University of Gothenburg

Department of Applied Information Technology

Gothenburg, Sweden, August 2014

The Use of Storytelling in

Communication Campaigns: Storytelling Effects in Fundraising Campaigns across cultures

IBTIHAL ALALOUL

ZINEB BIRROU

Degree Project for Master in Science of Communication

Report No. 2014:111

ISSN: 1651-4769

"Tell me a fact and I'll learn. Tell me a truth and I'll believe. But tell me a story and it

will live in my heart forever."(Dunford)

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ABSTRACT

In today‘s world, people are constantly exposed to a non-stop flow of information, news,

promotions, advertisements and all kinds of visuals in an attempt to make the most

majority of them either buy a product, vote for a candidate or donate money for a

humanitarian cause. The question a given organization might raise is: how would it be

possible to stand out, be memorable in people‘s minds and increase their chances to make

a stronger impact and reach their objectives.

Far from all the latest technological innovations created for this specific objective, one of

the most ancient and basic communication tools has been receiving a special attention in

launching the most elaborate and successful communication campaigns: storytelling. For

this reason, the team is interested in investigating and deepening their knowledge about

the use of storytelling, its effect on individuals across the world and how it would make a

campaign stand out and win people‘s hearts. More specifically, the present study aims at

cross-culturally investigating the effect of storytelling in fundraising campaigns.

In the attempt of analyzing the use of storytelling in fundraising campaigns, and its

impact across cultures, a thorough review of the existing literature and the relevant

theories were used. For the purpose of this study, two focus groups were conducted to

collect data. Originally, focus groups were used within communication studies to explore

the effects of films and television programs, this method could be used not only what

people think but how they think and why they think that way (Kitzinger, 1995). Focus

group interviews found a home within the boundaries of marketing research. In fact,

focus groups remain the major form of qualitative research for marketing researchers

(e.g., Bartos, 1986; Hayes & Tathwn, 1989; Moran, 1986; Morgan, 1989; 1997 cited in

Berg, 2001).

In this case, two groups were set, and exposed to the same visual stimuli. Each group

consisted of seven participants, one including Swedish participants (low-context culture),

and the second including Moroccan participants (high-context culture). Four video ads

and two posters from different fundraising campaigns were shown to the groups,

followed by an interactive conversation, allowing the participants to freely express their

opinions, feelings, ideas and attitudes towards the use of storytelling in the ads.

The findings revealed that regardless of one‘s cultural background, similar emotions were

expressed by most participants when describing the impact of storytelling in the

fundraising campaign material they were exposed to. It was quite interesting to note the

significant role globalization plays in the way the youth of today‘s world perceive and

interpret the stories surrounding them. This study also reveals the invaluable role of

Information Technology. The visual stimuli used in this research consisted of four videos,

and two photos available online, on YouTube and on social media (eg Facebook) making

it accessible to people from different parts of the world. People are indeed being exposed

to similar universal messages thanks to the development and sophistication of

Information Technology. Thus, moving towards shaping a common universal identity or

a global culture where people think in terms globally rather than locally. Communication

campaigns throughout the world ought to take advantage from the endless benefits

offered by the age of Information Technology, and make a stronger impact worldwide.

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TABLE OF CONTENTS

THE USE OF STORYTELLING IN COMMUNICATION CAMPAIGNS: .............. 1

INTRODUCTION ............................................................................................................ 4

ADDED VALUE ................................................................................................................. 4 THEORETICAL GAP ........................................................................................................... 5 RESEARCH QUESTION ...................................................................................................... 5 STUDY OUTLINE .............................................................................................................. 5

2. THEORETICAL BACKGROUND AND MAIN CONCEPTS ................................ 6

2.1 KEY CONCEPTS .......................................................................................................... 6 2.2 DESCRIPTION OF ORGANIZATIONS ............................................................................ 20 2.3 VISUAL MATERIALS ................................................................................................. 21

3. METHODOLOGY ..................................................................................................... 23

3.1 RESEARCH METHOD................................................................................................. 23 3.2 RESEARCH DESIGN ................................................................................................... 23 3.3 DATA ANALYSIS........................................................................................................ 25 3.4 ETHICAL CONSIDERATIONS ...................................................................................... 26

4. RESULTS .................................................................................................................... 27

5. DISCUSSION & CONCLUSION ............................................................................. 41

SIMILARITIES ................................................................................................................. 42 DIFFERENCES ................................................................................................................. 43 LIMITATIONS & FUTURE RESEARCH ............................................................................... 44

REFERENCES ............................................................................................................... 45

APPENDICES ................................................................................................................. 49

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1. INTRODUCTION

―Once upon a time, it was a small gathering around a fire listening to the storyteller with

his tales of magic and fantasy. And now it‘s the whole world…still they want to hear

stories. But now, they gather in multiplexes…it‘s the magic of storytelling, it unites the

world. And that is truly gratifying‖ said the world-known movie director Steven

Spielberg about storytelling. (Woodside et al, 2008, p.98). Storytelling is one of the

oldest and most powerful tools of communication.

A branding communication campaign aiming to convince consumers to buy a given

product, or a political campaign to persuade citizen to vote for a presidential candidate

does hold promises, and is supposed to make the person‘s life better somehow. If the

consumers for instance do choose to buy a product, it is a clear win-win situation for both

parties. On the other hand, fundraising campaigns could be considered much more

challenging. Convincing people to make a donation is far from being an easy task.

Making the world a better place, and helping the people in need matters. Receiving

donations is what allows non-profit organizations to survive, and make a positive impact

in people‘s lives. It is, therefore, of a crucial importance, to find ways to make

fundraising campaigns as impactful and effective as possible. That‘s why this study

would investigate the use of storytelling in fundraising campaigns.

Last, but not least, the cultural diversity of today‘s globalized world, raises important

questions on the cross-cultural aspect of any given issue. A number of multinationals

tend to adjust some of their advertisements depending on the country‘s culture, others do

not. In some cases, intercultural differences matter, and in others they do not. This study,

will therefore, include the cross-cultural aspect to the question of storytelling and

communication campaign‘s success, enhancing one‘s understanding about the issue.

Added Value

Immersed in the communication field, through their studies and professional

experiences, the team was keen to deepen their knowledge on best practices on how to

best convey the right messages using the right tools to the target audiences, and achieve a

given communication campaign‘s objectives. Investigating a powerful communication

tool such as storytelling, and understanding its mechanisms and processes in

communication campaigns is one of the main purposes of the study. In addition, given

that the team holds a special interest in humanitarian work, this research will investigate

the impact of storytelling in fundraising campaigns. Both authors have been actively

involved in humanitarian work with various NGO‘s, and have been especially inspired by

their latest respective professional experiences, namely Save the Children Palestine, and

United Nations Headquarters. Working towards a common purpose of providing a better

protection to children in armed conflicts through various advocacy and communication

campaigns has triggered the authors‘ interest to conducting this research.

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Theoretical Gap

Developing and launching communication campaigns is often associated to either

marketing or politics. The non-profit field has not received as much attention, and fewer

studies have been conducted on the topic. Storytelling has been recognized as one of the

most effective tools in campaigning. In fact, numerous studies have previously been

conducted, and many books have been written on branding through storytelling,

emphasizing the role of the later in a successful marketing campaign (Fog et Al, 2010).

There is, however, a clear gap in the literature about the effect of storytelling in

fundraising campaigns.

The cross-cultural aspect in relation to storytelling is a fairly new aspect as well. Coming

from two high context cultures, Palestine and Morocco, but having been students in a

low context culture such as Sweden, provided the team with an interest to include a

cultural aspect to their research. Nowadays, many fundraising campaigns are global and

launched in various cultures.

Gaining a deeper insight into the cross-cultural aspect in the effectiveness of storytelling

in fundraising campaigns is the main purpose of the study at hand.

Research Question

This study aims at investigating the use of storytelling in fundraising campaigns and to

examine its effect across culture. Therefore, the following research question is pursued:

“What is the effect of storytelling in fundraising campaigns across cultures? and

how can it enhance its effectiveness?”

Study Outline

Chapter 1 gives a general view of the research and its background. It includes the

problem overview, theoretical gap and the research question.

Chapter 2 provides a review for the current literature on the key concepts in this study, a

description of the organizations involved and narrative of the visual material used in the

study.

Chapter 3 outlines research methodology including qualitative research approach, data

collection tools, data analysis, and ethical considerations.

Chapter 4 includes the analysis part of the collected data collected from participants in

Sweden and Morocco. Data is presented and analyzed by country then a comparison is

made for both countries.

Chapter 5 is dedicated for discussion of results and conclusion. The discussion includes

key similarities and differences between Sweden and Morocco. The researchers draw up

Limitations and recommendations future research.

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2. THEORETICAL BACKGROUND AND MAIN CONCEPTS

2.1 Key Concepts

Storytelling:

Once upon a time...In days of old when we were still hunters and gatherers, and our

social life took place around the glow of a campfire, women prepared the evening meal

while their men folk swapped stories of the day‘s hunt. It was here, too, that the tribe‘s

elders handed down the myths and legends surrounding their gods and ancestors and

where knowledge and experience was exchanged and passed along the generations.

These stories helped shape the identity of the tribe, gave it values and boundaries, and

helped establish its reputation among rivaling tribes. It was storytelling in its purest form

(Fog et Al, 2010, p.18).

In the second edition of their book ―Storytelling, Branding in Practice‖, the authors

touch upon the old and deep roots of storytelling. In fact, it is considered one of the most

ancient and most predominant means of human communication predating written

communication (Abraharmsen, 1998). Relating information, fictional or real, in a story

format seems to be the way human beings naturally communicate.

The literature reveals that there is a consensus among researchers regarding the highly

effective role storytelling plays in human history. Abraharmsen takes the concept a step

further, and refers to storytelling as the survival kit of the human genre, allowing

knowledge and information to be passed on through generations (1998).

Jill Eck in his extensive review of the literature within the scope of his study ―An

Analysis of the Effectiveness of Storytelling with Adult Learners in Supervisory

Management‖ provides a few definitions of storytelling. According to Heo ―Storytelling

is synonymous with narrative inquiry, whether written or oral, narrative inquiry involves

the telling and retelling of stories as we reconstruct meaning from our experiences lived

and then re-told‖ (in Eck, 2006, p.23). In other words, storytelling is a powerful mean to

creating meaning and linking previously acquired information with new ones, enabling

individuals to reflect, interpret and take action based on narrative components and

structures. It seems agreed upon that storytelling is an impactful mean of communication

starting from our most ancient ancestors until today.

The study at hand, putting light on the concept of storytelling and its effects, a brief

overview of its history and evolution through time could be helpful in developing a

deeper understanding of the topic. In her book ―Tales of the Magicians‖, Ruth Sawyer

takes us way back in time, to the first record of storytelling, which was 4000 B.C (in Eck,

2006). From early Egyptian and medieval times, to the nomadic tribes such as the

Gypsies, passing through the Romans, storytellers were respected, valued and admired in

their community (in Eck, 2006). In fact, their ability to help individuals make sense, and

even retain complex issues related to either religion, or culture was highly appreciated. In

addition to its crucial role in helping people make sense of the world surrounding them, it

was also used for mere entertainment ‗sake (Abrahamson, 1998). ―It proved to be a

highly effective way of coding knowledge in oral cultures because it made them

memorable and easily passed on to others‖ (Eck, 2006, p.24).

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Most research on the topic revolves around the same central idea, being that human

beings exist through the stories they hear, and the stories they tell. Storytelling seems to

be is vital element of what makes human beings humans.

The highly respected writer and movie director, Paul Auster, once stated that ―telling

stories is the only way we can create meaning in our lives and make sense of the world.

We need them in order to understand ourselves and communicate who we are...and by

sharing stories of our experiences, we can better understand the conflicts of our daily

lives and find explanations for how we fit into this world‖ (Fog et Al, 2010, p.17).

It is clearly and repeatedly stated throughout the storytelling literature that sense-making

is one of the main uses of storytelling. History is rich of examples of strong charismatic

world leaders, and change agents who used storytelling to reach their purpose, giving

people the sense of meaningfulness and purposelessness they might have been seeking.

The most inspiring figures the world has witnessed, namely Ghandi, Nelson Mandela or

Martin Luther King, to name a few, share one common feature, they were outstanding

storytellers. Storytelling has shown the ability to unite people, inspire them, and change

the way they think or even act (Fog et Al, 2010). The authors of ―Branding through

Storytelling‖ wisely mention the example of the renowned ‗American Dream‘ to

illustrate the successful use of storytelling. They claim that the melting pot aspect of the

American society is the result of the ―American Dream‖ story; the story of a random

individual who through hard work only moves up in the social and economical ladder

fulfilling their dream of success. This story has inspired countless numbers of people

from all over the world to move to the USA hoping to make their dreams come true (Fog

et Al, 2010).

Considered an ancient art and discipline, storytelling has never ceased to exist. It is still

widely used, in various ways, in today‘s modern world. From the gathering around the

fire, storytelling is nowadays used in our everyday life, and is incorporated in all human

institutions (Abrahamson, 1998). In television, radio, emails, magazines, books, and

blogs or around the dinner table of countless families, storytelling exists.

Storytelling is not only used in one‘s private sphere as a mean of connecting with others

around, or in religion trying to demystify deep values and provide comfort in darker

times. It is also used as a mean of creating a stronger organizational culture, enhancing

employees‘ feeling of belonging and commitment, strengthening the company‘s external

image, increasing sales, as a teaching method or motivating donations. Its uses are

numerous; within the scope of this study, however, the team will focus on organizational

uses of this powerful technique, both in profit and non-profit organizations.

The question arising from the overwhelmingly similar and positive views praising the

power of storytelling is what is/are the reasons of this success. Many studies have

touched upon brain-related theories, claiming that the human brain is naturally wired is

such a way that retains, and remembers each experience in a story format (Fog et Al,

2010). In fact, Neuroscience has shown that all information is organized, retained and

accessed by the human brain through stories (in Eck, 2006). In other words, storytelling

increases one‘s ability to retain information since it is the most convenient way for the

brain to receive and process the data from the outside world. This scientific reality

explains the organizational trend to use storytelling (Fog et Al, 2010). In his study, Eck

presents an overview of the literature regarding the effects of storytelling. According to

him, storytelling encourages an active engagement and participation from the audience,

which enhances learning and retention.

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Richter & Koppett built on this, and added that a ―well told story can bring out a sense of

community and belonging in communities‖ (2000, p.14). This engagement and

commitment created by storytelling, as described by researchers, is one of the key

strengths of this communication tool. Abrahamson elaborates, and argues that storytelling

does create a deeper engagement, ―not only do people hear the information but they are

immersed in the content on a deeper and richer level through emotional and personal

connection and visual imagery‖ (1998, p.129). Human beings tend to store and recall

easily the experiences, information or knowledge associated to emotions (in Eck, 2006).

Once again, there seems to be a consensus among researchers regarding the power to

evoke emotions held by a good story, thus triggering the cognitive parts of the brain

responsible for retention and recall. The mental images stirred by storytelling make

people identify with the characters of the story, enhancing one‘s engagement.

As a result, in addition to increasing people‘s understanding about a given issue, the

individual is more prompt to take action or apply what has been taught (Richter &

Koppett, 2000 cited in Eck, 2006). Moreover, research has demonstrated the undeniable

visual, auditory and even kinesthetic appeal of storytelling, evoking many intelligence

areas – interpersonal, intrapersonal, linguistic, and spatial- (in Eck, 2006). From a very

young age, human beings express a special enjoyment towards stories. Today,

communication experts have thoroughly studied this phenomenon and its countless

benefits in order to use it personal or organizational goals.

In order to better understand the concept of storytelling, it is important to know the

elements of storytelling. In the article ―Sense making, storytelling and the legitimization

of elite business careers‖, the authors provide a description of the traditional basic

structure of a story: a beginning, middle and an end and usually includes characters, a

plot and a surprise (Maclean et Al, 2012). ―A story describes a sequence of actions or

experiences done or undergone by a certain number of people…These people are

presented either in situations that change or as reacting to such change. In turn, these

changes reveal hidden aspects of the situation and the people involved, and engender a

new predicament which calls for thought, action, or both. This response to the new

situation leads the story towards its conclusion. (Maclean et Al, 2012, p.4). Another, and

further detailed description of storytelling elements was provided in the book

―Storytelling, Branding in Practice‖. The authors start with an analogy, comparing the

storytelling elements to the elements of nature. In both, there are four elements, like

nature has earth, wind, fire and water; storytelling ought to have a message, characters, a

conflict and a plot (Fog et Al, 2010).

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Figure 1: Storytelling elements

The four elements of Storytelling (p.33) ―Storytelling, Branding in Practice‖.

What constitutes a story in the first place? And what makes a story good?

Unfortunately, there is no fixed formula. Furthermore, it would be naïve to assume

that a narrow interpretation of what makes a story good will help us to become

better storytellers. Because storytellers encompasses so many different factors that

need to be fine-tuned to a specific audience and a given situation, it is virtually

impossible to lay down a hard set of rules. There are, however, some basic

guidelines that can be used. A peak in the annals of literary history shows that

most stories- from Aristotle to Hans Christian Andersen- entail at least some fixed

basic elements. (Fog et Al, 2010, 31).

Having a clearly defined message seems to be essential to strategic objectives behind the

use of storytelling. The same way every communication campaign must have clearly

defined messages, in order to ensure a smoother and more effective reach out, a story

must have a central message.

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The authors refer to the work of the highly esteemed Shakespeare, Romeo and Juliet, in

which the central message was that love conquers everything, even death (2010). Clear

messages in the story help people understand, and even relate to the story in order to

spark action, which would be the ultimate goal. Second, a conflict is considered to be a

driving power of a great story. Conflict disturbs the harmony, and increases one‘s

attention, evoking emotions and the need to bring harmony back to the chaos (2010).

―Too much harmony and not enough conflict makes for a story that is about as exciting

as watching paint dry‖ (Fog et Al, 2010, p.34). Woodside argues that human beings relate

to each other in terms of stories, and this turns their thoughts and emotions into action. A

story would be called a story without a character, or a few. Most times, a character that

the audience easily relates to helps in conveying the central message, and reaches the

storyteller‘s objective (2010). Emotions are clearly a crucial element in successfully

communicating the storytellers‘ point of view, ideas and reaching one‘s objectives.

Finally, the last element described in the book is the plot. ―How your story and its events

vital to the audience‘s experience. Given the fact that a story exists only as a progression

of events within a given time span, the sequence of events needs careful consideration‖

(2010, p.44).

Marketing and Branding:

Keller (2003a) defined a brand as ―Technically speaking, then, whenever a marketer

creates a new name, logo, or symbol for a new product, he or she has created a brand‖

(p3). Whereas, in the same view, the American Marketing Association defined a brand as

―a name, term, sign, symbol, design or some combination of these elements, intended to

identify the goods and services of one seller or group of sellers to differentiate them from

those of competitors‖ (Kotler 2000, p. 396).

On the other hand, Healey (2008) stated that a brand is ―a promise of satisfaction. It is a

sign, a metaphor operating as an unwritten contract between a manufacturer and a

consumer, a seller and a buyer, a performer and an audience, an environment and those

who inhabit it, an event and those who experience it‖ (p6). Franzen and Moriarty (2009)

see a brand as ―a complex system of interrelated management decisions and consumer

reactions that creates awareness, visibility, and meaning, as well as distinguishing a

product from its competitors‖ (p. 6). Both opinions reflect two main aspects of branding:

the management decisions of the organization and consumer perception towards a brand.

In a different view, Scolari (2008c) stated that a brand is not just a set of values that can

be expressed in special texts. A brand ―offers an aesthetic, a series of textures, colors,

materials, and styles that create a difference with respect to other brands‖. He further

claimed that economic subjects of the world economy no longer attempt to sell their

products or services through persuasive advertising. They wish to build a symbolic

universe gifted with meaning i.e. brands (2008a).

The reason the book ―storytelling, branding in practice‖ saw the day of light, and has

been quite successful, leading to the publication of a second edition was the sharp focus

on a practical, global and relevant issue in today‘s corporate world. In fact, there are

countless companies all around the world, with countless products and services. A daily,

and sometimes, overwhelming decision-making process takes place for the average

consumer. ―Sociologists say that we are experiencing increased levels of fragmentation in

today's society. The value systems that have traditionally guided us are coming undone,

in part caused by the lack of a dominating authority, such as science or religion, to dictate

what values we should adhere to‖ (Fog et Al, 2010, p.20).

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As a result, there are a lot of choices to make, and people are left to their own devices to

make decisions. Values and beliefs come into play here; our choices are then supposed to

reflect who we are, and what we believe in (2010). Branding is one of the strongest

means to do that; and communicating about people‘s beliefs is being an essential asset

for strong brands. The best brands, according to the authors, are the ones that

successfully manage to go beyond representing products only, and create a powerful

culture, conveying a coherent set of values (2010). In addition, when we travel the world

using visual expressions and symbols that indicate who we are and what we believe, we

do this by the means of strong brands. It is not random that we prefer a hiking boots from

Timberland to another one from Nike because we tend to surround ourselves with brands

that signal our personality and values (Fog et Al, 2010, p.20).

Bruce (2001) claimed that a brand is to have a strong sense of its own value, if it has a

good story. Fog et al (2010) argued that a strong brand represents a story. For example:

Harley-Davidson represents the story of "freedom", while Nike represents the "will to

win". The story behind the brand builds on the culture within; addresses our emotions

and values; helps organizations to build a bridge between the company and the consumer

which is, the later, the main purpose of branding (Aaker, 1997)In today‘s competitive

world, it is becoming challenging for organizations to retain the loyalty of their

customers. Thus, they have to create a relevant experience which differentiates their

brands from others.

Fee Alexandra Haase, in her study entitled ―Your Story is Told, Your Issue is Handled:

The Myth of Social Activity Corporate Storytelling in English-Speaking Business

Communication in the Age of Technically Mediated Orality‖ make a relevant and

interesting overview of storytelling in the corporate world. Haase supports the statement

describing this narrative mean of communication a ‗uniquely powerful currency in

human relationships‘ (n.d).

Holding the capacity to speak to one‘s rationality, as well as one‘s emotions, storytelling

in marketing expresses the company‘s vision in a focused manner (Haase, p.3). Stephen

Herskovitz and Malcolm Crystal add to the later, highlighting that this emotional bond is

created thanks to the relatable aspect of storytelling and its consistency, as well as the

fact that it is easily recognizable and memorable (2010). Numerous studies do show that

most people tend to make decisions based on more than mere facts, and try to make a

connection between their lifestyle choices and their values, and beliefs. In order to

achieve this, a strong coherent company culture seems to be a must.

A company‘s culture includes organizational values, vision, goals and most importantly

the ―why‖ of its existence. It is believed that the art of storytelling is the most powerful

way to bring out the company‘s culture, and make its heart visible (Fog et Al, 2010).

Previous research has shown the vital role a strong culture plays in the survival of

companies, demonstrating the strong link between the company‘s culture, and satisfying

financial results (Fog et Al, 2010). Creating a strong commitment, engaging people,

internally and externally, requires organizations to speak both to the heart, as well as to

the mind. Communicating the company‘s culture using storytelling is claimed to allow

this heart-connection that is necessary to achieving the organization‘s goals, and survive

the fierce competitiveness. Needless to mention how challenging it is for companies to

stand out nowadays, and become memorable in people‘s minds and hearts. The book put

on focus in this part aims at providing businesses with a practical toolbox on how to

strategically use storytelling, based on around twenty business cases.

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The concept of ‗core story‘ is used throughout the book, described as the main

foundation any organization ought to work on to ensure the desired behavior and

attitude.―The core story closes the gap between identity and image, between what an

organization is and stands for and how it is perceived from the outside world‖ (Fog et Al,

2010, p.8).

Simply put, storytelling clearly explains what the company is about, in a demystified

language understandable by everyone. It is a bridge that translates abstract ideas into

tangible and human authentic stories. ―Storytelling is an indispensable tool for activating

and making the company's DNA visible and creating a shared direction ―(Fog et Al,

2010, p.8). It is a narrative form of communicative persuasion that many companies are

adopting (Haase, n.d). Storytelling is undeniably an impactful communication tool in the

business world, and the literature has vigorously expressed this reality.

Most of the existing studies have been focusing on storytelling within profit-

organizations. For this reason, the team would like to first gain an understanding of the

practical usage of this ancient art in the business world. It could, indeed, be quite useful

in researching the use of this same tool in the non-profit area.

Branding and Storytelling:

In many ways the modern company resembles these tribes of old: the stories that

circulate in and around the organization paint a picture of the company's culture

and values, heroes and enemies, good points and bad, both towards employees

and customers. By sharing our stories, we define "who we are" and "what we

stand for". And just like the elders of the tribes of old, the strong leaders of

today's companies distinguish themselves by being good storytellers; voices that

employees listen to, are inspired by and respect. (Fog et Al, 2010, p.18)

In the corporate world, storytelling is used as a strategic persuasive tool supporting

companies‘ goals. Haase underlines the challenging aspect to inspire customers, and

touching their emotions when the subject of the story is a product. ―Unluckily, a product,

be it a car or a drink, does not possess any emotional or ethical values on its own‖

(Haase, n.d, p.18). Values could, however, be created from the product‘s greatest traits

and communicated by creative professionals (Haase). For instance, for a car selling

company, speed and safety could be the qualities derived conveying values that might be

appealing to customers (Haase). The stories on that level are argued to engage the

customers on conversations with brands that are both done on a conscious as well as

unconscious level of thinking (in Woodside et Al, 2008). A brand that inspires provides

the customer with a much richer experience than the only act of buying a product.

Looking around, it is not a secret to anyone that the most significant part of the world

lives in a material consumption never-ending spiral. Today, studies show that marketing

is about creating an emotional appeal and storytelling is the way to go. Many companies

have realized that branding goes hand in hand with the customers ‗emotions. ‖We

rationalize and legitimize with our brains, but we buy with our hearts, be it shampoo or

insurance‖ (Fog et Al, 2010, 22); a combination between facts and feelings is argued to

be the winning ingredients that make up a strong brand, reinforcing their customer‘s

loyalty. It is still, however, very challenging for a large number of organizations to break

free from their product-focused past.

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Sangeeta Singh, and Stephan Sonnenburg provide a concrete example of a strong brand

―Dove‖ that switched from being product-driven to story focused, and moved to another

level of storytelling: co-creating the story with its customers through forums and open

discussions (2012). Dove launched their ―real beauty‖ international campaign in 2014,

using storytelling to convey strong and positive values such as health, happiness and

well-being (Zhang, 2010). The main advertisement for the ―real beauty campaign‖ had

gone viral, and in only three months, it had been viewed about three million times (Singh

& Sonnenburg, 2012).

Communicating positive values around the brand through stories about healthy and

happy women, made people relate to the brand in a more realistic way (Zhang, 2010). In

the article ―When Consumers and Brands Talk: Storytelling Theory and Research in

Psychology and Marketing‖, the authors explain the idea that ―some brands become

icons-brands that permit consumers to experience powerful myths, simple stories with

compelling characters and resonant plots; helping consumers make sense of the world‖

(in Woodside, 2008, p. 105). The brand considered as icons would be the ones that

succeed to make ―the myths‖ more accessible by delivering it to their customers in a

tangible way. For instance, the brand Nike makes a very well use of the idea of

perseverance through the myth of individual achievement (in Woodside, 2008).

People would think: ―this could be more‖, and the emotions created then bond the

customer to the product. Marketing uses stories as a way to create and relevant

experiences for customers, thus responding to the need of meaningfulness most human

beings feel. The literature shows that storytelling, and how well to communicate values is

used differentiates between brands, and has the power to create strong bonds between

companies and consumers. The authors go a step further, claiming that ―the brand story

gradually becomes synonymous with how we define ourselves as individuals, and

products become the symbols that we use to tell our stories‖ (Fog et Al, 2010, p.22).

In their research “Brand performances in social media”, Sangeeta Singh, and Stephan

Sonnenburg provide another example to illustrate the values-emotion-branding dynamic

around a core story created by another strong brand, Harley Davidson. Storytelling has

been wisely brightly used by this brand, nurturing the emotional bonds with their

customers. ―Stories help build awareness, comprehension, empathy, recognition, recall,

and provide meaning to the brand‖ (Singh & Sonnenburg, 2012, p.4).

From a semiotic perspective, the brand is a device that can produce a discourse, give it

meaning, and communicate this to audiences. The brand expresses values, and is

presented as an interpretative contract between the companies and the consumers; it

proposes a series of values and the consumers accept (or not) to become part of this

world. Therefore, brands appear as narrative or possible worlds since they constitute

complex discourse universes with a strong narrative imprint (in Scolari, 2009, p.42).

Clearly, stories in branding are a strong bet to win over customers ‗hearts. This trend is

best illustrated in this book, referring to Maslow‘s traditional Hierarchy of Needs, only in

this case the Hierarchy would be upside down ―In the Western World all our basic

physical needs have been met. A high standard of living is taken for granted and focus

has shifted to realizing our own potential‖ (Fog et Al, 2010, p.22).

Brain studies have also been conducted in the use of storytelling in the business world.

One of the major studies in the field, described by Malcome Crystal and Stephen

Herskovitz in their study ―The Essential Brand Persona: Storytelling and Branding‖

shows very significant results.

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In this research, the scientists test the effect of branding on the participants‘ brains when

offered Coke or Pepsi, using functional magnetic resonance imaging (MRI) (Crystal &

Herskovitz, 2010). Some of the participants, given the soda without knowing the brand,

were asked to choose their preference based on the taste only, while the rest of the group

was given the drink, and a photo of Pepsi or Coke was shown before they had their first

sip. This research showed the effect of branding in a very concrete measurable way. In

fact, the results showed that ―Coke lit up the hippocampus and the dorsolateral predrontal

cortex, areas of the brain related to memory, control of action, and self-image. Our brains

love Coke even more than our taste buds do‖ (Crystal & Herskovitz, 2010, p.25). The

authors argue that the reason behind the result is the good use of storytelling by the Coke

Company. Coca Cola is one of the biggest and most successful corporations who have

managed to create well-told stories around their product, creating strong bonds with the

consumers.

Denning makes a strong point arguing that a sharp focus on the organizational goals and

using storytelling as a mean to this end is the key to be remembered, and thought of as a

top-of-the mind successful business (2006).

Fundraising campaigns:

All around the world, many communication campaigns are launched from various

sources, and for different purposes. RonalD E. Rice and Charles K. Atkin explain how

public communication campaigns have become a common and indispensable aspect of

the organizational culture (2012). Businesses, NGOs and governmental agencies of all

sizes find themselves involved in some kind of campaigning at some point or another.

Communication campaigns deal with various issues, ranging from health, political, to

social issues such as racial discrimination, children in armed conflicts, and environmental

issues. Businesses run campaigns that are not only meant to launch new products, but

also to polish their branding strategies reinforcing their public image, and identity. Every

campaign ought to have clear-cut, measurable, and specific goals, some of which might

be controversial and would require wide advocacy strategies (Rice & Atkin, 2012). The

target audiences, objectives, media tools, creative messages and evaluations processes

differ extensively depending on what kind of campaign it is. It is indeed very unlikely to

apply the same rules, and strategies to all; each and every campaign needs a

customization and tailoring to be able to achieve its unique goal.

Within the scope of this study, the team shed the light on the non-profit communication,

focusing on fundraising campaigns. In her article about communication for cultural non-

profit, Bowers argue that practitioners of non-profit organizations as well as their profit

colleagues are affected by the ever-changing challenges of the communication industry

(2000). In our contemporary world, it is becoming extremely challenging to get the

organization message to different audiences because of the volume of communications

and the drastic shift on its approach to the media, the constituents and the target

audiences.

In addition, the author Bowers recommends that non-profit practitioners should work

smarter than their for-profit counterparts because of the lack of funding that it is available

for marketing and communications. Fundraising is a fundamental element of the daily

activities of non-profit organizations. It is not only about raising money from donors; it is

the management of communication between an organization and it public donors.

15

She suggests that fundraisers spend less than 10 percent of their time pleading for for

donations; instead, they use their time to inform donors about programme successes and

updates as well as new opportunities (in Kelly, 1998).

Denning argues that the invaluable leadership tool discovered by organizations is

storytelling, in order to facilitate organizational change and reinforcing organizational

culture (2005). In addition, it is a powerful tool that can be used to in fundraising too. For

this reason, many corporations and organizations have put storytelling in the heart of

their communication strategy for more effective results (Eck, 2006). Non-profit and

charity organizations like the American Heart Association, Charity Water and Save the

Children use storytelling in their appeals for donations (Merchant et al, 2010). Different

types of organizations view stories not only as a content for their marketing campaigns

but also as the fuel that maintains a well-built corporate culture. Scott Harrison, CEO of

Charity Water, travels around the world to tell the story of how his non-profit began

(Duarte, 2013). Such stories built institutional memory concerning individuals‘

contribution toward a collective endeavor (Chen, 2013).

The same way profit-oriented organizations dedicate a considerable time, energy and

resources into branding, and look for significant ways to tell their stories, the non-profit

organizations do need to find ways to stand out and achieve its goals within the immense

pool of charitable organizations. The literature previously reviewed shows the crucial

role storytelling plays in evoking people‘s emotions, and one could argue that there is

nothing more emotional than humanitarian causes. The existing literature on the use of

storytelling for non-profit is quite limited, especially compared to its use in the corporate

world.

Building on the work of woodwide and Chebat, the researchers Merchant Ford and

Sargeant leaned their interest on charitable organizations, and their use of storytelling.

Through an empirical study including 319 undergraduate students, the research

conducted demonstrates that the use of storytelling in fundraising is very effective

(2010). Using a story format is argued to work effectively because of the emotional

stages one goes through throughout the advertisement. The typical design used in these

stories tend to begin with an ―inciting incident‖; showcasing the issue and the

person/people in need (Merchant et Al, 2010). Starting with a negative situation, and

highlighting the issue at the heart of the organization‘s mission is claimed to be done on

purpose; thus generating negative emotions for the viewer (Merchant et Al, 2010). This

first stage would make people feel sadness, anger, fear or guilt creating a negative mood.

The authors present concrete uses of this negativity in real life campaigns; fear for

instance has been commonly used in campaigns against AIDS (Merchant et Al, 2010).

The same way anger has been commonly used in the first stage of campaigns against

drunk-driving, and guilt to fight poverty (2010).

The negative emotions put the viewer in an unbalanced emotional state, and non-profit

‗storytelling develops in a way that gives the opportunity for the audience to help, taking

action to reduce the tension ― (Woodside and Chebat, 2001; Woodside et al, 2008, p).

Woodside believes that the natural instinct of human beings is to do anything possible to

leave the negative state, and solve the issue (2008). This is the reason charitable

organizations would use the story structure starting with the problem, generating negative

states that the viewer would want to change. In this case, being given the opportunity to

donate would be the ‗way out‘ into their pursuit of positive and happy emotions

(Merchant et Al, 2010).

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The last stage to ensure a successful and complete effect of the story is showing that the

goals have been reached thanks to the donation (Woodside and Chebat, 2001).

An important aspect worth mentioning when it comes to storytelling; people tend to like

the ―heroes‖ who come in the story to make everything better (Woodside, 2008). In

fundraising advertisement using stories to convince people to donate, being given the

chance to be that hero is very impactful, as most people tend to like seeing themselves

involved in the story (in Merchant et Al, 2001). ―Most charitable organizations have

wonderful tales to tell. Hence, one frequently sees storytelling in the context of appeals

for charity ―(Merchant et Al, 2010, p.757).

According to the literature, non-profit organizations need to stand out as well, and use

strong appeals to attract potential donors. A well-told story helps the organization make

an impact on existing donors, potential future donors and the general opinion (Merchant

et Al, 2010). It is an efficient mean to keep the existing donors engaged, and remind them

of what sparked their involvement in the first people. They become part of the story, and

this feeling is believed to provide a strong emotional engagement, making them connect

to the protagonist on a more personal level (2001). Katherine K. Chen agrees with the

above arguments, stating that storytelling inspires action, and change, and reinforces

memory as well (2013).

Storytelling comes across as an essential element of fundraising campaigns for non-

profits; as many studies have showed that it is much more persuasive than rational

arguments. In her study ―Stories that Sell, Stories that Tell‖, Kauffman demonstrates

empirically the power of storytelling over facts and statistics, ―The fact is that a story

makes a topic much more real to the audience than the most rational persuasion because

it reframes the argument in an easy-to-grasp format anyone can relate to. When it

becomes necessary to influence people, a story frame is always more effective than a

rational, linear argument, provided the story answers the audience's question, "What's in

this for me?"(2003). Kauffman presents case studies of successful fundraising events,

quoting the director of the organization ‗fight for children‘, as he insists on the critical

role of storytelling in enhancing fundraising.

The organization ‗fight for children‘ discussed in this study uses stories to captivate, and

make itself noticeable and memorable in the minds and hearts of people (2003). Dalia

Rodriguez points out to the fact that stories bring out empathy in people, creating a

deeper sense of togetherness and a sense of community and compassion pushing people

to act and help one another (2010). Some argue that empathy motivates selfless behavior,

inspiring a helping behavior born of pure altruistic motives (Merchant et Al, 2010).

Others, on the other hand, believe that the desire to help is caused by a selfish need to

solve one‘s own negative state (2010).

Culture:

According to the American anthropologist, Blumenthal (1940), culture never has been

precisely defined according to the standards of science. Different scholars have made

several contributions to define the concept culture. The most famous contribution is

Hofstede‘s definition (1980) as ―the collective programming of the mind which

distinguishes the members of one human group from another‖.

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On the other hand, Hall (1976) views culture from a different perspective with a strong

focus on correlation of language and context in communication (in Müller and Turner,

2004). He claimed that culture is ―the total communication framework: words, actions,

postures, gestures, tones of voice, facial expressions, the way he handles time, space and

materials, and the way he works, plays, makes love, and defends himself‖. He further

explained that all those named above and more are ―complete communication systems

with meanings that can be read correctly only if one is familiar with the behavior in its

historical, social, and cultural context‖ ( Hall, (1976, p.42).

Hall (1976) grouped cultures into 2 categories by the contextually related language.

High-context and low-context communication are based on the extent to which speakers

depend on factors other than explicit speech to get their messages across (LeBaron,

2003). Hall stated that a high context communication or message is ―one in which most

of the information is either in the physical context or internalized in the person, while

very little is in the coded, explicit, transmitted parts of the message‖ (p.91). In high

context messages people tend to use nonverbal language rather than speak their mind out

to convey their messages. On the contrary, in low context communication information is

shared explicitly with detailed codes (Hall, 1976; LeBaron, 2003).

Hofstede’s Cultural Framework

According to Blodgett et al (2008), Hofstede's cultural framework is based on the

principle that people from around the world are guided by different attitudes, beliefs,

customs, morals and ethical standards. Societies are based upon different traditions,

rituals, and religions; and promote different views regarding family, work, social, and

personal responsibilities. The framework measures cultural differences based on four

dimensions which are: power distance, individualism versus collectivism, uncertainty

avoidance, and masculinity versus femininity.

Power Distance:

This dimension expresses the degree to which the less powerful members of a society

accept and expect that power is distributed unequally. A key issue in this dimension here

is how a society deals with inequalities among people. In societies with high power

distance, people accept a hierarchical order in which everybody has a position and which

needs no further justification. In societies with low power distance, people strive to

equalize the distribution of power and demand justification for inequalities of power

(Hofstede, 2001).

Individualism versus Collectivism:

Individualism refers to a loosely-knit framework in which individuals are expected only

to take care of themselves and their immediate families. Conversely, collectivism refers

to a tightly-knit framework in which individuals belong to groups and can expect their

relatives or members of their groups to look after them in exchange for unquestioning

loyalty. People‘s self-image in terms of ―I‖ or ―we‖ reflects the position of their society

in this dimension (Hofstede, 2001).

Uncertainty Avoidance:

The uncertainty avoidance dimension assesses the degree to which members of a society

feel uncomfortable with uncertainty and ambiguity. A key issue here is a society attitude

towards future and how it deals with the fact that the future can never be known.

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Countries expressing strong uncertainty avoidance sustain rigid codes of belief and are

intolerant of deviant behavior and ideas. On the other hand, societies expressing weak

uncertainty avoidance uphold a more risk tolerant and they exhibit relaxed attitude in

which practice counts more than principles (Hofstede, 2001).

Masculinity versus Femininity:

The value of masculinity in a society exhibits a preference for achievement, heroism,

assertiveness and material rewards for success. Society at large is more competitive. In

contrast, femininity stands for a preference for modest, cooperation, caring for the weak

and quality of life. Society at large is more consensus-oriented (Hofstede, 2001).

The fifth dimension, Long-term versus short-term orientation, was added by Hofstede

after being influenced by Chang and Din‘s work in 1995 (Müller and Turner, 2004). This

dimension orientation measures the development of virtues related to the past such as

respect for tradition. Long Term Orientation stands for the fostering of virtues oriented

towards future rewards, in particular perseverance and thrift. Its opposite pole, Short

Term Orientation, stands for the fostering of virtues related to the past and present, in

particular, respect for tradition, preservation of ‗face‘ and fulfilling social obligations

Hofstede (2001).

Blodgett et al (2008) claimed that Hofstede's framework has been applied in a wide

variety of behavioral research and has delivered the basis on which most cross-cultural

marketing and consumer behavior research has been founded. In the fields of marketing,

Hofstede‘s Framework was mainly employed to examine cross-cultural differences in

consumer marketing contexts like in researches about advertisement, complaint behavior,

and global brand strategies (in Rafique and Pannavalee, 2008).

Figure 2: Comparison between Sweden and Morocco scores of Hofstede

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Storytelling and culture:

Most of the literature found on the topic of storytelling deals with it as a universal

phenomenon, referring its effect and use on people and consumers, with little or no

mention of the cultural aspect. Yang Chulguen provides an evolutionary argument to

storytelling, putting all human beings in one basket. Indeed, quoting fisher‘s research,

she argues ―human beings are called ―homonarrans‖ mainly because all forms of human

communication are fundamentally stories (in Yang, 2013). Human‘s ability to invent, tell

and understand story-based language seems to be a distinctive ability of the human

species (2013). All the scientific research conducted in Neuroscience shows how the

human brain reacts to stories, and facilitates understanding, memory retention and

information retrieval.

Nature seems to be the one aspect put on focus in storytelling studies, rather than nurture.

While the existing literature describes the role biology plans in the ‗evolution of human

brain‘ (Yang, 2013), this study will build on the existing work on storytelling, taking into

account the cultural aspect to fill in the gap in the literature.

Some studies briefly mention the cultural aspect of storytelling. The article ‗Storytelling

in the Field: Race, Method, and the Empowerment of Latina College Students‘, an

empirical study about the use of storytelling as a data collection method in cultural

studies. The author states that storytelling has long and rich roots in the African-

American culture, used as a healing method against all the oppression these communities

have suffered from (Rodriguez, 2010). ―Oppressed groups can use stories as a means of

psychic self-preservation as well as lessening their own subordination (in Rodriguez,

2010).

Loren Seth Goodman conducted comparative study of narrative styles (storytelling)

between Japanese (high-context culture) and American (low-context culture) boxers. She

argues that despite the ancient and long relationship of storytelling in Japanese culture,

the results of her study showed that the high-context culture (Japan) would tend to have a

very different relationship to storytelling compared to a low-context culture like the

United States (2006). Japanese boxers showed much more reserve into using storytelling

to talk about themselves, while the second group (Americans) was much more

comfortable about telling stories about themselves. Japan is considered as a typical

illustration of a high –context culture (Hofstede, 2011); its communication style differs

from its American counter-part. ―Cultures such as Japan highly value nonverbal

communication and expression. Meaning and information itself lies more in the setting

and persons where interaction takes place—not in the verbal message (Goodman, 2006,

p.12).

Clearly, Culture affects the way people communicate, and taking this into account, one

could raise the following question: A powerful universal communication tool like

storytelling, would culture affect people get affected by it? Would a high-context culture,

considered more verbal than a low-context culture be more sensitive to one of the oldest

oral traditions making a tremendously big come back in the 21st century. Goodman

noticed that the Japanese ―are much less willing, ready or able to tell you stories about

themselves. Why? Because they have a different sense of their life stories and

storytelling…a different narrative sense.

20

Americans, on the other, were eager to talk and tell stories about themselves‖ (2006,

p.13). On the contrary, Randoplh T. Barker and Kim Gowner, emphasize the universal

aspect of storytelling, which should be used as effective cross-cultural communication

technique in today‘s globalized and diverse organizational reality (2012).

2.2 Description of Organizations

Millions and millions of non-profit organizations exist throughout the world,

nevertheless, is it argued that there has been a historical lack of interest towards the non-

profit sector in the literature. Lester M. Salamon and Helmut K. Anheier in their

willingness to develop a broader understanding of the concepts around this term, had

reviewed a number of definitions and summed it up with five core features that tell apart

non-profit institutions from the rest. ―So, defined, the non-profit sector is a set of

organizations that are: formally constituted, non-governmental in basic structure, self-

governing, non-profit distributing and voluntary to some meaningful extent‖ (1992, p.1).

This definition presents the ―structural/operational‖ aspect of non-profit organizations. A

more tangible and comprehensible definition is provided by Peter F. Drucker, Peter

Ferdinand, in their article ―Managing the Non-profit Organization: Practices and

Principles‖. Indeed, they explain what the non-profit have in common, in comparison

with the rest of the existing organizations: businesses and governmental institutions.

Supplying goods and services is the reason businesses exist, the government controls and

as long as customers buy the products/services and are pleased with it while

governmental entities issue policies and regulations, both have accomplished their main

purpose. Non-profits, on the other hand, ―neither supplies goods or services nor controls

(2001). Its ‗product‘ is neither a pair of shoes nor an effective regulation. Its product is a

changed human being, a cured patient, a child that learns, a young man or woman grown

into a self-respecting adult; a changed human life altogether. (Drucker & Ferdinand,

2001). In its philanthropic mission, non-profit organizations ought to conduct fundraising

campaigns in order to raise money from people willing to donate with no material gain

(2001).

For the purposes of this study, the team took a closer look at the work of three non-

profits, all working on child protection and conducting fundraising campaigns

worldwide. The following part briefly introduces these organizations, as well as a

summary of the selected material they have produced within their campaigns, using

storytelling.

Save the children, UNICEF and SOS MayDay are three non-profit organizations

working towards providing a better protection for children in the world. Save the

Children has been created in 1919 in England by Eglanyne Jebb to provide help to

children affected by the war in central Europe (Save the Children Website, 2013). Today,

Save the Children is a very large organization, operating in 120 countries and has several

programs all aiming at protecting the most vulnerable children affected by war, natural

disasters, poverty, hunger, HIV and AIDS, abuse or exploitation of any kind (Save the

Children Website, 2013).

Established in 1946, after World War II, by the United Nations in order to help providing

food, health care and clothing to the children affected by the ravaging effects of the war,

UNICEF (the United Nations Children‘s Funds) had been a permanent member of the

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UN since 1952. Today, it operates in 190 countries, the same way Save the Children

does, on a big international scale to reach similar objectives (UNICEF website, 2014).

Part of SOS children‘s villages, SOS May Day is a Norwegian non-profit, an action

network relying on donations to provide help and assistance to children in need, and react

to emergencies in the world (SOS MayDay Website, 2014).

2.3 Visual Materials

Save the Children:

Video 1: “Most Chocking Second a Day”

The video is the story of a little girl, leading a happy and peaceful life surrounded by her

family and friends whose life drastically changes when an armed conflict implodes where

she lives. Syria, being of the most conflicted devastated countries lately, made Save the

Children UK launch a big campaign to encourage donations to help the children affected

by the conflict.

The first video, easily accessible by anyone online through YouTube, has been viewed

over 32 636 477, and in a time span of only 1.33 minute depicts the tragic and rapid

change in the life of a little British girl because of a war. It starts by showing a group of

people cheerfully singing ‗happy birthday‘ to the little girl, while she is quite close to the

camera in front of a big birthday cake full of candles. During the first 20 seconds, the

viewer gets to see bits and pieces of the girl‘s everyday life (having breakfast, playing

with her father, asked to do her homework, playing with friends etc). The video goes very

fast, almost the same way a ―fast-forward‖ movie would look like. At some point, the

viewer understands that a war had started; background voices mention the conflict, as

well as the news on TV. Very fast, the atmosphere of the short movie drastically changes.

The little girl is seen running scared, and fearfully looking around while life is collapsing

around her. The video ends with the following statement ―Just because it isn‘t happening

here, it does not mean it isn‘t happening‖ and only mentions that it is about Children in

Syria at the end.

Video 2: “It shouldn’t happen here”

The second video is the story of a little boy in the UK from a poor family, relating the

tale of his imaginary life, and adventures. In 2.26 minutes, the main character shares

aspects of his everyday life, substituting real life with fantasies. Simultaneously, as the

story goes, facts and statistics about poverty in the UK are presented in a written form on

the screen. Throughout the short movie, Alex, the little boy, keeps talking about his life

as a ―brave little prince‖. For instance, instead of saying that he does not get to sleep on a

bed, he says that ―when he is not hunting dragons, brave princes him like him sleep in

tents‖. Most aspects of his daily life are brought up in this video in this way. The short

movie ends with the following written statement: ―Alex and his family are actors, but

growing up in severe poverty is a reality for 1.6 million children in the UK today. It

shouldn‘t happen here‖. This video, part of the Save the Children campaign against

poverty in the UK, has been viewed 29 145 times on Youtube.

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UNICEF:

Video 3: “I Believe in Zero”

Starting with ―Let me tell you about a place for believers‖ as an opening statement, the

storyteller tells the story of previous great achievements that were once thought to be

―crazy‖ ideas I the past. From walking on the moon, to women‘s right to vote, the central

idea of the video is that everything has we see today, and might take for granted has

started with a belief. The video, 1 minute long, is part of the UNICEF campaign ―I

believe in Zero‖. Half time through it relating past success stories of true believers who

turned beliefs into realities, the viewer sees a little boy, approaching the microphone, in

front of an audience and saying that he believes in Zero. Dazzling the audience, the little

boy continues and explains how he believes in Zero children suffering from hunger, or

dying when they do not have to, zero children out of school. This video has been viewed

53999 times on YouTube, and is part a broader campaign.

Photos:

Both photos chosen are part of UNICEF‘s campaign to end female genital mutilations.

They use a storytelling format, presenting two quotes with photos of their authors, two

very young girls in this case. The first quote is from a 14 year old Ethiopian girl, who

says: ―In my village, there is one girl who is younger than I am who has not been cut

because I discussed the issue with her parents‖ emphasis the role of raising awareness

around. The second one, Neshwa, a 15 year old teenager from Sudan reported‖ There is

this new movement that is trying to teach people about the dangers of cutting their

daughters. It is good for us to be able to discuss these things in school‖.

SOS MayDay:

Video 4: “Would you help a Freezing Child”

Made in Norway, the video was made I a story format as well as a social experiment with

hidden cameras. It portrays the story of a young Norwegian boy, who got his jacket

stolen in the middle of the Harsh Norwegian winter, and is waiting in a bus stop to be

picked up. At first, the objective seems to see if people would react to a freezing child or

not, and how would they try to help (if they do). The video lasts 2.28 minutes, where you

see that people end up helping the child and giving him their own jackets, scarfs or

gloves to keep him warm. At the very end of the video, the viewer understands that the

actual objective is to donate to children in Syria, in need of warm clothing. This video

has gone viral on the internet, and has reached 3 268 589 views on YouTube.

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3. METHODOLOGY

3.1 Research Method

This study is concerned with the examination of the ways in which storytelling is used in

fundraising campaigns and its impact across cultures. Therefore, a qualitative research

approach is used. Dabbs (1982) tried to differentiate between qualitative and quantitative

research by indicating that ―the notion of quality is essential to the nature of things while

quantity is elementally an amount of something.‖ Berg (2001) suggests that quality refers

to the what, how, when, and where of a thing. Hence, qualitative research refers to ―the

meanings, concepts, definitions, characteristics, metaphors, symbols, and descriptions of

things. On the other hand, quantitative research refers to counts and measures of things.‖

The researchers found that a focus group is the most appropriate method achieving this

goal. According to Lederman (see Thomas et al. 1995), a focus group is ‗a technique

involving the use of in-depth group interviews in which participants are selected because

they are a purposive, although not necessarily representative, sampling of a specific

population, this group being ‗focused‘ on a given topic‘.

For the purpose of this study, two focus groups were conducted to collect data in order to

receive deeper insights, and a broad variety of opinions. Focus groups were originally

used within communication studies to explore the effects of films and television

programs, this method could be used not only what people think but how they think and

why they think that way (Kitzinger, 1995). Focus group interviews found a home within

the confines of marketing research. In fact, focus groups remain the predominant form of

qualitative research for marketing researchers (e.g., Bartos, 1986; Hayes & Tathwn,

1989; Moran, 1986; Morgan, 1989; 1997 cited in Berg, 2001).

By using this method, researchers try to learn about conscious, semiconscious, and

semiconscious psychological and socio-cultural characteristics and processes amid

diverse groups (Basch, 1987; Lengua et al., 1992).

In addition, focus group interviews can serve as a great tool for collecting qualitative data

in particular settings and situations where a one-shot collection is needed. Although one-

shot data collections usually are associated with survey questionnaires, in some cases,

focus group interviews may serve a similar purpose (Berg, 2001). Thus, focus groups or

group interviews provide a means for investigating discussions generated by different

participants about a particular topic in the same time.

3.2 Research Design

This method will not only allow a broad data collection, but also the possibility to

investigate the interaction of the group and to collectively suggest new dimensions for

the issue that wasn‘t present before the interaction because interactions between group

members largely replaces the usual interaction between interviewer and subject, greater

emphasis is given to the subjects' viewpoints (Berg, 2001). Rubin and Rubin (1995, p.

140) claim that ―the goal of focus groups is to let people spark of one another, suggesting

dimensions and nuances of the original problem that any one individual might not have

thought of. Sometimes a totally different understanding of a problem emerges from the

group discussion‖.

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In this study, two focus groups of 45 minute each were therefore conducted. Both were

presented with the four videos presented earlier, as well as two photos and asked a series

of 8 questions to trigger an extensive sharing of opinions, ideas, and emotions. One of

the purposes of the research is to study the potential differences/similarities between a

low and a high context culture when it comes to the impact of storytelling. For this

reason, the first group was composed of seven Moroccan participants (high context

culture), while the second one was made up of seven Swedish Participants (low context

culture).

Participants

The participants in both groups were nominated by the researchers, as the literature

suggests it is one of the most common means to select participants in a focus group. ―key

individuals nominate people they think would make good participants, nominees who are

known for their ability to respectfully share their opinions, and willing to volunteer about

two hours of their time‖ (Elliot et Al, 2005). The main selection criteria was nationality,

and advanced English skills in order to be able to fully comprehend the content of the

material suggested. For this reason, the researchers recruited a quite homogeneous group

of participants, between 20 and 30 years old, 4 women and 3 men in each, some are

young professionals while others are about to finish their studies. The two sessions took

place during a Saturday, at the convenience of the participants, and the researchers were

moderating and simultaneously taking notes as the participants were interacting between

each other.

Table 1: Profile of Participants

Moroccan Group Swedish Group

No. Gender Age Education No. Gender Age Education

M1 Female 25 Engineering S1 Female 27 Teaching

M2 Female 27 Marketing S2 Female 26 Communication

M3 Female 30 Engineering S3 Female 24 Communication

M4 Female 20 Economics S4 Female 28 Nursing

M5 Male 30 Politics S5 Male 28 Engineering

M6 Male 20 Medicine S6 Male 29 Economics

M7 Male 25 Economics S7 Male 30 Teaching

Interview guide:

Ideally, eight questions are asked to the participants, organized in the following manner:

engagement questions, exploration questions and an exit question to end the session

(Elliot, 2005). The point of the engagement questions would be to break the ice at first,

and make the participants more familiar with the subject in general.

The exploration questions represent the core interest of the study; sparking deep

discussions and making the subjects talk about their true opinions and feelings. Lastly,

the exit question helps wrap up the discussion and gives the opportunity for the

participants to add anything they might have forgotten to mention earlier (Elliot, 2005).

In this study, the team has designed a rough guide composed of eight questions, and

including the three kinds of questions, namely engagement, exploration and an exit

question. The objective in this case was to let the participants freely express their

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opinions without the need for a specific structure, as long as the ―why‖ aspect of all

statements was explained.

The team ended up asking six questions, after giving a short introduction about the

subject at hand. These questions were given in the beginning in order to set the tone of

what the session was about:

1- Out of the four videos, which one was your favorite?

2- Out of the two photos presented, what one was your favorite?

3- Could tell us what thoughts and feelings you had when you saw every

video/photo?

4- Could you explain why you thought/felt so?

5- What did you think of the use of storytelling?

6- Would any of these visual material make you act (donate, raise awareness

etc)? Why/why not?

These six questions were used as a preliminary skeleton to guide a free-flowing

discussion, leaving as much as room as possible for spontaneity in order for the

participants to feel as comfortable as possible. Throughout the session, the researchers

would ask for further clarification if needed.

3.3 Data Analysis

After the researchers had collected data from the focus groups interviews, they

transcribed the recorded interviews to be able to use them in the coding process. The

coding development was done on the basis of grounded theory. Hennink et. Al (2011)

claim that ―it is a process for developing empirical theory from qualitative research that

consists of a set of tasks and underlying principles‖. The coding process was achieved

following some of the principles introduced by Hennink et al (2011). The principles

include the following: ―(1) a circular data analysis process, (2) the use of verbatim

transcripts in analysis, (3) interlinked data collection and analysis, (4) inductive

construction of analytic concepts, (5) constant comparison, (6) the use of reflexive and

analytic memo and (7) analysis going beyond description‖ (Hennink et al., 2011).

The research question introduced some themes from the beginning, however; more codes

emerged during the coding process. By this, the researchers involved both ―inductive and

deductive strategies‖ during the code development process.

The researchers used two techniques to analysis the data as they were working separately

in this phase, which enhances the finding‘s validity and reliability. The first method used

is the ―scissor and sort technique‖ which is a quick and cost-effective method for

analyzing a transcript of a focus group discussion (Stewart, 2006). This approach

involves identifying key themes which are relevant to the research question at the

beginning. Then a classification system for major topics is developed. Color-coded

symbols are used to mark different topics.

The second technique used to analyze the codes was through the use of Nvivo software.

The 30-days trial version of the software allowed creating main and sub themes and

comparing them, and taking notes through the whole process. Later, the researchers

compared the findings and they found out that the same themes emerged following both

techniques with minor changes in the names of sub-themes.

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3.4 Ethical Considerations

It is critical to take into account the ethical aspects in every study. This research makes

use of focus groups as its main data gathering tool, thus involving 14 participants from

two different cultures, namely Sweden and Morocco. It was of a key importance to take

into consideration any possible ethical implications in this study.

The participants were individually contacted, through written form (emails) as a first

method to establish the contact. A detailed description of the topic, the study‘s objective,

the research method, the role of participants and data analysis was used in the text. It was

essential to give each individual the possibility to fully understand the research‘ purpose

and the participants‘ important role in it, as well as the opportunity to freely think about

it, taking some time to decide whether they would like to participate or not. Anonymity

was emphasized, making sure participants understand that their names would not be

mentioned, thus protecting them from any potential judgment or recognition they did not

ask for. Throughout the data collection process, participants were free to express any

concern regarding the time or duration of the focus group, and researchers made sure the

schedule suited everyone. The sessions were conducted in a very light and fun

atmosphere. The participants, as well as researchers expressed their heart-felt satisfaction

from the smooth, enriching and professional way the focus groups were handled.

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4. RESULTS

The data analysis of focus group transcripts revealed recurrence of similar themes for

both the Swedish, and the Moroccan group with a few variations in the sub-themes as

well as the frequencies. Consensus has been reached by the analysts breaking it down to

five main themes, and a different number of sub-themes for each. The two groups,

representing a high-context culture (Morocco) and a low-context culture (Sweden)

brought up many similar themes, i.e., the variation of strong positive and negative

feelings, the technical use of the visual material, the relatable and engaging aspect and so

on. Below is a summary of the categories and sub-categories that resulted from the

qualitative data analysis conducted using the ―scissor and sort technique‖.

Table 2: Summary of Themes Obtained from Code Analysis

Moroccan Group (high-context

culture)

Swedish Group (low-context

culture)

1. Feelings

1.1 Positive

1.2 Negative

1.3 Neutral

1.4 Other (Nostalgia)

1. Feelings

1.1 Positive

1.2 Negative

1.3 Neutral

2. Techniques

2.1 The slogan (written text)

2.2 Physical & audio features

2.3 Visual quality

2. Techniques

2.1 Cleverness

2.2 Curiosity

2.3 Length

3. Relating ability

3.1 Relationship to the self

3.2 Familiarity & closeness

3.3 Stereotypes

3. Relating ability

3.1 Relationship to the self

3.2 Familiarity & closeness

4. Credibility

4.1 Actor performance & emotions

4.Credibility

4.1 Reality Vs Fiction

5. Awareness raising Vs donating

5.1 Patriotism & ethos

5. Awareness raising Vs donating

5.1 NGO Reputation/ Solutions and

proofs

1. Feelings:

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The most recurring, and strongest theme for both groups was the various, and rather

strong feelings the material presented generated. Most statements from participants

started, or included ―I feel‖. This confirms the consensus built in the literature over the

power storytelling holds in evoking one‘s emotions. The cultural aspect did not seem to

have a considerable impact, and both Swedes and Moroccans were emotionally impacted

by the material. Nevertheless, even though we could all agree that was evidence of

emotional effect, there were variations in what feelings were brought to the surface in

each video or photo depending on the individual rather than the group. The researchers

gathered, and group all the feelings evoked by the participants, and came up with similar

sub-themes for both the Moroccan, and the Swedish group with the exception of one

additional sub-theme belonging to the Moroccan group.

Morocco:

Findings show how the Moroccan group had put a great deal of emphasis on their

feelings, and most of them provided a detailed description, highlighting at what stage of

the story each emotion happened.

Hope, inspiration & nostalgia stand out in comparison. Mentioning the different stages,

and monitoring the changes throughout the videos.

1.1. Positive

The findings showed that the stories had evoked positive emotions in most participants,

whether at the beginning, in the middle or around the end of the story. A pattern noticed

within the Moroccan group is the importance of the time those positive emotions

emerged, conveying an impression of breaking-down the videos into smaller parts, each

with its own specificities, instead of viewing it as a whole. In this sub-theme, five key

feelings stood out due to its frequency of use:

Inspiration

Hope

Warmth

Love

Happiness

“I loved the video of the little British girl, and I had very positive feelings at first when I

saw the birthday, the happy daily activities…this story convinces my heart, no rational

argument!” (M1)

“The freezing child video is very positive, I loved it! Strong impact and strong positive

emotions at first, lost a little bit in the middle, and back again when you see the

willingness of random strangers to help out the kid, it makes you feel good that people

are involved and you react to the goodness in people, they start looking like „real life

heroes‟”. (M2)

The ―hero effect‖ has been studied by a number of storytelling researchers, and discussed

in the literature review is supported by the findings. It claims that the traditional format

of a story tends to involve a hero/heroes; the good-hearted characters who solve the

conflict, and restore the balance, both in the story and in the audience‘s emotional state.

In the freezing child video, aiming at showing how simply helpful gestures can make a

difference, and convincing people to donate for Syrian children in need of warm

clothing, the ‗hero effect‘ is clearly illustrated, and noted by some participants. The

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emotional state of viewers gets disturbed by the conflict, in this case, the child shivering

because of the cold. The human nature would push one to restore the balance, and get rid

of the negative emotions caused by the conflict. In stories, heroes play this role and in

this case, participants expressed how heart-warming they felt to see the goodness in

people who helped the child. Positive feelings were restored. Fundraising campaigns use

this as a way to make people see that they have the possibility as well to be that ‗hero‘

through donations.

The freezing child video is poignant and heart-warming! Small actions can make a big

difference (M6)

The freezing child story was to touching, I had tears in my eyes because I was really

moved by the goodness in people who helped him. (M3)

Two distinctive positive feelings brought up by the findings within the Moroccan group

were hope and inspiration, which did not come up in the Swedish group.

The UNICEF I believe in Zero video gives me hope, it also brings up dreams… (M3)

I love the advertising; it is really inspiring, it makes you dream, it makes you feel like you

can do something that is known as impossible (M7)

The photos made me feel that there is hope for a better future (M4)

The first photo, I loved it, it is very touching to see that she took the decision to go and

discuss the issue with other parents to prevent this mutilation to happen again, her

courage is inspiring (M5)

The positive emotions expressed were powerful, and the participants ‗body

language and facial expressions conveyed the same message as their words.

1.2. Negative

As ‗the conflict‘ arises in the stories, the findings show that negative feelings were

evoked. A few key emotions emerge:

Sadness

Confusion

Pain

Guilt

Negative feelings quickly escalate when the troubles start in the happy life of the little

British girl, it makes you want to help her, you can feel her confusion and you start

feeling confused as well! (M7)

I felt so bad for the freezing child at first and wanted to be there and give him something

(M3)

The story of the „little prince‟ in the UK conveys a lot of sadness, but only felt

overwhelmed and wanted to stop watching (M1)

My heart ached at the thought of those young girls who might get mutilated, it hurts a lot

when you imagine them suffering, especially considering their young age (M5)

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Negative emotions were described vividly by the participants, making them feel bad or

sorry for the children. Some participants mentioned that the use of children (instead of

adults) enhanced those negative emotions because of the innocence and vulnerability

children have. They reported feeling that it was adults‘ responsibility to protect them

(from cold, from warms or from the devastating effects of poverty). Guilt was brought up

by three participants (out of seven), not because of the characters in the story presented,

but because it reminded them of the large number of Moroccan children in similar or

even worse situations (referred to the ad about fighting poverty). At some point in the

discussion, the focus was not on the topic discussed in the campaigns but about what

could be done in the Moroccan context.

Note: many negative feelings in this group were because of the texts used or the visual

quality, which will be further explored in another theme).

1.3. Neutral

The photos have made no emotional impact on some, unlike the videos, which have

all sparked various emotional responses.

The photos did not make me feel anything, but did make me think that I might want to

read more on the issue discussed (M4)

1.4. Other: Nostalgia

Interestingly, the Moroccan group did refer to their cultural historical bond with the

art of storytelling.

I loved the ad, and especially the beginning with the use of „once upon a time‟, it

reminds you of your childhood, and all the stories that were animating family gatherings

around grand-parents. The voice of the narrator is amazing; it reminds you of all the

fairy tales we used to watch as kids (M2)

The feeling of nostalgia was not frequently mentioned, but it worth mentioning

since it was specifically brought up by the high-context culture only (Morocco).

Sweden:

Similarly, the findings of the focus group data analysis of the Swedish participants,

showed a tremendous and frequent referral to the emotional impact the material for

fundraising campaigns had on them. There were variations, nevertheless, in defining the

emotions evoked. Sympathy, comfort, relief and sadness, and hopelessness were some of

the most frequent emotions described.

1.1 Positive

Many positive emotions were expressed by the Swedish group as well. Findings

show that the main recurring feelings could be summed up in the following list

Sympathy

Comfort

Likeness

Trust

Happiness

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I sympathize with the girl and the later part of the video gets to me of course (S1)

First, you feel happy with the kid and then suddenly it becomes really serious (S2)

In addition, analysis noted that this group links the emotions felt with how well the

video had been made, or how informative it is.

The story is so elaborate that you could easily sympathize with the families, it‟s touching

and informative at the same time, I like it (S3)

It is not difficult to be moved by the video (S3)

Besides describing the emotional impact of the videos/photos, questions were raised by a

few participants.

I was filled with curiosity about what people's reactions would be to the little freezing

boy sitting on a bench in Oslo and as I saw the help the boy received I was relieved and

happy that people would act in the most humane way there is (S5)

I liked the video since it was quite heart-warming but thing is it also brings up questions

on how helpful the same people would be towards someone who looks more like a

stranger to them (S4)

Similar responses were noted, and even same wordings were used in some cases to

express the joy, comfort and hope seeing helpful people acting to end someone‘s

suffering. The ‗hero effect‘ clearly applies to both cultures in this case, regardless of

nationality. A new key word appeared within the Swedish focus group cession, that was

absent within the Moroccan group, which is trust. Later in the analysis, the feeling trust

will appear to play an important role in the decision-making process of whether to donate

or not.

…Then, I got happy that people are actually helping the freezing child (S7)

I got hopeful about mankind that people are actually being helpful when a person is in

need (S4)

It is comforting that people take action when there is an obvious need that they can settle

with direct action (S3)

I liked the posters, especially the first one, it had an impact on me; it showed some kind

of hope, she helped someone so she can help more...or more people could. It gives you

hope, I trusted her (S6)

1.2 Negative

The two groups shared a significant number of similar negative emotions throughout the

broadcast cession, such as:

Sadness

Confusion

Anger

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This was a sad movie; I almost wanted to start crying. What can save the children do

about the war, it was really impacting. Do not really know what more to say, but it

impacted me a lot (S7)

I was puzzled about the story that they are trying to tell. It impacts me, almost feeling

hopeless about mankind and the cruelty of war (S4)

At first, I got really irritated that no one helped the kid (S7)

On the other hand, guilt or pain was not brought up by any participants. They did,

however, use other negative adjectives to describe their emotions, for instance:

Pity (feeling sorry)

Fear

Shock

When all the chaos ensued, I felt really sorry for her, the little girl, even worse that it is

happening to a completely defenseless kid... (S3)

Then, it becomes really serious and I got a little shocked (S2)

It is also scary to see how the whole structure in the society falls apart when the war

begins (S6)

The whole idea that a 14- year old convinced parents to refrain from cutting their

daughters scares me. How it is possible to harm their own offspring makes me scared,

scared and angry (S4)

1.3 Neutral

Some of the material presented did not have any emotional effect on the participants of

this group. They reported:

The UNICEF video had no effect on me, I even forgot about it as soon as it ended. It felt

more like a commercial for the States then helping children (S4)

The freezing child video did not have any effect on me, hard to explain why, maybe it was

hard to see the connection between an actor freezing without a jacket, to a lot of children

in need (S7)

The pictures are not making me feel much, I do think it is good though to spread

awareness about such issues (S1)

The fact that it made no emotional impact does not imply it had no impact at all. It did,

indeed, raise questions and provoked thoughts and opinions. Findings from both group

show that the videos and photos that used storytelling for their fundraising campaigns did

generate a significant amount of powerful emotional responses.

This theme ‗feelings‘ is the pre-dominant of all, and confirms the claims and arguments

presented in the literature review that storytelling speaks to the heart, rather than the

brain.

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2. Techniques:

This theme is quite broad, including various technical aspects and decisions the

organizations used in making those videos/photos. In terms of frequency, this theme

came right after ‗feelings‘. In additional to the emotional impact, both groups measured

the impact by aspects of the technical communication of those stories, such as the text

used, the length, the music or the physical features of the characters and how expressive

they are.

The format of the story being told directly involves you, or not. It could make you

reached your objective, or fail at it. It could make people act or forget about the ad as

soon as it is finished (M1)

Morocco:

The group discussed the format, and technical aspects of the videos/photos that, and

explained how that could make them decided whether to act or not.

2.1. Slogan/Written text

The group paid close attention to the wording chosen to send the messages to the

audience, and while some were quite effective, others were described as inappropriate or

even offensive. Every detail mattered, the wording, the content, the format where it is

presented and so on.

What I did not really understand was the phrase they chose to finish the video

with "It shouldn't happen here" - should it happen anywhere else in the world? I found

this a tang bit offensive. The reason I found it a bit offensive is because I come from a

developing country where it's often seen by the outside world as quite normal and

common for this and much worse level of poverty to exist (M7)

I liked the format, but I didn‟t like the end, the slogan “believe in zero” was

inappropriate in my opinion. Zero conveys negative things! It could have been more

effective is they used 100% that projects a potential future success. In this case, the

wording sounds weak and does not inspire me to act (M6)

The written facts and statistics at the same time as the story is being told were

disturbing. I thought it was all messy, and overwhelming. It made it hard to be fully

focused on the story, and the size of the text made it even worse. It did not make me want

to finish the video, or act in any way (M2)

On the other hand, other participants within the same group had opposing views

regarding similar aspects of the same video.

The concept 0 is very relevant and so clear! It is easy to understand. It makes you feel

inspired and makes u want participate to this 0 by helping children even locally (at your

level) (M3)

I liked the slogan “just because it isn‟t happening here, it does not mean it is not

happening” in the little British girl‟s video by save the children to make people relate to

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what is happening to children in Syria. The slogan is catchy, is relatable It makes the

impact even stronger! (M5)

In this photo, what I affected me the most and drew my attention at first was the text.

While reading, I really felt that things were changing to the better and that prevention is

happening, slowly but surely. The poster is very effective, in the sense that we understand

that this “fight” again those inhumane behavior in slowly taking place (M7)

The text used the time it is showed and how it is presented played an important role in

shaping the group‘s attitude towards the campaign. Every detail seems to matter, and

many emphasized the necessity to keep the viewer‘s sympathy throughout the

video/posters, paying careful attention not to offend anyone, as it has been the case by

the message used by Save the Children in their campaign against poverty in the UK ―It

Shouldn‘t Happen Here‖.

2.2. Physical & audio features

Audio & physical features in the videos were one of the explanations given when

participants were explaining the reasons why they were impacted by one video/photo and

not the other. Physical features include the eyes, or look of the character for instance,

while audio features mainly refer to the music background or the voice of the narrator or

characters. The Moroccan group made a clear connection between their feelings and the

eyes, smile, facial expressions or voice of the characters in the story.

The storyteller voice was amazing, I loved the feel you get from it, it really reminds you

of the „once upon a time‟ style when you hear him. I was interested to hear more and

more. The inspirational background music does add to the inspirational aspect of the

message but does not necessarily make a lasting impact (M3)

The color of the little girl‟s eyes, and her eyes in general, were very expressive. I felt

more engaged because of that, because at first, I had a hard time getting into the story,

but at some point, we can so clearly see the confusion in her eyes, it made me want to go

there and take her out of her misery (M6)

The voice of the little boy in the UNICEF video is very low, and comes across too

weak…Which is touching, but not powerful (M7)

2.3. Visual quality

The overall visual quality of the videos and posters plays an important role when

measuring the impact of storytelling in these cases. The Moroccan group was quite

sensitive to the visual quality of the material in affecting the way they feel about it.

The Uk little prince video did not appeal to me at all. For one, it looked like a reality tv

show, I do not know, but the quality of the video, even though made by highly skilled and

professional people, looked like an amateur „work (M1)

Sweden

2.1 Cleverness

Describing the message‘s impact went hand in hand with evaluating the effectiveness and

cleverness of technical decisions in the video/photo. For the Swedish group, it was

important to mention the ‗clever‘ use of the messages or the characters as a whole,

35

without breaking it down to physical features or audio features. The whole picture was

what mattered the most, and triggered some reflection for them.

It is a clever move to use what seems to be an English girl living her ordinary life in

England and then showing what life can turn into because of war. The message gets

through and it is of course a smart choice to use children to play on people‟s emotions

(S4).

It‟s clever and makes you think; it was a very effective video to catch our attention (S5)

The leap between a freezing child in Norway and freezing war victims in Syria is, once

again, clever but somewhat lost on me. I can appreciate that the movie itself is liked,

shared and watched with joy; however it doesn‟t make me feel any different about

children in Syria (S5)

Thinking the video/photo was a product of smart professionals was underlined by the

group, nevertheless that did not necessarily mean that they were convinced only because

it was well-made, and it made them think.

2.2 Curiosity

Most of the stories presented proved to spark curiosity in the participants, keeping the

attention alive. The findings show that curiosity help the group in staying interested in

the videos.

At first I was just curious wondering how us following the life of what seemed like a

suburban English little girl would lead us to a fundraising campaign (S6)

As I watched this video I was filled with curiosity, and wanted to know more (S3)

2.3 Length

This group linked the length of the video to their keeping their attention throughout the

videos, or to their ability to relate to the story.

I‟m not as affected by the whole video as I think I might have been if the clips in it were

longer and showed more surroundings/other people and helped to ”get to know” the girl

better. Perhaps if she talked more? With that said I don‟t feel the need for a longer clip

since that might have just made it too long with the effect of switching channels or what

not (S3)

The last movie was too long with too much text to take in (S1)

3. Relating ability

A major part of the findings showed how the ability to relate between the characters in

the story and one‘s emotional effect as a whole was crucial. Both groups discussed this

aspect of storytelling thoroughly. It shows that the chances a story reaches out its

objective are highly enhanced when the audience can relate to it. It becomes much more

engaging, and touches the viewer on a deeper emotional level. This might explain the

reasons participants expressed all those emotions before.

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The researchers emphasized the importance in trying to justify one‘s statements as much

as possible in order to gain a deeper understanding of the storytelling effect in such

campaigns. This theme includes some of the most significant justifications.

Morocco

3.1. Relationship to the self

The association between oneself and the main character in the story is undeniable. If

failed to establish or maintain, the participant would not be emotionally affected.

This video engages you, because it shows it could be you! It makes it more powerful

(M1)

The British girl, I saw sadness but I could not feel it. It shows only beautiful things in the

girl‟s daily life playing, birthday etc) and does not include all aspects of daily life that

are less “fun” such has homework‟s, making their beds etc. I could not relate to her

because of that. I also had the impression that she lives in her own “bubble” as they

show that she was not even realizing what was happening around her (the newspaper, the

TV news etc).I could not feel the connection to her (M2)

I had a hard time relating to the little girl at first (M6)

3.2 Familiarity & closeness

Very much related to the relationship to the self, many participants insisted on the way

some videos/posters created a sense of closeness or familiarity with the character, and

how much did it affect them.

You feel close to her, and you feel involved, it is the best way to show that it can happen

to anyone. I loved it. It directly involves you (M1)

The characters and voices make you feel you like you know them (M7)

The stories, in the video format, there is life, it is engaging, you feel closer to the cause

(M4)

The freezing child, engaging, simple and matters a lot. It brings out your humanity (M5)

The Freezing child, it did not touch my feelings because I had a hard timing relating to

him and the situation the way it was presented (M6)

The findings show that participants need to feel close or familiar to the character in order

to feel a connection, and potentially act.

3.3 Stereotypes

Some participants mentioned the importance of the role stereotypes play in such

situations. In fact, some of them argued that it might change their perception of the story.

The fact of not showing the typical, African, middle eastern or Asian kid, for a

humanitarian cause was interesting. Many people got so used to see those stereotypical

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profiles in appeals for donations that it does not necessarily make a strong impact

anymore (M1)

It could be you or your child. Avoiding the stereotypes was quite good! (M7)

The choice of the British little girl or the Norwegian boy stand out compared to what we

are used to see when it comes to fundraising campaigns. I really liked that novelty

aspect! (M5)

Sweden

3.1 Relationship to the self

The same way Moroccans expressed the need to relate, and ‗see‘ themselves in the

characters of the story; many Swedish participants have expressed the same need,

arguing that relating oneself to the story is the most effective way to convince their hearts

(emotions) or fail at doing so.

I liked the first video the most because it focused more on a situation that I can relate to

then to a specific child. It is easy to say when seeing videos like this” It is far away, not

here” but the video says that its closer then we think and it could happen anywhere. It is

all her future-dreams being taken away from here, dreams that I can relate to as well.

Remind us that even if we do not see it every day - it's happening to someone just like us

(S1)

It is also scary to see how the whole structure in the society falls apart when the war

begins. How fragile it is and how it could happen anywhere. It was very impactful with

short clips showing the difference in her life, and that could be taken away from her so

fast. It touched me so much because I could relate to her, and then understand what it

would feel like being taking away from it (S3)

It addresses something anonymous that I have a hard time relating to just from looking at

the video (S4)

The Swedish participants put a great deal of emphasis on how impactful it was to see,

through the way the story unfolds, that it truly can happen to them as well, and that the

thought they have that it just happen to ‗others‘ living far away is actually an illusion.

The thought that it could happen to them increased their sympathy and connection to the

characters, and had a powerful emotional effect.

3.2 Familiarity & closeness

The Videos/photos that were most appreciated, and had the most positive effect were the

ones that successfully manage to make the participants feel close and familiar with the

main character.

This film affects me more than the previous one with the fast clips. Possibly because the

child speaks and it make-The general feeling about all the videos is that the ”closer” the

video makes me feel to a phenomenon such as poverty or war, the more keen I am to take

actions against it. The more personal and the more vivid the story is the better. The

broader and general the picture or problem, the less motivated I get (S3)

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The child in the video got just a short time in the spotlight so we didn‟t have time to «get

to know him (S5)

The Swedish participants conveyed an enhanced feeling of trust when the stories focus

on helping the viewers get to know the characters, and their stories.

4. Credibility

The findings of the qualitative analysis reveal, from both groups, the necessity of

trusting the message. Nevertheless, the standards of defining this key credibility factor

varied from one group to the other.

Morocco

4.1. Actor performance & emotions

The participants made a close link between the videos‘ credibility and the actor‘s

performance and their ability to convey true emotions.

I have no issues at all that they are actors, as long as there make you believe in the story

(M1)

When I saw the whole video, I saw sadness but I didn't feel it...I don't know how to

explain but the first part seemed a little bit fake (M2)

Last but not least, the little girl‟s eye color and eye expression in general is very

expressive; it made me connect to the story (M6)

In the UNICEF posters, I liked the first one better, simply because of the look on the

girl‟s eyes , which looks really authentic and touching and that made an impact on me,

while the second poster is a portrait as well with a quote about the same issue, but no

effect (M3)

We can feel the innocence in the little boy‟s voice that got me (M4)

Sweden

The Swedish group emphasized the importance of credibility emphasizing the

seriousness of the ads when explaining how they felt about it. Unlike Moroccans, they

brought up another aspect of those stories to evaluate their credibility: ‗reality versus

fiction‘. In fact, there was a consensus between all participants that real-life stories would

be preferable, but for these cases, the more real it looks, the better.

4.1 Reality Versus fiction

I thought they were more «well done” and more thoughtful but it did not have a real

effect. If felt less real, knowing it was actors (even if we know they are acting real

39

situations) and therefore did not make me as emotionally involved. This video felt too”

made up” to be real (S7)

Felt too much like putting on a show and just waiting to see what people would do…I did

not like this „fake‟ impression in this story (S1)

I trust the message of the movie and the recipient feels serious (S4)

It looked like a serious advertising (S5)

A significant number of participants expressed rational thinking when describing

their impressions about the stories presented, evoking their factual aspect.

This story does not give me the confidence that we have solution for ending children‟s

suffering. “I believe in Zero” is maybe just a nice dream but not the toolbox (S5)

This video was quite informational and actually taught me something I didn't know; I

liked that the video gave us some information and numbers since it attributed to a

novelty-factor in this campaign.

It‟s touching and informative at the same time. I like it, even though my liberal ideology

thoughts linger with the question how it is possible to end up in poverty in a country such

as the UK? I want background stories!!(S6)

5. Awareness raising Versus donating

In this study, the participants from both groups discussed what would be the end result

(thoughts, emotions, actions) after watching those campaigns.

Morocco

5.1. Emotions & Patriotism

Powerful emotional stories, able to touch their hearts seem to be one of the key factors to

make the Moroccan group willing to act upon the campaign‘s message. Another aspect

brought up in the discussions was related to nationality. Indeed, the fact that a campaign

would be to help fight poverty in the UK made a few participants reluctant as they

automatically compared both poverty levels between the two countries.

It shows also that poverty does exist in UK (and I guess in other developed countries that

we tend to idealize)...1.6 Millions of poor people in UK is very sad. However, I couldn't

help but think about the 15 millions of Moroccans (and I am sure they are much more

numerous) for whom I am doing nothing...Bottom line: the video makes u feel guilty and

makes you think about all the brave princes in the world and especially in my

country...the video makes me in a reflective mode, and pushes me to act but not about this

cause specifically, but in general (M2)

It makes you feel inspired and makes u want to participate to this 0 by helping children

even locally (at your level) (M4)

I got attached to the characters of the story, and through their stories, I really want to

help all those children in need. So, yes, I would donate! No need for rational things, it

convinced my heart (M3)

40

Sweden

5.2 NGO Reputation /Solutions and proofs

Unlike the Moroccan group, Swedes were quite clear and specific about what would

make them act after watching those campaigns. In fact, the findings show that knowing

where the money is going, how it would be used and proofs of what had been before

were far more convincing.

The NGO‘s reputation was mentioned as a potential proof of their seriousness, thus

making them feel safe and more motivating about making donations. Most of them

clearly stated they would respond better to facts and informational material.

It‟s clever and makes you think, but I think that when it comes to me taking actions I

respond better to pictures of actual poverty and/or war victims than this fictive version

(S1).

When it comes to taking action this video doesn‟t make me jump to get my credit card,

and it doesn‟t change my take on poverty or literacy either. Once again it could be useful

to raise awareness, but I think that educated people have that awareness anyway (S5).

The message is also more appealing to me than the first film because I get a price to pay

for something tangible (a jacket for 90kr). Affected by bad press when it comes to badly

managed help-organizations I am reluctant to pay to “general charity” if I believe there

is a risk that a too large part of my contributions will be lost on the way (costs for

management and administration etc) (S4).

It also boils down to which organization I trust with my money or time. The reputation

and goodwill/bad will of a help-organization is of utmost importance when it comes to

actually contributing for me. It would help for me to get some kind of proof that the

children in Syria are wearing jackets paid by SOS in Norway, and that children in the UK

get meal packs or such from Save the Children (S2).

The pictures could prove as an example to what I was looking for in the videos proof of

something that has been done and that has worked (S7).

41

5. DISCUSSION & CONCLUSION

The study at hand investigated the use and impact of storytelling in fundraising

campaigns across cultures. The main concepts used in this study are storytelling,

branding, marketing, fundraising campaigns and culture. In order to fill in the existing

gap in the literature regarding the use of storytelling by NGOs for fundraising purposes,

while taking account the cross-cultural aspect, this study was conducted using two focus

groups. The researchers were interested in investigating whether the cultural differences

would influence the way individuals react to storytelling in fundraising. More

importantly, the team was interested in understanding the reasons behind the impact, if

any, and not only a description of effects. For this reason, a qualitative analysis of focus

group data had been conducted using visual stimuli consisting of four videos, and two

posters, made by NGOs such us UNICEF or Save the Children, and using a storytelling

format for their fundraising campaigns.

The existing literature presents extensive data about storytelling in general, introducing it

as one of the most powerful communication tools in human communication. These

studies have been teaming up with research in the field of biology and neuroscience. The

human brain is claimed to retain, understand, remember and retrieve all information and

experiences in the story format; it helps making sense of the world around (Fog et Al,

2010). As it is assumed that storytelling has been effectively used to evoke feelings, and

convince ‗the heart‘, while increasing memory retention significantly making people

remember what it is all about, organizations worldwide and the world of the media has

taken over this tool to reach their respective objectives. Traditionally, storytelling is one

of the most ancient oral disciplines. A high- context culture, such as Morocco, would be

considered more of an oral culture than a low-context culture such as Sweden (Hofstede,

1980).

The findings revealed that the two groups shared a significant number of similarities,

resulting around the same themes throughout the analysis such as emotional effect,

credibility, or technical communication. Nevertheless, the variations were quite

significant within the sub-themes, such as the importance on physical features conveying

emotions of characters versus the need for real facts and information. The effects of the

stories as a whole did not very much, however; the justifications and argumentation that

follow showed significant differences. The final outcome, which answers the question:

―why would I donate to this cause‖ differed from one group to the other. Despite

individual differences within the same group regarding each video or poster; there was a

general consensus when it comes to why would they act upon the message or not.

The high context culture (Morocco) reported that storytelling was the most effective way

to convey the message, and if the visual material is well-made and manages to make

them relate, connect and feel engaged, they would donate. The low context culture

(Sweden) expressed a general agreement that the NGO reputation, previous

achievements and proofs that it will help is very important in their decision-making

process in order to make donations. The NGO ought to be able to establish a feeling of

trust; and to help achieve this group agreed that real-life stories would be much more

effective.

In addition, the study reveals the impact of globalization on the way non-profit

organizations design and shares their communication campaigns.

42

The changes associated with globalization demands that non-profit organizations

understand that there is a universal message which they can use to promote their work

and raise money for their campaigns. However, this universal message has to be shaped

based on the cultural aspects (Müller, 2007).

In the past few decades, the world‘s economy, politics, sociology and culture have been

greatly influenced by globalization. According to Stiglitz (2002: 9), ―the idea of globalization

refers to the closer integration of the countries and peoples of the world which has been

brought about by the enormous reduction in costs of transportation and communication, and

the breaking down of artificial barriers to the flows of goods, services, capital, knowledge,

and (to a lesser extent) people across borders‖. Boaventura (2006) argues that this integration is

related to a massive range of transformations across the globe that includes inequality

between the rich and poor classes, environmental disasters, ethnic conflicts, international

mass migration, the emergence of new states and the collapse of others, the proliferation of

civil wars, ethnic cleansing, globally organized crime, formal democracy as a political

condition for international aid, terrorism, and militarism, etc.

Just as globalization has impacts on economic and cultural life, it has also created new forms

of connection between non-state groups and organizations. The recent term ‗global civil

society‘ has reflected the fact that ideas about civil society began to acquire new cross-

national significances. NGOs of the same values began to build more links with each other

across borders in relation to poverty, environment, and peace and human rights issues (Lewis

and Kanji, 2009).

Another key result of this study is that it underlines the important role of the revolution of

communication technologies such as social multimedia networks such as YouTube. The

visual materials used for fundraising campaigns were all shared on social networks which

make it easier for people to access it all over the world. Social media tools can provide

forums for interactive discussions, disseminate news about activities and advocate for a

cause. In addition, social networks are used by non-profits as low-overhead marketing

tool as well as an effective tool to map out and analyze donors.

Similarities

The study builds on the work of Woodside et al. (2008) and Woodside and Chebat (2001)

literature about storytelling which proposes that different levels of positive and negative

emotions are evoked by the different phases of the story. Exposed to the same visual

stimuli (videos and posters), both groups reacted similarly towards many aspects.

Participants from both high & low context culture expressed how emotionally impacted

they felt. All participants expressed sympathy, and empathy towards the characters in the

story, thus to the cause it represents. The same universal emotions were expressed by all,

such as anger, fear, and joy. This shows that storytelling holds an undeniable universality

aspect when it comes to generating basic universal emotions regardless of nationality.

The two groups were quite sensitive to whether they could relate to the characters, hence

to the cause, or not. Everyone believes it is crucial to be able to relate in order to create a

sense of engagement. As the literature revealed, every story has a problem to overcome.

Woodside et al. (2008) named this the inciting incident. This incident focuses the

consumer's attention on the problem and the character of the story.

43

The findings of this study show that both groups were emotionally engaged the by the

visual materials. Hence, they could relate to the character of the story which drives them

to take some actions to achieve goals and reduce the tension created by the unbalanced

state (Merchant et al, 2010). The results show that many of the Moroccan participants

believe that through the character in the story, we can relate to the bigger picture of the

actual children out there.

In addition, in the two sessions, participants emphasized the importance of the technical

aspect of the videos and posters. They argued that a ‗well-made‘ engages the viewer

more, because it is more real.

Establishing a sense of trust was mentioned by both, even though there were differences

in how the trust could be built. The credibility of the campaigns and the ads is very

important for both groups. Overall, every participant said they enjoyed the campaigns

and were moved by the stories.

The similarities could be explained by the universality aspect of emotions evoked by

storytelling, as well by the nature of storytelling itself. In fact, neuroscience has proved

that all brains, regardless of cultural background, react the same way to storytelling (Fog

et Al, 2010). Human beings like stories, and use it every day without even being fully

conscious about it.

Differences

There were differences between the low context culture (Sweden) and the high context

culture (Morocco). It was interesting to see that the analysis revealed the same theme

emerged from both sessions. The difference lay in the sub-themes however. As shown in

the data analysis part, even though both groups would mention the crucial importance of

credibility in these stories, the evaluation of credibility itself differs widely.

On one hand, the Swedish group would argue that the credibility of the stories is crucial

into convincing them to act. This would include examining the reputation of the NGO, its

reliability and previous success stories. Regarding the videos and posters shown, the

more real it looks, the more credible it is the better.

Some participants expressed having an issue with the fact that the characters are actors.

In their opinion, this diminishes the message‘s credibility because ‗no matter how

touching it is, we know that they are just actors‘ one participant said. In addition, many

Swedes reported that including statistics and facts helped in increasing the credibility.

Many reported that they enjoyed the informative aspect of some ads.

On the other hand, the Moroccan group evaluated the ad‘s credibility based on the story

itself and the context of it. For example, the Moroccan group vision of save the children

video ―fighting poverty in the UK‖, as a developed country, contradicts with the video

and made them feel that it was not believable. Although the video tells the same story of

an English child facing poverty in the UK and the same verbal communication is

conveyed to both groups, the Moroccan group perception depended on other factors other

than explicit speech which are not showed in the video itself (LeBaron, 2003).

44

They argued that the voice, facial expressions and especially the eyes and look of the

characters played an important role. ‗Through the eyes and innocent voice of Alex, I

could not help but think about all the real children suffering‖. This group did not have

any issue with the fact that the ads used actors as long as they convey authenticity and

emotion.

The different sub-themes reveal the importance of the cultural background of the

audience. In the video Save the Children made in order to fight poverty in the UK,

Swedes did not react in any particular way to this ad, compared to others. A few of them

briefly highlighted that ‗there are people who have it much worse‘. However, Moroccans

reacted strongly to this ad. They argued that coming from a developing country; they

could not help a sense of patriotism and belonging towards the Moroccan children living

in worse conditions than people in the UK. This collectivistic aspect of the Moroccan

culture is reflected in the high scores of the dimension individualism vs. collectivism by

Hofstede (2001).

This shows the importance of taking into account the audience‘s culture, and perhaps

customizing the ads depending on the country in order to have a bigger impact. Stories

seem to be enjoyable for most people, but it depends on the stories being told and the

way they are being told. Effective storytellers should take into account all aspects of the

story in order to achieve their objectives.

Limitations & Future Research

One of the challenges in the use of focus groups as the main data collection method is

the risk of peer influence among the participants. Some participants might not feel free to

express a different opinion from the rest of the group. In order to minimize the risk, the

researchers made sure to explain the importance of expressing one‘s own opinions, in

order to portray a true analysis of the discussion. This study only focused on comparing

findings between a high context culture and a low context culture. Other aspects might be

involved in this process, and influencing their behaviors (such as gender, occupation etc).

Future research, not subject to time and resources constraints, could explore the questions

raised in this study using the same research method but increasing the number of focus

groups. Future research could also compare storytelling between the two genders.

Through the universality of storytelling, it would be interesting to research how different

people react to storytelling, based on gender, age, economical and social status etc and

enhance the effectiveness of fundraising campaigns.

Since this study aimed at exploring participants‘ perspective of the use of storytelling in

fundraising campaigns, it would be interesting to examine the organizations‘ perspectives

on the use of storytelling in the same context especially international NGOs which

involve multicultural operations. In this way, the researchers will be able to examine if

the organization achieved their campaign goals through the use of storytelling. In

addition, the researchers could explore the process in which organizations construct

fundraising campaigns.

45

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APPENDICES

I- Codes: NVIVO software

Name: feelings

<Internals\\M-movie1> - § 3 references coded [5.22% Coverage]

Reference 1 - 0.88% Coverage

¶3: positive feelings

Reference 2 - 2.42% Coverage

¶3: the conflict (negative feelings) with the troubles,

Reference 3 - 1.91% Coverage

¶3: Convinced ur heart, no rational argument

<Internals\\M-movie3> - § 3 references coded [20.53% Coverage]

Reference 1 - 1.90% Coverage

¶2: NO emotions at all. No effect.

Reference 2 - 2.03% Coverage

¶5: felt so sad when i saw the video

Reference 3 - 16.60% Coverage

¶5: the video Makes u feel guilty and Makes you think about all the brave princes in the world and my

country ... Especially in this thought-provoking & the obligation to help (this is not like the 2nd video that

inspires ... this video gives you a bad conscience)

<Internals\\M-movie4> - § 6 references coded [21.42% Coverage]

Reference 1 - 1.07% Coverage

¶2: strong emotions,

Reference 2 - 4.77% Coverage

¶2: negative feelings feel bad for him, wanna be there & give him something

Reference 3 - 2.55% Coverage

¶3: Loved it- poignant- warms up ur heart-

Reference 4 - 2.55% Coverage

50

¶3: it stimulates the willingness to help

Reference 5 - 1.34% Coverage

¶3: no need for rational

Reference 6 - 9.13% Coverage

¶4: very very touching (I had tears in my eyes) ... I was touched by the goodness of people How .. they

were ready to be cold to help small!

<Internals\\M-photos> - § 3 references coded [8.47% Coverage]

Reference 1 - 4.41% Coverage

1- ¶3: hard to remember – what the idea? Confusing. Not strong enough.

Reference 2 - 0.98% Coverage

¶9: No real effect

Reference 3 - 3.08% Coverage

¶12: the first (girl without a veil) is touching

<Internals\\S-general comemnts> - § 3 references coded [9.80% Coverage]

Reference 1 - 1.83% Coverage

¶2: therefore did not make us as emotionally involved

References 2-3 - 7.97% Coverage

¶9: The advertisements from the organizations are for me a little bit reproachful or accusing, so I

don't like them so much (maybe if I feel bad that I can't help so much). I feel pity for the people

that aren't well

<Internals\\S-movie 1> - § 7 references coded [33.28% Coverage]

Reference 1 - 8.13% Coverage

¶4: I felt like I could really relate to the child in the movie and felt really sorry for her. When the

final comment came up I felt it was a very effective video to catch our attention and remind us

that even if we do not see it every day - it's happening to someone just like us or even worse a

completely defenseless kid.

Reference 2 - 4.78% Coverage

¶5: The message gets through and it is of course a smart choice to use children to play on people‘s

emotions. I sympathize with the girl and the later part of the video gets to me of course.

51

Reference 3 - 4.78% Coverage

¶6: This was a sad movie, I almost wanted to start crying. What can save the children do about the

war, it was really impacting. Do not really know what more to say, but it impacted me a lot.

Reference 4 - 1.98% Coverage

¶7: It impacts me, almost feeling hopeless about mankind and the cruelty of war.

Reference 5 - 1.93% Coverage

¶8: I thought the video was really well made, first you feel happy with the kid

Reference 6 - 1.93% Coverage

¶8: then suddendly it becomes really serious and I got a little sad and shocked.

Reference 7 - 9.76% Coverage

¶9: Its also scary to see how the whole structure in the society fall apart when the war begins.

How fragile it is and how it could happen anywhere. It was very effectful with short clips showing

the difference in her life, and that could be taken away from her so fast. It touched us because we

could relate to her, and then understand what it would feel like being taking away from it.

<Internals\\S-movie 2> - § 5 references coded [13.11% Coverage]

Reference 1 - 4.62% Coverage

¶4: I felt a bit inspired by the little boy talking and I guess my mother-instinct popped up when

you hear him talking with a slight lisp.

Reference 2 - 1.28% Coverage

¶4: Yet again, the video did appeal to me

Reference 3 - 1.90% Coverage

¶4: A bit confused is really how this video made me feel.

¶5:

Reference 4 - 2.79% Coverage

¶6: The first two videos were more personal and because of that also touched me more.

Reference 5 - 2.52% Coverage

¶10: I think it is well made and not really on the pity or sorry feeling side,

<Internals\\S-movie 3> - § 2 references coded [5.53% Coverage]

Reference 1 - 3.15% Coverage

¶5: the story is so elaborate that you could easily sympathize with the families. It‘s touching

52

Reference 2 - 2.39% Coverage

¶9: The boy is really cute and you can feel sorry for him and his family.

<Internals\\S-movie 4> - § 4 references coded [9.51% Coverage]

Reference 1 - 3.62% Coverage

¶4: As I watched this video I was filled with curiosity about what people's reactions would be to

the little freezing boy sitting on a bench in Oslo

Reference 2 - 2.87% Coverage

¶4: as I saw the help the boy received I was relieved and happy that people would act in the most

humane way there is.

Reference 3 - 2.01% Coverage

¶5: The movie makes me happy and warm (much like the kid when he gets the jackets)!

Reference 4 - 1.01% Coverage

¶5: It gives people that warm feeling inside

<Internals\\S-photos> - § 2 references coded [10.92% Coverage]

Reference 1 - 9.10% Coverage

¶5: The picture itself (including the text of course) isn‘t making me feel anything other than a

little satisfaction that something has changed for the better and that it might spread.

Reference 2 - 1.82% Coverage

¶8: It makes me scared. Scared and angry

Name: Techniques

<Internals\\M-movie1> - § 2 references coded [8.94% Coverage]

Reference 1 - 1.02% Coverage

¶3: Reached ur objective.

Reference 2 - 7.92% Coverage

¶7: Objective not clear from beginning, powerful, well-thought, unexpected end, happy everyday life,

background developed, peaceful, strong message, closer & more real impact

<Internals\\M-movie2> - § 5 references coded [12.08% Coverage]

Reference 1 - 2.37% Coverage

53

¶2: The storyteller voice was amazing

Reference 2 - 1.44% Coverage

¶5: clear catchy slogan,

Reference 3 - 2.52% Coverage

¶5: interesting to everyone, impactful,

Reference 4 - 2.44% Coverage

¶5: Weak voice- real effect like a kid

Reference 5 - 3.31% Coverage

¶7: I love the advertising; it's really inspiring!

<Internals\\M-movie3> - § 3 references coded [7.98% Coverage]

Reference 1 - 1.90% Coverage

¶2: written stats at the same time

Reference 2 - 0.82% Coverage

¶2: Video quality

Reference 3 - 5.26% Coverage

¶5: the last scene with mom crying and small who does not feel like playing is poignant

<Internals\\M-movie4> - § 2 references coded [4.37% Coverage]

Reference 1 - 2.62% Coverage

¶2: Very positive, loved it, strong impact,

Reference 2 - 1.75% Coverage

¶2: slogan at the end ws good.

<Internals\\M-photos> - § 4 references coded [4.06% Coverage]

Reference 1 - 0.49% Coverage

¶2: voices,

Reference 2 - 0.84% Coverage

¶2: audio effect

54

Reference 3 - 0.91% Coverage

¶3: A lot of text

Reference 4 - 1.82% Coverage

¶9: u wanna read about it more

<Internals\\S-general comments> - § 2 references coded [3.48% Coverage]

Reference 1 - 2.09% Coverage

¶2: We thougth they were more ‖well done‖ and more thoughful

Reference 2 - 1.38% Coverage

¶3: but we think its the most effective.

<Internals\\S-movie 1> - § 3 references coded [8.77% Coverage]

Reference 1 - 0.84% Coverage

¶5: It‘s clever and makes you think,

Reference 2 - 5.54% Coverage

¶7: How can individuals be fighting a war when their brothers and sisters are impacted that directly. Why

are people so stupid and don't have more knowledge that that they just want to fight and gain individual

benefits.

¶8:

Reference 3 - 2.39% Coverage

¶9: It was also effective with just a short text line in the end telling it could happen anywhere.

<Internals\\S-movie 2> - § 5 references coded [16.28% Coverage]

Reference 1 - 1.03% Coverage

¶4: inspirational background music

Reference 2 - 5.55% Coverage

¶4: It makes the boy seem even younger, together with him having to stand on a wood-box and even then

on the tip of his toes to be able to speak into the giant horn.

Reference 3 - 5.38% Coverage

¶4: in those few seconds the little boy appears yet since the message hides such a dark reality it almost

feels a bit off to have inspirational music at the end

Reference 4 - 2.97% Coverage

55

¶5: It starts out good with a narrator that builds up excitement, and really nice footage.

Reference 5 - 1.35% Coverage

¶7: it could be useful to raise awareness,

<Internals\\S-movie 3> - § 6 references coded [28.15% Coverage]

Reference 1 - 7.02% Coverage

¶4: This video was quite informational and actually taught me something I didn't know. 2- I liked that the

video gave us some information and numbers since it attributed to a novelty-factor in this campaign.

Reference 2 - 6.64% Coverage

¶4: What I did not really understand was the phrase they chose to finish the video with "It shouldn't happen

here" - should it happen anywhere else in the world? I found this a tang bit offensive.

Reference 3 - 0.97% Coverage

¶5: informative at the same time

Reference 4 - 5.01% Coverage

¶5: like it, even though my liberal ideology thoughts linger with the question how it is possible to end up

in poverty in a country such as the UK?

Reference 5 - 7.64% Coverage

¶8: But still why should I help them what will they do with my money, this is not as much a cause for

charity rather for the government to solve with wealth distribution as in this case it not a lack of resources

in the area.

Reference 6 - 0.86% Coverage

¶10: too much text to take in.

<Internals\\S-movie 4> - § 3 references coded [10.19% Coverage]

Reference 1 - 4.78% Coverage

¶4: Yet a part of me wanted to know if they would have helped the boy if he had looked a bit dirtier,

poorer, couldn't speak norwegian and possibly looked like someone from another nationality.

Reference 2 - 4.73% Coverage

¶4: I liked the video since it was quite heart-warming but thing is it also brings up questions on how

helpful the same people would be towards someone who looks more like a stranger to them.

Reference 3 - 0.68% Coverage

56

¶6: Possibly because he speaks

<Internals\\S-photos> - § 1 reference coded [12.74% Coverage]

Reference 1 - 12.74% Coverage

¶8: The whole idea that a 14-year-old boy convinced parents to refrain from cutting their daughter scares

me. How is it possible that grown ups are willing to harm their own offspring with the conviction that can

quite easily be set aside by a 14 year old?

Name: relating ability

<Internals\\M-movie1> - § 6 references coded [7.96% Coverage]

Reference 1 - 1.35% Coverage

¶2: Loved it- u feel close to her

Reference 2 - 0.75% Coverage

¶2: u feel involved,

Reference 3 - 2.19% Coverage

¶2: best way to show that it can happen to anyone.

Reference 4 - 0.98% Coverage

¶2: Day to day activities

Reference 5 - 0.79% Coverage

¶4: developed country

Reference 6 - 1.91% Coverage

¶7: it touches you, newness effect (UK girl),

<Internals\\M-movie2> - § 5 references coded [25.38% Coverage]

Reference 1 - 7.62% Coverage

¶2: loved the beginning, ― once upon a time‖ style,NOWADAYS, Its gone, reminds u of ur childhood,

stories etc,

Reference 2 - 4.67% Coverage

¶2: related to save the children, every child deserves a better life.

Reference 3 - 1.58% Coverage

¶5: Close effect not there

57

References 4-5 - 11.50% Coverage

¶7: it represents many people (black, white, children, adults, scientific, musicians, parents, old people,

women, men). The concept 0 is very relevant and so clear!

<Internals\\M-movie3> - § 3 references coded [5.96% Coverage]

Reference 1 - 1.46% Coverage

¶2: didn‘t touch ur emotion

Reference 2 - 1.65% Coverage

¶5: the story is very touching

Reference 3 - 2.85% Coverage

¶5: It shows aussi That poverty does exist in UK

<Internals\\M-movie4> - § 1 reference coded [3.16% Coverage]

Reference 1 - 3.16% Coverage

¶3: engaging- simple & matters a lot, easy for you,

<Internals\\M-photos> - § 6 references coded [16.38% Coverage]

Reference 1 - 2.45% Coverage

¶2: Video storytelling makes u involved

Reference 2 - 2.10% Coverage

¶2: characters u feel u know them

Reference 3 - 3.36% Coverage

¶4: Pictures, encourage stereotypes (African hungry)

Reference 4 - 4.62% Coverage

¶6: makes u feel! Can happen to anyone! U feel closer to the cause.

Reference 5 - 1.33% Coverage

¶9: brings up interest,

Reference 6 - 2.52% Coverage

¶10: u can feel the connection with 'em;

<Internals\\S-general comemnts> - § 2 references coded [11.33% Coverage]

58

Reference 1 - 6.47% Coverage

¶6: -The general feeling about all the videos is that the ‖closer‖ the video makes me feel to a phenomenon

such as poverty or war, the more keen I am to take actions against it.

Reference 2 - 4.86% Coverage

¶6: The more personal and the more vivid story the better. The broader and general the picture or problem,

the less motivated I get.

<Internals\\S-movie 1> - § 6 references coded [29.55% Coverage]

Reference 1 - 7.80% Coverage

¶4: At first I was just curious wondering how us following the life of what seemed like a suburban English

little girl would lead us to a fundraising campaign, then when all the chaos ensued I felt sorry for the girl

and at the end I felt like whoever planned this video knew what they were doing quite well. 3-

Reference 2 - 2.21% Coverage

¶4: I think it's human to relate to others and feel empathy when you see others in trouble.

Reference 3 - 3.86% Coverage

¶5: It is a clever move to use what seems to be an English girl living her ordinary life in England and then

showing what life can turn into because of war.

Reference 4 - 3.84% Coverage

¶8: The video gives the feeling that everyone could be the girl in the video. The sentence in the end was

really good, because you start to think about it.

Reference 5 - 5.77% Coverage

¶9: We liked the first video the most because it focused more on a situation that we can relate to then to a

specific child. Its not just a sad story about a child, its much bigger then that.... It puts light to a bigger

situation.

Reference 6 - 6.07% Coverage

¶9: Its easy to say when seeing videos like this ‖Its far away, not here‖ but the video says that its closer

then we think and it could happen anywhere. Its all her future-dreams being taken away from here, dreams

that we can relate to aswell.

<Internals\\S-movie 2> - § 7 references coded [26.91% Coverage]

Reference 1 - 4.69% Coverage

¶4: Felt a bit cliché to use it but then again there are very few methods and ideas that have not already been

used to spread this message.

59

Reference 2 - 4.79% Coverage

¶4: I think what with all the small little techniques used to make the boy seem young and frail the

producers tried making us relate to him in

Reference 3 - 1.48% Coverage

¶5: but its message quite broad and impersonal.

Reference 4 - 3.45% Coverage

¶5: It addresses something anonymous that I have a hard time relating to just from looking at the video.

Reference 5 - 4.42% Coverage

¶5: the comparison between flying and walking on the moon vs. starving children seems stupid… no,

American!! Doesn‘t appeal to me.

Reference 6 - 5.17% Coverage

¶11: The second video had no effect on us, we even forgot about it as soon as it ended. It felt more like a

comercial for the States then helping children.

Reference 7 - 2.90% Coverage

¶11: then he said to believe in Zero, which we never heard about until after the video.

¶12:

<Internals\\S-movie 3> - § 6 references coded [27.28% Coverage]

Reference 1 - 7.43% Coverage

¶4: The reason i found it a bit offensive is because I originally come from a third-world country where it's

often seen by the outside world as quite normal and common for this and much worse level of poverty to

exist.

Reference 2 - 2.11% Coverage

¶5: Now this is getting to know someone. It is easy to relate to

Reference 3 - 6.92% Coverage

¶6: the ability to show something and make us feel like it is real. We understand that all the other situations

above are real, but the movies have not quite succeeded in making us feel that it is real.

¶7:

Reference 4 - 1.59% Coverage

¶7: There are many others that have it much worse.

Reference 5 - 5.01% Coverage

60

¶8: This could be any kid with dreams and hopes. This should be accessible for all kids, and they should

not be impacted but their parent being poor.

Reference 6 - 4.22% Coverage

¶9: I think it's also because it's from the UK and not so far away so I think it's more real for me to see this

kind of video.

<Internals\\S-movie 4> - § 4 references coded [14.96% Coverage]

Reference 1 - 4.48% Coverage

¶4: I would act on the final message to help children in Syria simply because this video caught my

attention long enough to make me think about my own attitude towards other people.

Reference 2 - 3.12% Coverage

¶5: The leap between a freezing child in Norway and freezing war victims in Syria is, once again, clever

but somewhat lost on me

Reference 3 - 6.59% Coverage

¶5: I can appreciate that the movie itself is liked, shared and watched with joy, however it doesn‘t make me

feel any different about children in Syria. However, if the purpose of the video is to raise awareness of that

people in Syria need aid, the goal is reached.

Reference 4 - 0.78% Coverage

¶6: it makes me get‖closer‖ to him

Name: credibility

<Internals\\M-movie1> - § 1 reference coded [7.36% Coverage]

Reference 1 - 7.36% Coverage

¶6: I don't know how to explain but the first part seemed a little bit fake / Shows only beautiful things that

happened in this kid's life (playing, birthday...)

<Internals\\M-movie3> - § 2 references coded [8.62% Coverage]

Reference 1 - 6.27% Coverage

¶2: Didn‘t like it- uk developed country, hard to believe, lacks credibility, African or middle eastern

Reference 2 - 2.34% Coverage

¶2: Least fav. Reality tv. Not appealing.

<Internals\\M-photos> - § 1 reference coded [1.75% Coverage]

Reference 1 - 1.75% Coverage

61

¶2: No issues they r actors.

<Internals\\S-general comemnts> - § 5 references coded [26.55% Coverage]

Reference 1 - 3.37% Coverage

¶2: If felt less real, knowing it was actors (even if we know they are acting real situations)

Reference 2 - 4.41% Coverage

¶3: Everytime we see a movie about becoming a ‖donate-family‖ for a child through SOS childrens

villages we want to donate

Reference 3 - 4.08% Coverage

¶3: Even if we are being displayed to it daily through the news, i almost cry seeing pictures of children in

need

Reference 4 - 7.52% Coverage

¶3: It effects me so much knowing its real, this is there reality (in contrast to the storytelling movies) and i

feel horrible and so sad for the world. So for us, real pictures and facts have more impact.

Reference 5 - 7.18% Coverage

¶4:

¶5: the ideal movie would be a storytelling movie but showing true stories..... Maybe about children who´s

been helped, and showing pictures or just telling about their past. True stories......

<Internals\\S-movie 1> - § 2 references coded [10.29% Coverage]

Reference 1 - 3.61% Coverage

¶5: I think that when it comes to me taking actions I respond better to pictures of actual poverty

and/or war victims than this fictive version.

¶6:

Reference 2 - 6.68% Coverage

¶8: However I thought this video was worse compared to the others, because you can feel that

they want you to feel sorry and give money. It was a little exaggerated (even I know it happens in

reality for me it was too much like: ohhh you should feel sorry for her).

¶9:

<Internals\\S-movie 2> - § 1 reference coded [3.90% Coverage]

Reference 1 - 3.90% Coverage

¶9: But it does not give me the confidence that we have solution for it. Just maybe a nice dream

but not the toolbox.

<Internals\\S-movie 3> - § 3 references coded [14.90% Coverage]

62

Reference 1 - 5.01% Coverage

¶6: Regardless, it is not difficult to be moved by the video. Once again I think it‘s the ability to

show something and make us feel like it is real.

Reference 2 - 8.47% Coverage

¶9: I think it's really really cool that they write in the end that it was an actor and that it could be a

normal boy, so it's kind of making it more serious and not just wanting me to feel bad for the boy

and for me that I don't give money to them.

Reference 3 - 1.42% Coverage

¶10: And also felt too ‖made up‖ to be real.

Name: cultural trait

<Internals\\S-movie 1> - § 1 reference coded [5.41% Coverage]

Reference 1 - 5.41% Coverage

¶5: I‘m not as affected by the whole video as I think I might have been if the clips in it were

longer and showed more surroundings/other people and helped to ‖get to know‖ the girl better.

Perhaps if she talked more?

<Internals\\S-movie 2> - § 1 reference coded [3.59% Coverage]

Reference 1 - 3.59% Coverage

¶11: The child in the video got just a short time in the spotlight so we didnt have time to ‖get to

know him‖

<Internals\\S-movie 3> - § 1 reference coded [0.93% Coverage]

Reference 1 - 0.93% Coverage

¶5: I want background stories!!

<Internals\\S-movie 4> - § 1 reference coded [3.45% Coverage]

Reference 1 - 3.45% Coverage

¶7: The message is also more appealing to me than the first film because I get a price to pay for

something tangible (a jacket for 90kr).

<Internals\\S-photos> - § 3 references coded [31.65% Coverage]

Reference 1 - 10.92% Coverage

¶4: there is absolutely no reason as to why this tradition should still exist yet I want to find out

more what the help offered actually is since I've read some on the subject and know it is not

something simple to solve

63

Reference 2 - 14.31% Coverage

¶4: I would feel safer knowing that the help offered is none that uses methods that could backfire

on the girls such as by forcing people to abolish genital mutilation which has sometimes led

people to simply start doing it in secrecy and under even worse circumstances than done before.

Reference 3 - 6.42% Coverage

¶6: I like this picture better since it gives a very clear message of what the message is and in what

form the help will be brought

Name: Awareness raising Vs donating

<Internals\\M-movie1> - § 5 references coded [8.57% Coverage]

Reference 1 - 1.91% Coverage

¶3: touches u u feel like u have to an action

Reference 2 - 0.47% Coverage

¶3: Make u ACT

References 3-4 - 4.84% Coverage

¶6: it makes us want to help towards the end but this is not enough (I feel that it is not engaging enough).

Reference 5 - 1.35% Coverage

¶7: not make u act (some would).

<Internals\\M-movie2> - § 2 references coded [9.92% Coverage]

Reference 1 - 1.58% Coverage

¶5: act (some of it would)

Reference 2 - 8.34% Coverage

¶7: It makes you feel inspired and makes u wanna participate to this 0 by helping children even locally (at

your level).

<Internals\\M-movie4> - § 5 references coded [12.56% Coverage]

Reference 1 - 1.07% Coverage

¶2: Make u act).

¶3:

Reference 2 - 1.68% Coverage

¶3: makes u really wanna act-

Reference 3 - 3.83% Coverage

64

¶3: not a war zone, simple basic feelings, positive feelings,

Reference 4 - 3.29% Coverage

¶3: humanitarian, not material stuff, stories matter.

Reference 5 - 2.69% Coverage

¶4: it inspires, it makes you want to help,

<Internals\\M-photos> - § 4 references coded [13.72% Coverage]

Reference 1 - 1.47% Coverage

¶6: Makes u act- involved

Reference 2 - 1.26% Coverage

¶7: would make u act.

References 3-4 - 10.99% Coverage

¶14: (I know it is implied but not engaging or inspiring -it's realistic*

¶15: I think it is by purpose to show that simple actions can change the city of these girls

<Internals\\S-general comemnts> - § 5 references coded [31.15% Coverage]

Reference 1 - 3.93% Coverage

¶3: Many people might not react to old movies with c hildren in need because we have been seeing it so

much,

Reference 2 - 7.52% Coverage

¶7: It also boils down to which organization i trust with my money or time. The reputation and

goodwill/badwill of a help-organization is of utmost importance when it comes to actually contributing for

me.

Reference 3 - 12.42% Coverage

¶7: It would help for me to get some kind of proof that the children in Syria are wearing jackets paid by

SOS in Norway, and that children in the UK get meal packs or such from Save the Children.

¶8: The pictures could prove as an example to what I was looking for in the videos – proof of something

that has been done and that has worked.

Reference 4 - 5.12% Coverage

¶9: - All in all I am critical against this organizations and I don't like them to feel me bad because I don't

give so much money to charity.

65

Reference 5 - 2.17% Coverage

¶9: I don't like so much the approach of the organizations.

<Internals\\S-movie 1> - § 1 reference coded [2.21% Coverage]

Reference 1 - 2.21% Coverage

¶4: It would make me want to act if I wasn't already involved in volunteer-organizations.

<Internals\\S-movie 2> - § 1 reference coded [5.11% Coverage]

Reference 1 - 5.11% Coverage

¶7: When it comes to taking action this video doesn‘t make me jump to get my credit card, and it

doesn‘t change my take on poverty or literacy either.

<Internals\\S-movie 3> - § 3 references coded [16.63% Coverage]

Reference 1 - 7.02% Coverage

¶4: I might act upon this commercial since the offensive factor actually makes the video more memorable

and its message no less clearer - that there is help needed in first-world countries like the UK too.

Reference 2 - 7.78% Coverage

¶7: I would much rather give my money to kids that don't even have house and live in much poorer

countries and war areas. Some of the facts felt random and not related to the movie but they tried to use

them to prove the points.

Reference 3 - 1.83% Coverage

¶8: A bit of charity could never really make a difference

<Internals\\S-movie 4> - § 2 references coded [8.35% Coverage]

Reference 1 - 1.91% Coverage

¶5: perhaps it makes them keener to support the cause of helping people in need.

Reference 2 - 6.44% Coverage

¶7: Affected by bad press when it comes to badly managed help-organizations I am reluctant to pay to

‖general charity‖ if I believe there is a risk that a too large part of my contributions will be lost on the way

(costs for management and administration etc).

<Internals\\S-photos> - § 2 references coded [14.51% Coverage]

Reference 1 - 7.99% Coverage

¶4: My first thought goes out to female genital mutilation and how abhorent that tradition really is. I feel

instantly like off course I will act on this message

66

Reference 2 - 6.52% Coverage

¶6: I still feel the same as above - off course I'll act on this issue as it is just a ludicrous tradition when you

think about it.

67

Appendix B:

Poster 1

68

Poster 2