waller, (2018) Simpson’s couch gag (series 22, episode 3). followthethings.com/simpsons-couch-gag.shtml (last accessed <insert date here>)

Estimated reading time: 32 minutes.

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No Pride In Primark

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Fashion | Gifts & Seasonal

No Pride In Primark
Popular activist campaign against Primark’s ‘Pride’ clothing & accessories made in anti-LGBTQ+ countries.
To see what sparked this, watch Primark’s promotional video above.

UK LGBTQ+ rights charity Stonewall collaborates with high street fashion retailer Primark on its 2018 ‘Pride’ range of clothing and accessories. They will be sold throughout Europe and North America and 20% of their profits will go to Stonewall. But none of the proceeds will go to the organisers of Pride celebrations, some of whom are struggling for money. And many of the countries in which this ‘Pride’ merch is being made – like Turkey, Myanmar & China – ban LGBTQ+ events and NGOs and imprison people for homosexuality. So what should Primark & Stonewall do? Where should people shopping for Pride merch go? And what’s it like to be an LGBTQ+ worker in Turkey, Myanmar or China making t-shirts and other merch that ‘celebrates what you are not allowed to be’? These are the questions asked by social media critics and the journalists who pick up their criticisms. It’s not a huge orchestrated campaign. No NGO or other organisation orchestrates it. Nevertheless, it becomes a notorious case of a high street brand ‘pink-washing’ (a form of ‘woke-washing’) their supply chain operations. In the wake of these criticisms, Primark continues to support LGBTQ+ organisations in many countries, but has it addressed the crackdowns on LGBTQ people in those countries where its rainbow merch is made? Should it withdraw its orders from these countries? Or keep working there, supporting – via Stonewall and other organisations – the LGBTQ+ organisations and workers who need it? Does it do so? And how can it convince the media, activists and consumers that it’s doing so? LGBTQ+ people represent a big market for clothing sales.

Page reference: Ian Cook et al (2024) No Pride In Primark (taster). followthethings.com/no-pride-in-primark.shtml (last accessed <insert date here>)

Estimated reading time: 15 minutes.

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