Global magazine Southern Innovator profiles innovation culture ending poverty
60-page color magazine gives snapshot of fast-changing world
Southern Innovator (SI) is a new magazine for a fast-changing world. It profiles and celebrates the innovators across the global South finding new ways to tackle poverty, create wealth and improve human development and achieve the millennium development goals (MDGs). In its first issue, Southern Innovator features the people who are re-shaping new technologies – from mobile phone ‘apps’ to Internet technologies – to overcome poverty and to improve the quality of life in some of the poorest places on earth.
SI is based on intensive research and is produced by UNDP’s Special Unit for South-South Cooperation (www.southerninnovator.org). The Unit is the leading organisation in the world tasked with the goal of sharing knowledge across the global South. It organises events including the yearly South-South Expo (www.southsouthexpo.org), a roaming celebration and gathering of Southern innovators previously held in New York and Geneva, Switzerland. This year’s Expo will be held in Rome, Italy (5 to 9 December 2011).
SI is being distributed around the world through the United Nations network and partners and reaches some of the poorest and remotest places as well as the vibrant but stressed growing global megacities. It is hoped the magazine will inspire budding innovators with its mix of stories, essential information, facts and figures, images and graphics. The magazine will evolve based on reader responses and this first issue is very much the beginning of a journey. As became clear while researching this first issue, many things can change in a short space of time. Few could have imagined the rapid take-up of mobile phones in Africa and how these phones have become integral to development goals across the continent.
SI magazine is a quarterly publication and the next issues will launch in September and December of this year.
A summary for publication is here:
“Southern Innovator (ISSN 2222-9280) is a quarterly magazine published by the United Nations Development Programme’s Special Unit for South-South Cooperation. Launched in May 2011, SI is a new magazine celebrating creativity and innovation emerging from the global South. It explores entrepreneurial solutions to development challenges and uncovers the trends and events shaping the rise of the South in order to spur action on ending extreme poverty and toward reaching the Millennium Development Goals (MDGs).”
We hope you enjoy the magazine and find its content interesting and illuminating: a snapshot of a fast-changing world awash, as we found out, with innovators, creators and do-ers making their world a better place.
For more information on Southern Innovator contact Cosmas Gitta at cosmas.gitta@undp.org or editor David South at southerninnovator@yahoo.co.uk.
United Nations General Assembly: Sixty-ninth session, Item 24 (b) of the provisional agenda, Operational activities for development: South-South cooperation for development, 17 July 2014. The research informing Southern Innovator Magazine played a part in the formulation of the UN’s post-2015 development agenda, including the Sustainable Development Goals (SDGs).
In November/December 2000 I worked in Kyiv/Kiev, Ukraine for the United Nations mission on the strategic re-launch of the mission website as a portal, whilst also advising the UN Resident Coordinator/UNDP Resident Representative Douglas Gardner on communications strategy. It was an extraordinary experience on many levels. It was a time when the Internet was fast evolving and required quick thinking and an ability to innovate; it was also a key moment in Ukraine’s history.
According to Olena Nikolayenko in Youth Movements and Elections in Eastern Europe (Cambridge University Press, 2017), “Gongadze’s murder in September 2000 engendered the Ukraine without Kuchma Movement. The website Maidan (http://maidanua .org) was initially set up by civic activists to provide extensive coverage of the movement’s activities.”
But despite those dangers and clear threats from the government of the time, there was a flourishing and inventive Internet and digital economy. The magazine Internet UA (whose editor I enjoyed meeting) gave a great overview of the scene in Ukraine and its creativity. Just as now, the creation of Internet stars who can exploit the medium (in this case sexy videos: a very large online market today) was driving viewers and subscribers. But there was also a vibrant online news media, blogging, commerce and gaming presence as well.
Internet UA magazine: Sex sells and the sex industry has always had pioneers seeking new ways to get eyeballs for their content. The Internet from its early days has been driven by the search for nude pictures and sex videos. In this cover feature, “Internet + TV: Double Impact”. That content mix has become the foundation of websites such as Pornhub etc.
According to ain.ua, the Ukrainian digital economy today is ” … ‘local’ only just figuratively speaking. Ukrainian startups are initially focused on international markets. Product companies are included into international industry ratings. Outsourcing works with clients from all over the world. Global players enter Ukrainian market, opening R&D offices, acquiring and investing into local companies. There are no boundaries.”
A magazine feature on ‘Natasha’s’ Internet content offering.
It is easy to take digital freedoms for granted now but there was great resistance at the time and, unlike today, many governments were openly hostile to digital technology, online communications and e-commerce.
50 websites to bookmark in 2000.
The UN itself was evolving and embracing the communications and design revolution being driven by digital change. This was the first “dot.com” boom, which had begun in 1997. I had played a key role in pioneering online content for Mongolia (1997-1999) and could bring this experience to Ukraine. In particular, I launched an award-winning web portal for the UN Mongolia mission in 1997 (www.un-mongolia.mn) and also the country’s first web magazine, Ger.
The UN Ukraine brief involved creating content that was accessible to users with low bandwidth, dial-up connections (few had mobile phones in 2000). I had been building new media experience throughout the 1990s, tracking the cable and satellite TV and mobile/Internet revolutions for the Financial Times as a journalist, as well as launching websites for various media clients.
The Terms of Reference for the UN/UNDP Ukraine assignment.The assignment business card.The UN/UNDP Ukraine website before launch as a portal.The first iteration of the new UN Ukraine portal.
Key content created and launched on the UN Ukraine portal included critical information on the HIV/AIDS crisis in Ukraine, UN Ukraine’s first online magazine to explore perceptions of volunteering and NGOs in the post-communist period, and content preparing for the visit of the UN Secretary-General Kofi Annan, by showing how Ukraine was engaging with global development priorities, for example the eight Millennium Development Goals (MDGs), and bringing together UN agencies and entities into a cohesive web and “One UN” experience.
The first UN Ukraine online magazine.Bringing together UN agencies and entities into a cohesive web and “One UN” experience.
One highlight of this assignment was working with the “UN Chornobyl Programme” to develop its web content. This included visiting Pripyat (https://en.wikipedia.org/wiki/Pripyat),an abandoned city because of the Chernobyl Nuclear Power Plant disaster in 1986. I have visited many abandoned and “secret” cities and towns in the course of working with the United Nations but this particular visit had the added dimension of an environmental and human health disaster hanging over it (and as a former healthcare worker at Canada’s top cancer hospital and research institute, I couldn’t forget the impact of high radiation levels on the body).
UN Chornobyl Programme website in development, 2000.UN agencies in Ukraine. UNDP in Ukraine.
The power of the Internet and the digital economy to engage people, especially the young, despite living in a country with significant political repression of free speech and even physical intimidation and murder, stuck with me. This work also contributed to laying the foundations for Ukraine’s growing freedoms and greater engagement with Europe.
As this chart shows, increasing connectivity had a profound impact on living standards in Ukraine and Mongolia post-2000. The extreme turbulence Mongolia experienced in the 1990s – after the collapse of support mechanisms from the Soviet Union – calmed down as Mongolia integrated with the global economy, especially a booming China.
The screensaver on an Undercurrents researcher’s computer terminal bears a maxim that might strike a chord in a lot of CBC units these days: “Only the paranoid survive.”
The quirky media and technology show will fade to black at the end of March. Its cancellation raises a host of issues for a CBC deeply troubled by budget cuts, an ageing audience, a dearth of alternative programme concepts and an inability to plan for a future.
In the show’s pilot, Wendy Mesley – Undercurrents’ host and progenitor – set the tone for this accessible look at the relationship among technology, media and society: “Like it or not we are living in a wired world where OJ Simpson, Big Brother, even your bank machine, all converge … we’ll explore all the issues, the undercurrents of the information age.”
To those who loved it, Undercurrents was a program that satisfied a vital public need, and an ambitious concept for a public broadcaster that some say had grown a little musty. The show promised avant-garde production and investigative journalism that critically explored today’s new media and technology culture. Youngish researchers and producers were hired from outside the CBC. They brought with them experience and new ideas from specialty channels, TV Ontario and CTV. Some came straight out of journalism school.
Critical reaction to the first programs was mixed. John Doyle, a critic with the Globe and Mail’s Broadcast Week, lauded Undercurrents when it launched, calling it “a superb example of solid CBC-TV journalism and original reporting.” Others were less flattering. The Toronto Star’s Greg Quill accused the show of “flirting with infotainment.” At the Vancouver Sun, Alex Strachan wasn’t impressed by a report on a weekend conclave of computer geeks in the California desert for a kind of Hackerstock. “It sounds interesting,” he wrote, “but it isn’t.”
What hurt more was schedulers playing musicial chairs with the show’s slot. Switching Undercurrents from Tuesday at 7 pm to Friday at 7 pm midway through its life left viewers confused and sent ratings plummeting just as network programmers were casting about for places to apply a whopping 30 percent budget cut. As a result, some feel the show never had a fighting chance.
In the end, it was the show’s precarious financial arrangement that killed it. Undercurrents was never funded from the general current affairs budget. Instead, it drew on a special reserve of cash created by the network. When it came time to mete out the cuts in December, the special funding bubble burst. Rather than cut further into the budgets of flagship current affairs programs, executives chose to drop Undercurrents.
Executive producer Frances Mary (FM) Morrison acknowledges that gratitude for her program’s special funding obscured a recognition of its fragility. “That was really our Achilles heel,” she says. “We were just this little orphan that didn’t have its own money. We weren’t adopted into the larger family.”
With the network funding gone, Undercurrents’ budget (rumoured to be over a million dollars per season) was nowhere to be found. Discussions about chasing a corporate sponsor went nowhere because the show needed more money than any sponsor could have provided. “It was never an issue of $100,000 or $200,000,” says Morrison. “It was the issue of our entire budget. [CBC] would still have had to come up with the rest of it.”
CBC TV’s news, current affairs and Newsworld director Bob Culbert and former current affairs head Norm Bolen both say they wanted the show to stay on the air but couldn’t find a way to fund it withou seriously hurting programs like The Fifth Estate, Marketplace and Venture.
Bolen, now VP of programming at the History and Entertainment Network, says it came down to choosing between The Health Show and Undercurrents. The Health Show won because it had a “bigger audience, a broader demographic and was bringing in revenue from sales of programming to the specialty channels.”
Mesley has another theory. “The majority of people who worked on this programme are not traditional CBCers… They can’t bump, they don’t get huge severance packages. Of course, if you want a future, those are the wrong reasons for letting people go.”
With its intensive focus on issues like the abuse of computer-morphed images, surreptitious “data-mining” of consumer purchase records, or media “freebies,” there’s no question that Undercurrents has met a need in this media-saturated world. But controversy over the cancellation centres on the age-old question of CBC and the youth audience.
Morrison and Mesley both say they intended the show to appeal to a younger-than-usual CBC audience. But CBC executives weren’t convinced it was an audience the network could, or should, go after. According to Culbert, a youth mandate was something the production team brought to Undercurrents. “It started as a media ethics show targeted at a classic CBC audience. Nobody sat around one day and said ‘let’s invent the show that will go after younger viewers.’”
Bolen expresses a profound lack of faith in the under-30 audience. “People under 30 don’t watch information programming, okay? Let’s get that straight. I sure wouldn’t spend the rest of my life trying to get an audience that doesn’t watch a certain genre of programming. This is a business where you pay attention to reality. People under 30 watch trashy American sitcoms, which I’m not in the business of doing, and which the CBC isn’t in the business of doing.”
“I think that’s bullshit,” says Reid Willis, producer and director of CityTV’s Media Television. “People under 30 are interested in what’s going on in the media. The 20 to 30 group is more media savvy than the generation that preceded them.” But Willis thinks the lack of information programming pitched at a young audience is down to a lack of interest from advertisers.
Mesley and Morrison remain convinced Undercurrents did appeal to a younger audience, but felt it was sabotaged by the schedule shuffling. In the show’s first slot, Tuesdays at 7 pm, its average audience was 499,000. The biggest night came on Sunday, October 22, 1995 when a repeat aired at 9:30 pm got an audience of 865,000. But Undercurrents’ debut in the 96/97 season in its new 7 pm slot on Fridays was demoralizing for the crew. Morrison reports the audience for the season opener at 438,000 and 434,000 for a strong programme the following week.
She says the numbers built as audiences found the programme’s new location, peaking at 678,000 on December 6. According to CBC audience research figures, average minute audience for the 96/97 season to February 2 stood at 518,000 viewers.
“Friday at seven was not a good place for Undercurrents,” claims Morrison. “It’s an older audience. In fact the audience for Air Farce [which followed Undercurrents at 7:30] is quite old, surprisingly old. I was actually astonished to find out how old that audience was.”
CBC audience research bears Morrison out, reporting that the 18-34 demographic for both Air Farce and Undercurrents has been identical this season – a mere 14 percent of the total audience.
Fridays at seven is also a heavily competitive slot packed with overhyped American tabloid TV shows like Entertainment Tonight, Inside Edition, Hard Copy and A Current Affair. Morrison says focus groups told her that audiences in that time period surf around looking for stories they like and then switch around with no loyalty to a particular programme.
“People build a menu. We took a leaf out of the tabloid book in terms of our presentation in order to survive in the seven o’clock environment.”
Undercurrents’ jerky camera work and flashy graphics didn’t endear itself to everyone, a fact the show’s producers recognized early on. “I can point to stories where we sabotaged ourselves with stylistic extremes,” admits Morrison.
But Mesley bristles at accusations the show was all style and no content, or a clone of Media Television. “We are the antithesis of Media Television. Obviously everyone has adopted their style from rock videos. But they get nearly all their video as handouts. We are not saying, ‘This is hip.’ We are not saying, ‘This is the latest consumer thing you can add to your collection.’ We are saying ‘Think about this.’”
Undercurrents’producers express pride in the show’s innovations. They cite its lead role in web page design at the corporation., its efforts at promoting a more playful visual presentation, and its success in promoting an acceptance of media stories elsewhere in news and current affairs. But what seemed to enliven everyone interviewed for this story was a love of the public broadcasting ethos, where stories are told because they are important, not because advertisers say they are important. Many of the young researchers and producers at Undercurrents had done time at the privates, and appreciated the freedom and extensive resources offered by the CBC. But they felt they had come to a CBC whose values were in peril.
“It will be like C-SPAN here,” quipped an Undercurrents freelancer who has done time at the specialty channels.
Others who thrived in the upbeat atmosphere at Undercurrents say they’re not too keen to look for work elsewhere in the CBC. One such is 25-year-old researcher Bret Dawson. “It’s not a happy place,” he says.
It’s not clear what, if any, programming will replace Undercurrents. If the current trend prevails, it looks like any new programming will have to survive on a smaller budget, generate outside income and prove it can draw in viewers in short order. Under those conditions, people at Undercurrents and elsewhere wonder how long CBC’s commitment to innovative new programming can hold out.
CBC TV’s Undercurrents host Wendy Mesley. Scan Magazine was published in the 1990s for Canadian media professionals.
In 2021 Wendy Mesley commented on the story in a Tweet.
David South Consulting 
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