Antaysia.com, UAE Appoints MI Digital As Its Digital Agency


Feel Beautiful Underneath

UAE based lingerie brand Antaysia has appointed MI Digital as its first Digital Agency for handling the UAE region.

Antaysia.com is looking to boost sales ahead of Valentines but also intends to build up its activity online to grow sales in the long term.

MI Digital will be responsible for growing the brand’s presence across PC and Mobility Based devices including handling creative & design, infrastructure, media buying, email, search, social networks, including the production of web and mobile applications.

Antaysia.com is particularly looking to invest in mobile, particularly via apps on phones such as the iPhone, while MI Digital will run paid ad campaigns for the brand to boost sales ahead of Valentine’s Day.

MI Digital will also use its network companies such as MI Events & MI Productions, Thailand to launch Events & handle photography and productions for the brand. The launch was handled by the Media Idee Network.

Antaysia.com Launch Event

Antaysia.com Launch Event

Hilal Candy Releases New Khopra Candy Ad


Hilal Candy, Pakistan’s No. 1 confectionary company released their new ad today. Produced by MI Productions and directed by Farooq Mannan, the ad positions ‘Khopra Candy’ as a candy that celebrates sweet relationships with  ‘Rishtoon Mein Bharay Mithas’.

 

The ad can be viewed here:

 

MI Productions Hilal Khopra Candy Ad

 

MI Digital & Anne French Presents – What’s In A Puzzle Slider Game With Kareena Kapoor


Anne French Kareena Kapoor Slider Puzzle Game

In an Industry first, MI Digital, Pakistan’s pioneering digital agency & MI Gaming, Pakistan’s premier branded games studio, network companies of Media Idee Group recently launched their first branded game for Anne French, Pakistan.

The game based on the slider puzzle adds a social gaming aspect to it by challenging friends and peers of the player to compete together.

Anne French Kareena Kapoor Slider Puzzle Game

Games have become one of the best main-stays on social networking sites as people have turned to them to kill time ­ and brands of all stripes are starting to play along.

The Anne French Facebook game can be found by clicking on this image below:

https://apps.facebook.com/puzzleflash/


Last year the social gaming industry passed the $1 billion dollar mark  fueled largely by brands integrating social games into their marketing strategies. From in-game advertisements to entire games built around name-brand products, engagement through games takes on multiple forms and presents unique opportunities for marketers – on and off the computer.

Anne French’s game venture is a first because aside from facebook at http://www.facebook.com/annefrenchpakistan, the game is also available on iOS and Android markets via mobile game apps specially developed which allows one to compete with friends from any device – web or mobile.

Kareena Kapoor and Anne French App slider puzzle

Social gaming is more than a buzzword; it’s a business opportunity and the Media Idee group of companies are developing such for their clients.

Available for Android 4.0+ from https://play.google.com/store/apps/details?id=air.AnneFrenchPuzzle.

Digital Audience Measurement In Pakistan


Digital Audience Measurement“Since the beginning of radio, the broadcaster has been interested in how the owner of a receiver reacts to the programs presented over the air. Some of the questions to which the broadcaster, whether he is an educator or advertiser, is anxious to secure the answers are as follows:

  • When does the listener use his receiver?
  • For how long a period does he use it?
  • To what station or stations does he listen?
  • Who listens (sex, age, economic and educational level)?
  • What does he do while the receiver is in operation?
  • What does he do as a result of the program?
  • What are his program preferences?

—Frank N. Stanton (1935)”

Frank Stanton, who later became president of CBS, wrote those words in his doctoral dissertation. Little has changed since that time. The media has undergone great transformations, but the basic research question—a need to know the audience—has been one of the most enduring features of the media industry.

The need for measuring audiences online has been a recent trend in our country. Once the domain of techies, it is fast became a need for marketers and advertisers for evaluation of their digital spends. Ever since the inception of internet in Pakistan, there have been multiple challenges to address the issue of measurement. The biggest challenge namely being that the internet is HUGE and the rapid growth that it has seen in Pakistan renders any assumption about the data gathered of its size, pretty much useless.

The second problem we had been facing since inception of the net has been to chart the growth in subscribers and the services they subscribe to. With exponential growth any information regarding visitors access is rendered useless with the introduction of new services and changing tastes online due to new users. This is a challenge even more so when we think in terms of  the fact there are no geographical boundaries on the net. Thus how do we define ‘access in Pakistan’.

Third and not the least are the lack of standards and impartial definitions that still continue to create measurement problems in Pakistan e.g. just over a decade ago the standard on which audiences were measured was HITS (the number of client (browser) requests) to a ‘website’ (after all Facebook wasn’t around then). This was a reasonable method initially, since a web site than often consisted of a single HTML file. However, with the introduction of images in HTML, and web sites that spanned multiple HTML files, this count became less useful, since each client (browser) would now send hundreds of hits on every page load.

These problems are still present to date and attempts to measure audience of Pakistani online advertising campaigns or digital platforms have not been consistent or transparent enough to provide reliable standard metrics. Understanding how well your brand is doing is about more than clicks and page views. It’s about the audience and that is where the troubles start. Take the metric of ‘new visitor’ e.g. there is really no such thing as a new visitor when you are considering a web site from an ongoing perspective. If a visitor makes their first visit on a given day and then returns to the web site on the same day they are both a new visitor and a repeat visitor for that day. So if we look at them as an individual which are they? The answer has to be both, so the definition of the metric is at fault.

Online measurement methodologies in Pakistan also have a problem on how the data is gathered. One way e.g. is through reading cookies (small text files saved on computers with unique individual IDs) which gathers data on the user from site to site. This only works on ‘persistence’ basis. When the user deletes this cookie from the browser, the user will appear as a first-time visitor at their next point where the cookie is read. Without a persistent and unique visitor id, conversions, click-stream analysis, and other metrics dependent on the activities of a unique visitor over time, cannot be fully accurate. This approach also does not take into account that the user doesn’t just consume digital “cookies”. They’re a shopper, a home maker, a tweeter or a power texter, the process which misses the audience completely and looks at the trees for the forest.

With over 10 million broadband users in our country more and more people are now viewing their favorite programs, browsing information on websites, socializing via networks on digital screens & platforms such as PCs, tablets and mobile. With this growth in digital audiences, there has never been a greater need to profile and provide accurate and reliable data to clients through modern measurement techniques. Advertisers, agencies and marketers have grown used to the regulated and reliable measurement of ‘traditional’ media, and they now seek the same standards from digital media when it comes to measuring the scale and behavior of online audiences, one that provides for a consistent, reliable approach for validating their ad campaign.

Thus whatever standards we implement in our industry, at the heart of the audience measurement should be an understanding of consumer behavior which not only need to be holistic it should also analyze consumer behavior and trends, advertising effectiveness, brand advocacy, social media buzz and more to provide a 360 degree view of how consumers engage with online media.

Different approaches exist worldwide to measure audiences. The survey method is still a popular method though one can never be sure of the sample’s authenticity. Another approach followed by online research companies worldwide combines representative, people-based panels with, tag-based measurement to deliver a holistic view of the digital universe and its audience. The representative panel offers deep insights across demographic characteristics of Internet use, while data collected through tags placed on participating publishers’ pages provides measurement of the content consumed tracking their demographics, web visiting, online and offline transactions, search behavior, video consumption and ad views. The result is a Total Internet Audience metric that offers a sophisticated approach to understanding consumer behavior and provides comprehensive digital media measurement across all devices and locations, including mobile devices, tablets, secondary PCs and access points outside of home and work locations. This problem with this approach is that it completely misses niche content and is highly skewed towards what is popular.  Other approaches use a mix of impressions, unique reach, frequency (how many times a person saw the ad online), Testing of different creative and tie in with incremental sales.

The first companies to take on Internet audience measurement had been firms with an expertise in estimating computer usage (more Google Analytics) rather than mass-media consumption. However as the media permeates more in our lives and as the new forms of media become live especially mobile, so will the content consumption and behavior of our audiences change even more. Thus from a web based landscape that once required Internet users to visit specific destinations for content will evolve to one in which content is pushed directly to consumers. In order to uncover the size, growth, composition and value of these distributed multi-channel audiences, audience measurement technologies will have to keep pace. Sadly we are not even at the first phase yet.

Online Classified Market In Pakistan


Online Classified Market In PakistanPakistan has traditionally always been a nation with strong social support systems rather than institutions. Even for things as simple as schooling or buying a house, we seek after the opinions and recommendations of our own and extended family and friend networks rather than depending on external reviews or peers.

Over the last few years however this system has seen a gradual shift especially in the upper income segments. As technology has permeated into our lifestyle, the increased exposure and information flows has resulted in making judgements based more on the recommendations of strangers and experts than just existing peers. The increase in more and more people shifting to nuclear families as well just amplifies this trend further. To cater to this sophisticated audience, a growing plethora of classified advertisements sites are springing up in the anticipation of this growing market of the future.

Globally a $100 billion business, Classified sites are the new form of how consumers and businesses or more appropriately sellers and buyers find each other. Whether individuals or businesses are looking for a used car (pakwheels.com), a new employee (rozee.pk), a place to sell their mobile (hafeezcentre.pk) buy a plot for investment or their new home (zameen.com), or even find a partner (shaadi.com), the first stop is increasingly becoming the Internet to sites such as these and more. The appeal lies in the convenience and ease of use such sites provide with powerful search capabilities, more personalized “push” services such as automatic ad alerts, more timely and up-to-date listings and features such as photos, video, and sound clips in online ads. Best of all they are FREE!

In some aspects, the evolution of the online classifieds in Pakistan is unique from its global counter-parts. Pakistan has seen the rise of vertical sites i.e. specializing in one area such as jobs, real estate and matrimonial first unlike say US where the first and still biggest classifieds site is Craigslist, a horizontal site specializing in many categories simultaneously. Secondly, unlike the west, where online classifieds have taken business away from newspapers, online classifieds in Pakistan have grown the overall market. During this time even the print classifieds have grown substantially. This is comparable to our telecom markets where the fixed lines though have been growing gradually, whilst the mobile market has shot through the roof improving tele-density significantly. The future however is mobile and similarly, the online classifieds industry will ultimately cross the print classifieds through the sheer reach, flexibility, cost effectiveness and ease of use for both advertisers and searchers.

Classified sites are the ideal web 2.0 business for a country like Pakistan for unlike Ecommerce models based businesses such as EBay or Amazon where the transactions are completed online, users never buy directly from these classified sites thus our limited infrastructure and payment gateways do not restrict the growth of these online business. Instead, users to these sites use the service to look for best offers and get in touch, while transactions are conducted in person or by phone. The sites benefit from advertising revenue and some paid listings for ‘Featured’ ads. Whilst numbers of the size of the market and revenues are harder to come by, leading the traffic race is OLX with 2.2 million unique users every month in Pakistan. Local sites such as Pakwheels, which deal mainly with second hand cars, claim 15 Million Page views in a month and 150,000 registered users. Zameen.com claims over 180,000 unique monthly visitors and 10,000 site listings a month.
“The market is interesting because of the potential – Pakistan is a huge market in terms of sheer numbers There are roughly 20M Internet users in Pakistan today, and we believe that this number will grow substantially over the next decade. So there’s definitely a big potential in the Pakistani Internet market. We believe that a free, quality classified site like dekho.com.pk is a service that most of the Internet users in Pakistan will want to use”, said Nils Hammar, CEO at dekho.com.pk, one of the pioneers of classified sites in Pakistan.

The launch of Dekho.com.pk since November last year is interesting because this is a horizontal site, much like OLX or Locanto in Pakistan and amongst a growing number of foreign horizontal sites investing in the future of this country and this market. Even with local players, also the market is shifting from vertical category sites to horizontal category sites. Even the players who were earlier in one category have launched other verticals or their own horizontal sites e.g. Pakwheels have launched naitazi.com and tringtring.com, verticals for general goods and mobile phones in Pakistan.

The trends and the factors governing classified ads markets support their assumptions. There is a substantially large numbers of micro and small entrepreneurs who are increasingly looking at advertising options that are free or low cost to market their businesses, services or products online. Online classifieds provide them with a local as well as a national reach and like we mentioned it’s free. A site like dekho.com.pk already claims 50,000 listings in a span of few months.

Classifieds online is definitely evolving but it needs a critical mass. Pakistan’s online industry is in the nascent stages. The overall internet population in Pakistan is limited. Even though it is said to be around 20 million, a person accessing Internet at least weekly is not more than 5-8 million (estimated). Out of this, people looking for search based information would be 2-3 million. This is not a critical mass when compared to US or other developed markets. Secondly, there is a problem of information hoarding e.g. the real estate brokers thrive on their knowledge of whose buying and whose selling and would not part from this information easily. However even with these challenges, the number of classified listings and the audiences would increase substantially in the next 3-5 years because of two things:

1. Pakistan is an emerging market growth with both GDP per capita and online media consumption growing at a good pace. The increasing salaries, more disposable income (many times due to both partners working), increased choice of goods has ensured that users are changing their laptops, PCs and cars faster than before. 50% of mobile especially gets changed within 6 months of purchase. These trends are resulting in a spurt in online listings. People are selling everything – right from washing machines to laptops and even air conditioners. Currently the household in Pakistan which wants to sell items doesn’t have any option offline except the people they know. Hence, online classifieds sites are providing these solutions.

2. Sellers are not online, while buyers are all over the Internet. How many apartment landlords are willing to put up their rental ads on a website? Infact how many landlords are Internet savvy in the first place? However as awareness about online classifieds increase, this will change and more people will join in the marketplace. Online classifieds currently stand to become the trade portals of all C2C transactions in Pakistan and fill in the huge gap between buyer knowledge and sellers disadvantage.

The future for these markets look bright. Internet penetration in Pakistan has been constrained because of broadband and PC penetration where as Mobile penetration has been explosive. People are beginning to realize the ease of access of Internet through their mobiles and in many cases they are having their first exposure to internet through a mobile handset. Online classifieds on Mobile are gradually gaining traction and with the rapidly growing mobile internet users, it could become the largest chunk soon.

“A great mobile service is a must as the Internet usage goes mainstream. We have a mobile site today on dekho.com.pk/m that is being used by all kind of mobile devices. As the market grows we will add more options for mobile users. The future looks promising. We have a lot of belief in Pakistan and the Pakistani Internet market and we want to be a part of the progress as the market grows. So far, the response we’ve had from our users has been great, so I really believe dekho.com.pk will bring value to the Pakistani market”, said Hammar.

One thing is for sure, no matter how the classifieds market will look like in the future, more Internet users mean better services being developed, and better services in turn attract more Internet users. Hopefully we’re in the beginning of this positive spiral where it’s hard to imagine 5 years from now a better way to sell our cars, buy our houses or even find our partners for life.

Original Post: http://auroramag.wordpress.com/2012/06/19/classified-and-online/

The Client Brief – Perfecting The Art


The creative brief is your roadmap. Your Sherpa. Your guide to the buried treasure. The creative brief is the contract between the client and the agency and between the agency account team and the creative team. It spells out in inspiring terms exactly what is that needs to be produced to solve a specific business problem.

Yet it is either treated like a piece of literature with an unending number of pages or an uninspiring piece of paper with check boxes to be filled out. There is also a problem of inconsistent understanding of how to develop and use the brief. Usually the account team does not think about adding value on top of what the client provided. The creative brief is developed in silos and this creates disconnect between the strategy, account management and creative teams. Given that the quality of the final work depends on the brief (Garbage In is Garbage Out) there needs to be a shift in the way we approach the creative brief. Creative Brief

To improve the briefing process, PAS recently hosted a one-day training workshop ‘The Client Brief – perfecting the art!’ on February 1, 2012 at Marriott Hotel, Karachi. The workshop was conducted by Sunil Gupta, a Master Trainer and a veteran of Indian advertising with 28 years of a wide range of experience across diverse brands, consumers and markets.

The new brief is a growing testament to the availability of hyper-choice in an extremely cluttered marketplace where traditional differentiation is no longer enough. The creative brief now is no longer just about the document. It’s about the thinking behind it and the ideas that comes after it. “I want to expand the definition of the brief from that piece of paper in which you put down that I want a 30 second Tvc and two print ads to this is my problem and I’m looking for a communication solution part of which can be advertising. Can you come up with ideas that create customer delight”, evangelizes Sunil Gupta. “The customer has to say WOW!” He continues, “Word of mouth now is very critical and that is created by experience. Now you have to say as your communication brief or engagement brief, what is the experience we want to create for our customers and can our systems support those experiences. Therefore internal communication and training becomes as important as communication and advertising. That is the point to create today. Your entire company has to be aligned around your brand. This is a question of willpower and discipline. You can have the best advertising and it still might not meet objectives because the product experience is damaging. Thus advertising is just one part of the strategy today”, said Sunil Gupta.

Muhammad Shoaib Baloch, Creative Director, Prestige Communication concurred with an observation of his own “A brief is a process and the agency is never made part of the actual process of what resulted in the need for advertising. Brief can be the dust or the gold, depending on how the client briefs the agency. The more exciting the brief, the more the out of the box campaign you’ll get”.

Thus it can be said that the brief is not a form to be filled out but the beginning of the creative process, the first creative thinking, the first imaginative leap and the first ad of the campaign and if it’s not written in the format that gets into the agency people’s minds, than they will not measure their work against it – one reason why despite bad briefing, the agency still produces great work…They simply ignore the brief.

Creative BriefYet advertisers cannot afford to take this aspect of communication lightly. With the pace of business quickening and as the number of brands multiplies, increasingly it is not companies but the customer who will decide which brand lives and which brands die and to do that it is now highly important to stand out in the market place. This means finding something, anything which can separate your brand from the clutter. To start this process ask yourself “Are you Asking The Right Questions”. The brief in 1992 which the agencies used to send to their clients included questions like:
• What is the problem or opportunity?
• Who are we talking to?
• What should the advertising achieve?
• What thought do we want to leave with others?
• What will make them believe this?
• What is required?
• Anything else?

Come 2012 and for most part agencies still follow the same brief format namely a problem to be solved by advertising, consumers’ to ‘target’, a message to say AT them, reasons to believe, tone of voice and what media the client needs. This is despite of the fact that the consumer and the media both have changed dramatically in the last decade. A more relevant method of questioning now is What’s the real problem?, Who is this among?, How might we best approach solving this?, Why might they talk about this idea?, How do they get involved? and What will keep the conversation going?

The brief also needs to follow some guidelines amongst which are:
Marketingese / jargon has no place in a brief. Speak with personality (ideally that of a consumer), and immediately you’ll use far more evocative inspiring language and not hide behind generic marketing nothingness.
A briefing is not a dictation. Make a brief closed or directional, and you’ll know what the creatives will produce even before they go away to work on it. A brief should be a platform from which they can launch off from. Not a means for you to force your ideas on a team. Always double check – can you think of two or three ideas from the brief you’ve written immediately? Are any of them your pet ideas? If yes, your agency will produce more or less the same.
A brief should not be written in exclusion of others. Whilst the planner should own the final document, but it is absolutely imperative to go to speak with the creative teams when writing it. Take some options, get their point of view.

If the creative brief is not itself creative, if it does not suggest solutions to problems, present information in an expansive and interesting way, and interpret the information with imagination and flair, then its authors and presenters have no right to expect anything different from the creative agency. To check whether it’s an engaging proposition or not, it helps to ask questions like Is it instantly clear and does it communicate exactly what you want to say?, Does it contain a fact about the product you didn’t know before you started writing? Is it surprising or thought-provoking?, Does it contain a strategic insight?, Does it contain a benefit to the consumer?, Do you yourself believe it? If the answer is ‘no’ to any of these, it isn’t an engaging proposition e.g. we can say Dawn Newspaper is the paper of choice of the upper income segment of the population of Pakistan which are the core decision makers of the country, which in all likelihood will produce a typical ad. However a better brief would be Dawn Newspaper is for people who like to make up their own minds and a great brief would be Dawn Newspaper – not written for sheep. Thus when writing a brief, these are the top tips.

Consistent – The brief is brief for a reason. There is no space for tangents and multiple ideas. Pick your core theme, and trail it through EVERY element. If it is as fertile a thought as it should be, this will be easy.
Get the right info in the right boxes – Often boxes are mixed up in which Insights are passed off as objectives and the audiences are often found in mandatories. There are no “dull, functional” boxes. Everything should inspire and stick to your theme.

Language – Work hard to avoid the mundane. Let your vocabulary flow and inspire. Rewrite it. Rewrite it again. Every word is sacred. Make them all work hard. Remember, if you leave a loose word or loose thought, what’s to stop the creative picking up on this and basing their idea on it.

Follow The Template – It is a fixed template for a reason – to stop everyone going on for pages. If you need to shrink text or expand boxes, you are writing too much. Edit yourself, not the template.

How To Advertisement

Find your trueline – Marty Neumeier in his book ‘Zag’ says that all brand communication should emanate from your trueline. A trueline is the one statement you can make about your brand which is the reason why your brand matters to customers. It can’t be reduced, refuted or easily dismissed. The key to crafting a trueline is to focus on a single proposition. If you find yourself using commas or ‘Ands’, you may need more focus e.g. Avis – Because We’re Number Two, We Try Harder or for a insurance company don’t let your illness cripple your family.
With the wealth of increasing clutter of products, features, media, advertising and messages creating a poverty of attention in our world today, we need to ensure that we create emotions, aesthetics and experience that excite our audiences and creates vibrancy again in an increasingly dull and similar advertising landscape. To do that kind of magic requires crafting a magical brief.

Published: Dawn, Aurora Magazine, April, 2012.

Yes! We Khan – Social Media Case Study Of Imran Khan Rally On December 25th, 2011


Imran Khan Yes We Khan Rally Picture HopeThe highly successful Jalsa of 25th December, 2011 organized by Pakistan Tehreek Insaf was a major social media milestone for Pakistan. By using a disruptive technology in early markets, PTI has upset the status quo, catapulting a man who did not look like a serious contender for government initially into the forefront of the race whilst engaging voters in fundamentally new ways.  This form of tech adoption has also ushered in a new relationship model between leaders and their supporters (especially young ones) with all political parties now announcing and jostling for the ‘youth vote’ with their youth wings. Perhaps in the future it will also serve to change expectations of ‘Citizens’ and ‘Leader’s’ roles in government.

Imran Khan’s campaign epitomizes the opportunities  to be gained using your ‘customers’ to amplify the effect using new technologies despite contending with established players that have far greater resources and legacy. At its most basic however it’s about good fundamentals. For a start it’s about selling a product which people want [an innate buzz]. Dr. Awab Alvi, the person responsible for PTI’s social media strategy said “We are just an interface to communicate the product to people online. People want to see, hear and want to interact with our brand and we use a medium to give them what they want. The buzz is nothing to do with us marketing the product. Fundamentally the product is a need of the time due to the country’s situation and people are looking for an alternative and Imran Khan is being seen as that alternative.”

Thus authenticity matters and If one looks at the competitive landscape in this context, Shahbaz Sharif and PML-N have recently spent an inordinate amount of money on social media trying to make up for lost ground, but the difference is again in the vision that Imran Khan sells and the ‘more of the same’ approach which is being used by PML-N. In social media one can’t just adopt a brand and expect people to buy into it without authenticity. The new ‘Khudari’ message (something which PML-N didn’t do in 20 years) thus will not work for their brand in this case.

Another one of the tenets of social media that holds true for PTI’s approach is “go to where your customers are.” PTI made it possible for people to participate where they want, how they want, using the tools and friendships they want. Whilst it’s a butt of jokes that most of Imran Khan’s base cannot even vote and that children under 18 are not relevant to be targeted because they can’t vote. However in this traditional thinking, political bigwigs forget that these same generations can talk [and inspire] and help to build a wave of change. Social media enables them to use lower or zero transaction costs to do it. It is these passionistas  who serve as the base for the party.

“There is a tremendous army working for the organization which responds to queries, reputation management, etc and to date NONE of the volunteers have ever been paid. When you have passionate people doing something they love… they believe in the change, in doing it as an end in itself and all they want from us has been the recognition of that aspect’, said Dr. Awab. ‘I tell them truly that it’s YOU whose done this for Pakistan and I mean it’. Faisal Kapadia, a blogger and activist at ‘DeadPan Thoughts’ describes the feeling as ‘It was a high that I’ve never felt before with an energy level not even found at a U2 concert’.

Social media use by PTI includes clarifying and defense of the party’s policies and actions, reputation management and killing of the rumor mill, engaging with voters, provide the imagery that give hope and provide for a catalyst of change. The key engines thus that propelled the social media movement forward for the organization included but were not limited to Imran Khan (Official) Channel and Pakistan Tehreek Insaf (Official Page) which are the Facebook channels responsible for organizing and mobilizing people for initiatives that support key processes whilst ‘We Want Imran Khan to Be The Next Prime Minister Of Pakistan’ and ‘Jagutho’ are initiatives for sharing viewpoints, helping supporters, volunteers and campaign workers to co-ordinate their offline and online activities.

Combined there are over 500,000 ‘fans’ of PTI & Imran Khan with over 50,000 plus active participants at any moment in time. These channels were the ones which provided the support needed during the Jalsa online and the figures below show the impact of these on the Jalsa and vice versa.

Constant engagement is key. Imran Khan campaigns and encourages users and artists to use the imagery they provide for their own purpose acknowledging and recognizing that they should give up control. The best creative developed Imran Khan addressing the Jalsa with the caption: ‘Hope Is Priceless… for everything else there’s Mastercard’. A big lesson for brands here is to ‘Make it easy for people to make you their own’. Let people act on their desire to get involved at a low transaction cost, and very visibly. This increases leverage.

PTI has also been present on Twitter with @Imran KhanPTI and @PTIOfficial channels. Twitter works since during the span of the Jalsa the PTI broke 11 global twitter trends within a 5 hour window and because of it reverberated across the 300 million strong community on the platform including ‘DilDilPakistan’ quickly being picked up across the region.

To understand its significance, one can take into account that as a baseline it takes a minimal of 500 active users and 1200-1900 tweets per hour to break a global trend. To dominate it as PTI did, it takes much more. Another platform which has been very successful for PTI has been the mobile 80022 which drives the membership for the party.  Utilizing this form of technology, PTI has their ‘army’ segmented via city, via constituencies and clumped by affinities which allows them to mobilize with great speed and effectiveness.

This informs people with SMS messages when an event such as the Jalsa is about to happen and asks for participation. Roman Urdu works better than English on the platform. In the future, this database form of marketing will serve its purpose for voter turnouts.

Other features enabled on mobile include mapping via SMS which was used to provide directions to nearest available pickup points for people and recently an iReport debut feature on the platform which was used to identify and resolve the problems that people were facing at the jalsa.

iReport holds the potential to be much much more. This is going to be a powerful form of Citizen Reporting platform and once properly activated will become a force for accountability in Pakistan as normal Pakistanis report their encounters on issues which PTI raises.

The jalsa also used an innovative platform of ‘Live Streaming’ the event globally to all those who could not be physically there. Using a 50 Mbps fiber connection, the event was streamed to over 35000 people at its peak LIVE across the globe.

The PTI Jalsa has broken new grounds in the marketing of politics and perhaps even for business. Marketing executives need to start focusing on what will happen when their stakeholders self-organize, mirror each other’s interests, magnify the interests into passions and make a lot of noise. This can change expectations fast. They should be aware of traditional thinking in their organizations so they can counter these. It must be remembered that all disruptive change always presents as a fringe activity at first. Thus marketers need to make it a priority to understand social media adoption milestones, so they don’t get caught by surprise. Some of the good lessons out of the Jalsa which marketers can learn from:

  1. PTI strategy is to focus on selling leadership, not policies. Most political campaigns sell their candidates like products, replete with features and benefits (“policies” and “programs”). More profound, leadership and personal qualities and beliefs inspire more easily than policies.
  2. Trust your stakeholders to discover and do the right thing. Smart organizations are becoming more cooperative by sharing “control.” Letting go energizes people to contribute in a meaningful manner.
  3. Realize you cannot control the conversation and that’s okay.
  4. The more transparent and collaborative, the stronger your organization will be as a competitor.
  5. Think small. Industrial Economy marketing held that the only things worth watching were big numbers and big initiatives. Yet in the digital age, many many people doing small things can have a big impact when they are using digital social media because it affords so much leverage. Many small numbers can roll up to a big number. Many-to-many means geometric growth and acceleration.

For PTI after a successful campaign, now on the Social Media Roadmap is to move on from ‘just defending ourselves’ to organization of the masses and translate the online activism to offline activism. “Right now it’s all Imran Khan’s draw but now we’ve seen potential we will be organizing leaders in colleges and universities. Jagutho is one of the initiatives which has created a ‘Responsible Citizen’ model which is organized around a mohalla basis which we hope to implement soon.”, said Dr. Alvi. “The Future is calling”.

The Future Of Advertising … Is Not Advertising


The Future Of AdvertisingWe live in an era that isn’t business as usual anymore. Living in a networked economy with an increasing overlap between consumer and technology is opening up opportunities for businesses and the resulting advertising to evolve. As Mark Earls has said marketing is increasingly moving from a world where you are marketing to people to one where people are marketing to each other on your behalf.

Daniele Fiandaca is one of the foremost trendsetters in the field and is currently running his own consultancy, Digital Fauna (DF came from the initials of his own name). Prior to starting his own consultancy, London-based Daniele Fiandaca was CEO (Europe) of Profero, an independent, privately owned digital marketing agency founded in London in 1998, growing it from a small team to the global business it is now with 300 employees in fifteen cities across the globe and boasting a highly diverse roster of clients, among them AstraZeneca, COI, Guinness, HBOS International, Johnson & Johnson, Lufthansa, and Western Union. Under Daniele’s creative leadership, the agency had won many awards, including a Gold Cannes Cyber Lion for its MINI “White Rabbit” campaign.

He also continues to run Creative Social which he founded, alongside Mark Chalmers, in 2004 and has sat on a number of juries including D&AD, Festival of Media and Revolution. His passions include film, collecting vinyl toys and traveling to exotic places.

Umair Mohsin caught up with him at the PAS Digital and Social Media workshop held at the Sheraton on September 21, 2011 and had an engaging ‘conversation’ about social media, marketing people to people, whether agencies will survive in a new media world and the future of advertising as we don’t know it.

Q. How do you usually define Social Media?

Social media is really a conversation facilitated by lots of technologies. It really is a ‘conversation’.

Q.When we say conversation do we mean between the consumer and the brand?

No! It’s a dialogue between people to people.

Q.So where do the brands come in to this?

It’s a conversation so it’s the same conversation that we might have if we were having dinner or if we were going to someone’s house. When people are having such conversations do they expect a brand to leap in and become part of the conversation? They don’t. So why do the brands feel they can do it online. What they [the brands] need to do is provide social currency to these people to actually fill those conversations. People tend not to want to speak to brands, so the brand itself has to be fundamentally interesting if it wants to become part of people’s conversations. A lot of brands don’t get that.

Q. So why than should brands take a look at social media in the first place?

Word of mouth has always been the most influential marketing media ever. Now however word of mouth now equals world of mouth. Brands can now get into those conversations and actually have people promoting them with one person conversing about it to a hundred people or even a thousand people and that’s extremely powerful.

If brands provide interesting content, interesting offers, interesting conversational pieces, some entertainment than they have more chance of people spreading it without having to spending media dollars. It can be mass reach without the cost. Fundamentally however it means you do have to have a good product as to the same extent it is much easier to get found out. You also have to be interesting.

Q. You use the word interesting a lot. When we say Interesting what do we mean? Is making someone laugh interesting?

Brands need to have social currency to be interesting. If you can make something simpler, faster, more inspiring, more available or effortless than you’ll have currency. For other examples look at the social currency wheel.

Image

Credit: Steve Sponder

http://blog.stevesponder.com/how-valuable-is-your-social-currency

Q. Brands like McDonalds, Starbucks, Pepsi or Coke do not need social media to have social currency because of their existing heritage. Does social work in the same aspect for new companies or brands?

There is a telephone company called GifGaf in UK which is a phone network built using social  media. They ensured that the community engagement happened consistently and sustainably adding value both to the brand and the community. Secondly, this form of media works best when the whole business is geared to not just accepting but embracing the value and the power of its community.

Q. What was the thing that they did different?

They listened. That’s it. You have to understand the fundamentals. People in pubs do not talk about biscuits or bulbs. You have to create something that they might talk about. Wheat Thins is a fantastic example of creating something quite humorous utilizing people’s use of social. Brands have to engage their fans and if they don’t have any than they do have to ask this question of why not and that’s the issue which they have to address first.

It must be mentioned that advertisers focus on numbers when social is not about numbers but about the quality of engagement. If you can have a group of 100 fans you can learn so much including about the products and they can be your biggest evangelists. So it’s not about the numbers. That’s why it’s a CEOs job to ensure that their company embraces social across the  board.

Q. How has business changed because of social media?

Because of WOM phenomenon now products actually have to be good whereas in the past products have been successful without being so. Bad customer service is also a thing of the past, most brands do not get away with that anymore. What we’re also seeing is that people have to be far more open and honest. You have a lot of examples of businesses using social media who tried to hoodwink people and got found out very quickly.  So social media has made the businesses need to be more honest.

Q. Isn’t it too many choices and too many lines of communication? How do you keep up?

If the CEO of ZAPPOS, a multi billion dollar company can spare time for twitter then no business has the right to complain. Like I said it’s the CEO that leads the whole culture. The problem you get in UK and possibly in Pakistan too that it’s the more junior people who recognize the need for social and in all honestly many senior management don’t get it. What you find is that those CEO do get it and actually embrace it will gain a competitive advantage as a result of engagement with its community.

Q. What factors should companies consider when choosing to engage on social media?

The first thing you have to understand is that what are you trying to achieve first. Going on Facebook is not a strategy. You really have to understand what it is you are trying to do. Are you trying to build a community, do you want to use it as a CRM tool, do you want to experiment and see what happens, can you recruit your biggest fans to manage your Facebook group for you… there are different ways you can do stuff. Some of the basics are that do not open a twitter account and follow a 1000 people just to have them follow you back. You have to know what the Twitter account is for. If you’re a telco e.g. and you have customers tweeting their problems to you, you can’t ignore that. You have to have a system which can respond to those tweets straight away. The acceptable time on Twitter is really no more than an hour.

Q. Best tactics, where do I start, how do I find my focus and efforts.

Listen first, be human, and first listen to what people are saying about your brands. Nielsen Buzz metrics is an excellent tool for listening.

Q. How do you pay the agency which does social media?

I don’t think advertisers should be using agencies for handling their social media. It should be in-house. The only people who know their brands are the people who work in them. How can an agency know how to answer on FB or Twitter. Agencies should be in consultancy or giving lots of training. Agency people should sit in the business if they are handling it to understand the business and talk to people around you but it should be internal to the company.

Q. Is there a future of agencies than if brands continue to grow their own communities and market themselves?

(Laughs) The future of agencies is as making brands interesting e.g. WCRS was the agency behind Orange Telecom. They made the mobile operator interesting. Great ideas are great ideas and agencies are good at great ideas. Agencies will be successful if they can provide ideas which people can belong to.

Q. What elements should be addresses in the plan and how would you measure success.

One of the ways is that people are starting to measure the avg. value of a Facebook customer vs. a non FB customer. 40% of people want to join because they want to receive discounts and promotions and then you use the engagement to help them become customers.

Beauty In The Lines: Pakistani Calligraphy


Calligraphy In PakistanIt has been compared to a chant, a rhythmic divine beauty, a melody, an aria, a toccata, an edification, an exaltation. As poetry is for the tongue, calligraphy is to the page. The authors of The Splendor of Islamic Calligraphy put it best when they said: “Calligraphy is the plainsong of the divine”.

Calligraphy is the art of the linear graphic, but it is more than that. In Islam, it glorifies the unseen face of Allah (God). Much like icons of other faiths, calligraphic scripts in Muslim cultures represent power. The first revelation of the Quran (Koran), the holy book of Muslims, regards the pen (Qalam) as a tool to acquire knowledge. It is written in the Quran that God has taught humans through the use of the pen.

Such scripts in Arabic are held in high esteem in the Muslim world as the Quran itself has been revealed in Pure Arabic. A part of the Semitic branch of the Afro-Asiatic languages, it is composed of 28 letters (mostly consonants) and is constructed on the interplay of a horizontal base line and the vertical lines of its consonants. It is read from left to right, with the addition of vowels, diacriticals, and loops which are positioned above and below the base line. These lines, angles, planes and formal shapes, though subject to geometric rules, achieve life and movement through volutes, contrasted characters, interlocking and intertwined letters and clear breaks. As the eye shifts from one plane to another, at once a sensation of movement and rhythm is created: the pictorial divide causes the page to move, with unexpected colour combinations and an effect of brilliance.

The Origin Of Calligraphy

Muslim calligraphers were doing marvels with form and content at roughly the same time as Carolinian manuscript illuminators and T’ang Dynasty ink brush artists were each in their own way evolving a sense of writing style unique to their language. The Western style went its own way by including images of humans and animals (and God depicted as a human), thereby reviving the Greek and Roman sense for imagistic art lost during the days of barbarism.

Muslims avoided such iconography, because Islam forbade the use of human imagery in any form. As a religion based on an invisible God, early Islam had to compete against pre-existing totem-based religions, which encouraged figural representation. These practices (and memories) had to be eradicated. An angular, geometric script, now designated as ‘Kufiq’ (because it was devised in the city of Kufah in what is now Iraq), became the answer. Used originally to transcribe the Quran and accepted by Arabs and non-Arabs as being inspired from ‘divine origin’, it came to be seen as the alternative to sculptural or figurative architectural decoration which had its associations with idolatry. From leading the way to mark a building as distinctly Islamic as well as pay tribute to God, it was also adapted to artistic decoration on textiles, ceramics, coins, utensils, epitaphs, and architectural monuments, all of which spread as the Muslim empire grew.

The calligraphic lines from Muslim reed pens led to a geometric stylization that has been best seen in Arabesque. This is an element of the Islamic art which consists of elaborate application of repeating geometric forms that often echo the forms of plants and animals. To Muslims, these forms – taken together – constitute an infinite pattern that extends beyond the visible material world. They in fact symbolize the infinite and non-central nature of the creation of the one God.

Islamic calligraphy also spread because of another reason: a rounded cursive script, employed by scribes for everyday documents, now designated as ‘Naskhi’, developed by a calligrapher called Ibn Muqla in the 10th century, and afterwards perfected by numerous calligraphers. Distinguished by its clarity, simplicity, and legibility, it gained favor over Kufiq for copying the Quran, and spread to all regions of the Muslim world later in the century. The ‘Naqshi’ is theCalligraphy In Pakistan proto-style from which came most of the scripts now used by calligraphers: Thuluth, Muhaqqaq, Maghribi, Riqa’i, Rayhani, and Tawqi’, to name a few. To the practiced eye they can be differentiated by how the hooked heads of verticals are made, the form of letter endings, the compactness of the letters, the degree of slant of the letters, the amount of horizontal or vertical elongation, and the degree of rounding of comers.

The Technique of Calligraphy

The proportioning of the characters plays a part in calligraphic designs in the same way as rhythm articulates music. The legibility of a text and the beauty of its line require rules of proportion. The proportions of the characters always remain in constant relationship: they all refer back to the size of the alif, the first letter of the alphabet.

An allegory explains this relationship best. Allah (swt) created the angels according to the name and number of the letters, so that they should glorify him with an infinite recitation of the Quran. Allah said to them: “Praise Me, I am Allah, and there is none other but I.” The first letter to do was alif, whereupon Allah said “You have prostrated yourself to glorify My Majesty. I appoint you to be the first letter of My Name and of the alphabet.” Thus alif is taken as the module of every calligraphic system.

The length of the alif varies according to style, eg in the Thuluth script, the alif is nine dots high with a crochet or hook of three dots at the top – the dot being the universal unit of proportion. This is a square (rhombic) impression formed by pressing the tip of the pen onto the paper. The dimensions of each side of this square dot thus depend on the way in which the pen has been cut, and on the pressure exerted by the fingers. This pressure has to be sufficiently delicate and precise to separate two sides of the nib.

Alif is also used to measure the diameter of an imaginary circle within which all Arabic letters could be written. Thus, three elements become the basis of proportion – the height of the alif, the width of the alif (dot width), and the alif as a diameter of the imaginary circle.

Calligraphy In Pakistan

Islam and, through it, calligraphy came to the sub-continent through the conquest of Sindh by Mohammad Bin Qasim in 712 AD, and reached its peak during the reign of the Mughal emperors. The Taj Mahal, an Indian icon built by Mughal king Shah Jehan, is one testament to the beauty of Islamic art. It is adorned with many passages of the Quran that relate to Paradise, thereby making the entire complex a metaphor for the heavens. In the area which now comprises Pakistan, Lahore undoubtedly has held the title of being the center of calligraphy in Pakistan.

According to Mrs Wahida Mansoor, a professor at the Indus Valley School of Art & Architecture, “Relative to western cultures, the east has always been about Naturalism, shunning the synthetic for what is sustainable and in harmony with nature. This art is a testament to that fact. All materials from the reed pen to the dyes used are environment-friendly. There is also an air of divinity in this art, eg with its power to preserve knowledge and extend thought over time and space, ink is compared to the water of life that gives immortality, while human beings are likened to so many pens in Allah’s hand.”

Black has traditionally been the basic ink, however the range of colors used by calligraphers are extremely rich and varied. The colors which include gold, silver, blue, green, orange, violet, yellow, etc, have always been prepared from vegetable and mineral resources. Most inks are based on soot or lamp black mixed with water and gum Arabic. However other ingredients used are tea, haldi, henna, pomegranate, beetroot, and even coffee. The final stage of the preparation involves straining the ink through silk. Also, the ink might be perfumed if desired.

This art is unique in a lot of other manners as well, right down to the margins. According to Mr Rashid Arshed, Head of Fine Arts Department at Indus Valley, “Unlike other arts, the margin is used differently in Calligraphy. It may include alongside the actual text a parallel text; or marginal motifs maybe transplanted into the text; or the reader’s attention maybe diverted by making the margin easy to read and the text very difficult. Or the margin may rob the text of its central position by framing it with script on all sides.”

In Pakistani calligraphy, the names of Allah or Muhammad (PBUH), the Kalima, “La Ilah Ha Illalah, Muhammadar Rasullulah” (I Swear That There Is No God But Allah And Mohammad Is His Messenger), and “Bis Millah Ar-Rahman Ar Raheem” (I Start With The Name Of Allah, The Beneficial & The Merciful) recur like a leitmotif. They are drawn in green, blue, or red ink, or in any other chromatic scale likely to seize the attention, as if the calligrapher is trying to induce a mystical trance. Contrasting touches, the colors of diacritical signs and vowels, words or phrases given special emphasis by the calligrapher, all evoke the divine presence.

Usman Ghouri, an upcoming calligrapher, puts it succinctly: “When I calligraphy, I actually feel closer to Allah.”

The Man Who Would Be Picasso

In Pakistani culture, the ability to write, and to write well in a clear hand, are signs of good breeding and of a well-rounded education; thus, the young nation has produced many outstanding calligraphers including Sadequain. Dubbed the ‘Picasso of Pakistan’, Sadequain’s art was unique in that it showed non-conformity and protest intertwined with a sense of impending martyrdom. The poet-artist was an outsider, a rebel holding onto the values of love and the quest for freedom. He drew inspiration from the poetical and literary tradition of the ghazal (a long poem, usually sung), where the protagonist frequently espouses martyrdom as an inevitable destiny.

Sadequain used the Kufiq script to depict a canvas architecture and Nastaliq to create its pictures. This form of pictorial and architectural writing was of his own invention. The basic characteristic of Sadequain’s calligraphy was the sheer size and scale. The colors he used were bright and in high contrast, as cactus and human figures were both transformed into calligraphy. These images were often abstract but frequently organic – spears, battle standards, the dissected skeletal man, the cacti and alif.

The alif was central to Sadequain’s work. To him it was the sign of the Absolute and the manifestation of the human ego. The heroic man among the vertical tropes of power was best symbolized in one of his paintings by the cactus breaking out of the Earth’s crust to emerge into the light, like a man rising above his circumstances. The principal source of light, energy, and power in Sadequain’s art was the line, the moral and aesthetic agent of his art. The line also divided hell and heaven, a thin line, as Sadequain subscribed to the Sufi vision that each was a state of mind and being.

Sadequain’s calligraphy included decorative designs in the margins and motifs which make the texts encased within the margins more attractive to the eye. The particular strain of motifs deployed by Sadequain were drawn from the Tughra, a form of pictorial writing, which was invented to represent the names of Mumluk and Turkish Sultans in the form of heraldic signatures.

It is a pity that the Western infatuation for Zen minimalism in Japan, the paint-brushy quality of Chinese pen-and-ink work, and the wild colors of India, have veered so many eyes from an art form that combines all three. Which also shows just how ignorant is the belief that Muslim culture is rigid, monolithic, and anachronistic.

The Pen

Calligraphy In PakistanThe standard pen is cut from a dry reed. Its length is approximately 10cm, width 1cm, and the upper edges are rounded. The shaft is curved and blunted at the edge so as not to hurt or rub the fingers. Its lower, functional end requires most care and attention from the calligrapher, who usually cuts it to a tapering shape ending in a point.

The pen is divided into two lips – left and right – by a groove 2 to 4cm in length. This groove’s function is to hold the ink. The calligrapher can vary the width of the line according to the pressure exerted on the left or right lip, or on both at the same time. He could modulate his line simply by the weight with which he presses down on one or other of the two sides.

Each calligrapher cuts his pen in accordance with his own usage and that of his native land, and also in accordance with the kind of text he is transcribing. In this sense, styles of script are definable by the pen and the width of the nib. It is therefore essential for the calligrapher to cut the point with precision and in accordance with the rules of the selected system of script. The evenness and elegance of the script also depends on the way the pen is angled to the surface of the paper, thus the calligrapher uses a number of pens.

The traditional way to hold the pen is with middle finger, forefinger, and thumb well spaced out along the shaft. Only the lightest possible pressure is applied.

 

Rural Broadband In Pakistan: Powered Off


Goth in Sindh40 Kilometers out of Karachi, in the neighborhood of Sultanabad, Kemari Town lies a small goth named Anwar Thaheem of over 3000 inhabitants. The village consists of a school, a single entertainment area and just one bricked house which is owned by the chieftain whilst the rest are thatched huts. The majority of the residences are illiterate and despite the presence of a single computer which was donated to the school long ago, it has never been turned on due to lack of knowledge of the populace. This goth in particular is of interest because the electricity wires that reach Karachi pass overhead (official kunda costs only Rs. 500 per month) and the fiber optic cables that connects the country pass within 20 feet of the village.

It’s places like these that serve as a reminder that despite the promise of information technology that has brought prosperity to millions of (mostly Urban) Pakistanis, unless the rural-urban divide is bridged and the issues of systemic issues not taken up more seriously, the broadband connection to over 1000 cities despite the hoopla will prove to be of little benefit to our country and the economy at large.

The promise of broadband for the rural sector has been hyped up for years.  It has been seen as unlocking the great potential of the digital revolution in the service of relief to save lives, sustainable development and lasting peace in rural areas. ICT has been seen a means of providing accessible and affordable education, while marginalized groups will use it to play a key role in economic development.

Over the last few years, some of this has come about. Due to the policies implemented by the govt. especially with regard to telecom, Pakistan has seen the growth of broadband at a good pace. Though penetration is still at 0.66% as of December 2010 with 1,140,781 broadband subscribers as compared to 643,892 at the end of December, 2009, it still shows a 77% growth over the last calendar year with 1000 cities covered to date.

The path ahead is still not easy. One of the great challenges of broadband is to provide service to potential customers in areas of low population density, such as to villages and small towns. In cities where the population density is high, it is easier for a service provider to recover equipment costs, but for each rural area it’s tougher as each area may require expensive equipment to get connected and for few customers. The quality of service for internet service providers too remains a question mark. This is mainly due to old copper media for landline connections which prevents reliable service available for home-users who are 1,500 meters or farther from the telephone exchange. Some of these challenges are being mitigated with help from the USF (Universal Service Fund) which has been running rural telecom projects to provide basic telephony and data services in several remote areas of Pakistan. The USF backing on rural projects have changed the focus of telecom operators from urban towards rural population. Until now, contracts have been awarded for Rural Telecom Projects to provide a subsidy of PKR 4.2 billion in total. All these projects aim to provide services in 12,000 un-served muzas. These projects have started bearing fruits as the number of previously un-served muzas where service has been provided has reached 3,500. In addition to this, it is mandatory for telecom operators in rural areas where USF is providing subsidy to power their infrastructure through renewable energy sources. So far, 66 Base stations are on solar. However the future is a long way away.

Broadband can be the great enabler that restores Pakistani rural’s economic well-being and opens doors of opportunity for all to pass through, no matter who they are, where they live, or the particular circumstances of their individual lives. With the escalating costs of living especially with the rise of fuel prices, the economics of rural sustainability are in question which rural broadband can resolve.  Even just a rupee jump in oil means people that are commuting to work can no longer make that economically viable.  Going to the next town to shop becomes an economic hardship.  The shifting of the economics is causing a lot of people’s livelihoods to disappear, at a time where rural broadband could provide clean, industry-sustainable jobs working for corporations that are physically located anywhere in the world.  Many more people would subscribe to high speed if they could turn it into an income supplement based out of the home.

But as with all technologies it’s not just about the infrastructure – it’s how people can rally around accepting their own full potential and that requires a change the mindsets. Rural poverty suffers from social isolation and lack of updated education.  The dream career of a matric passed student here is to get a low-level govt. job. Anything else is taken at blank. The second trouble is the lack of leadership. No tribal leaders shows up at any initiative, no teachers from the schools are  available for tutoring and worse even the MPs in the area never visit their own areas. So the ideal outcomes are hampered by the unwillingness of the leadership to hear what’s possible. Thus building in new capacity or new buildings is more of a wastage of capacity unless one can also take care of the systemic issues.

The resistance that rural Pakistanis have shown toward towards what is their greatest opportunity at improving their lifestyles is part of a great systemic  responses that will have to be addressed before rural broadband will take off. These anti-literacy, anti-technology rural attitude barriers will have to be broken. It will mean answering questions such as how do we educate our leaders who are not in school?  How do we educate teachers when there are not budgets for professional development for educators and at the end of the day it will come down to leadership.  If leaders are not keeping up with what’s possible through trends, etc, then it hampers the rest of us, and right now we have a generational inertia that is incredibly damaging.

The main thing that needs to change especially is youth’s readiness to accept change and to pay attention to what is happening around them, both locally and globally, and to give the youth an opportunity to receive current education and showcase their skills. Only than will the chasm ever be bridged.

Published in Dawn Images: 13th June, 2011

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