Copyright © 2021 by the author(s). Published here under license by the Resilience Alliance. Rodriguez-Labajos, B., L. M. Saavedra-Díaz, and D. Botto-Barrios. 2021. Filmmaking as a source of enhanced knowledge and transformation in conflicts over small-scale fisheries: the case of Colombia. Ecology and Society 26(2):5. https://doi.org/10.5751/ ES-12217-260205 Research Filmmaking as a source of enhanced knowledge and transformation in conflicts over small-scale fisheries: the case of Colombia Beatriz Rodriguez-Labajos 1,2, Lina M. Saavedra-Díaz 3 and Darlin Botto-Barrios 3 ABSTRACT. Small-scale fisheries (SSF) harvesting on coastal and inland aquatic ecosystems sustain the livelihood of hundreds of millions around the world. In Colombia, as in many other developing countries, SSF suffer from multiple pressures and conflicts. Yet the research on SSF conflicts is scarce and the typology of these conflicts is poorly systematized and understood. Existing studies lack the necessary interdisciplinary integration to address social-ecological processes involved in SSF. Moreover, scientific research requires building trust with fishers in order to gain an accurate picture of relevant intra-community processes and values. In face of this situation, we compiled information from nonfiction films about fishing conflicts, with the double aim of underpinning scientific knowledge on conflicts over SSF and analyzing the use of the films to promote transformations in these conflicts. Our empirical evidence relies on the organization of an ad hoc docu-conference where filmmakers, fishers, and the general public engaged in a meaningful discussion on the issues affecting SSF communities in Colombia. Films represent the range of conflicts over SSF in 31 locations of 16 Colombian departments and provide data about types of actors involved in the conflicts, types of conflicts and their causes, and possible courses of action. We gained insights into fishing conflicts as processes of change that involve drivers and impacts with common patterns in both inland waters, and marine and coastal environments but evolve in diverging responses or calls for action. Beyond the variables emerging in the films, audiovisual content supports stakeholders in their pursuit of knowledge sharing, political mobilization, and social functioning. Films about SSF conflicts expand knowledge and relatedness that propel intellectual processes tending to exacerbate the conflict and/ or stimulate sense of place, enhance governance, and give a boost to alternatives. Research participants (filmmakers, fishers, and the public) discussed advantages and limitations of using films to tackle the SSF crisis in Colombia. We demonstrate the value of films in social-ecological research and provide evidence of how they can support and bring about transformative change. Key Words: Colombia; creative research methods; environmental conflicts; filmmaking; fishing conflicts; small-scale fisheries INTRODUCTION use of inadequate fishing practices (FAO 2009), and lack of Small-scale fisheries (SSF) harvesting on coastal and inland governmental surveillance or control (Pitcher et al. 2006, 2009). aquatic ecosystems sustain the livelihood of approximately 108 Over time, fisheries conflicts have increased in frequency and million people in developing countries (Kelleher et al. 2012, Salas intensity in different parts of the world (Spijkers et al. 2018). et al. 2018). Hence, the United Nations recognizes and protects Recent studies acknowledge the intensified global struggles in the access rights to SSF through the Sustainable Development Goal fishing sector and the distributional justice issues fishers face (SDG) 14.b.1, although fisheries are somehow linked to all (Ratner et al. 2014, Song and Soliman 2019). The decrease of seventeen SDGs (Franz 2018). In Colombia, as in many other fishing resources, the increase of sea food demand, and illegal middle-income countries, artisanal fishing communities suffer fishing are some of the triggers of conflicts affecting the peace pressures from multisectoral stressors (Salas et al. 2007), which and stability in marine and continental waters. As a result, new intensify the tensions involved within fishing operations (Pauly et databases (e.g., EJatlas 2020 https://www.ejatlas.org/, Secure al. 2002). Fisheries Program 2020 https://securefisheries.org/) seek to Literature on SSF conflicts typically bring the ecological or understand and mitigate the causes of global patterns of fisheries biological dimensions of fisheries to the core of the discussion conflict (Spijkers et al. 2019). (Arthur et al. 2015). Specific socioeconomic or political challenges Yet the very definition of fisheries conflict is imprecise, given the small-scale fishers face have received less attention (Bavinck et al. diversity of the fishing sector, and the conflicts around SSF are 2018). Fishers are one among many types of actors enduring poorly systematized and understood (Spijkers et al. 2018). adverse effects of processes such as urban encroaching and urban Undoubtedly, the role of SSF in the governance of coastal and waste pollution (Islam and Tanaka 2004, Vikas and Dwarakish marine and freshwater ecosystems is crucial (Pomeroy et al. 2007, 2015, Chouhan et al. 2017), the expansion of industrial agriculture Coulthard et al. 2011). However, existing studies come up against (Mateo-Sagasta et al. 2017), or direct violence from illegal activities the need to ensure interdisciplinary integration of social- or civil conflict (Bavinck et al. 2018, Scholtens and Bavinck 2018). ecological processes involved (Sowman 2011, Pfaff et al. 2019). In turn small-scale fishing puts pressure on inland waters and Scientific research on sensitive issues such as violence against marine environments through, e.g., overfishing (Salas et al. 2007), 1 University of California, Berkeley, Energy and Resources Group, USA, 2Universitat Automa de Barcelona, Institut de Ciència i Tecnologia Ambientals, Spain, 3Grupo de Investigación en Sistemas Socioecológicos para el Bienestar Humano, Department of Biology, Universidad del Magdalena, Colombia Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ fishing communities, corruption, or environmental crimes is not suffer pressures both on the Caribbean and Pacific coastlines, easy. Such studies require building trust with fishers so as to gain most notably overexploitation of fishery resources, habitat an accurate picture of relevant intra-community processes and destruction, and pollution (Acero and Polanco 2017, Chasqui et values (Matera 2016). At the same time, fishers are one more case al. 2017). Likewise, poor fisheries policies hit the fishing activity of engagement fatigue (Sterling et al. 2017), after recurrent in both coasts, as lack of regulation or law enforcement converge research interventions through interviews, questionnaires, or with insufficient surveillance and control (Saavedra-Díaz et al. focus groups. 2015). Meanwhile, fishery resources in inland waters suffer from the disproportionate growth of economic sectors such as mining, In this context, ecological research initiatives are turning to hydropower, and agroindustry (Mojica et al. 2012, AUNAP and innovative and creative tools for the analysis and dissemination Unimagdalena 2014). of social-ecological knowledge (Velez and Lopez 2013, Saavedra- Díaz et al. 2015, Lima et al. 2016). Researchers increasingly In general, the fisheries in both inland and marine waters suffer involve alternative sources of information (such as newspapers, three main problems: unsustainable use of fishery resources, lack legal cases, and films) in their approach to the communities. This of planning, and weak governance systems (FAO and is particularly valuable when the research aims engage with the MinAgricultura 2014). Additionally, Colombian fishers have concerns of social movements and communities that are not used been victims of the civil conflict in the country. In fact, the to the traditional avenues of academic research (Ratner et al. 2014, violation of their human rights is regarded as a prime root of the Bavinck et al. 2018). The actual value of these creative avenues to problems faced by this sector (Saavedra-Díaz and Jentoft 2017). enhance research about fisheries conflicts, and more broadly for Despite the vulnerabilities and risks associated to fishing, between socio-environmental conflicts, is yet to be assessed. 150 to 190 thousand small-scale fishers operate in Colombia, Our investigation explores this gap guided by two interconnected either in inland waters (two-thirds of all fishers) or in marine aims. The first is to improve knowledge about conflicts over SSF waters (the remaining third), and consider their daily livelihood in Colombia building on a systematic examination of audio- depends mainly on fishing (Rueda et al. 2011, Esquivel et al. 2014). visual materials. The second consists of analyzing the ways in Locally, fishing is an important source of employment that which this form of knowledge generation contributes to sustains food security and nutrition security in rural areas improving the situation of the actors involved in these conflicts, (AUNAP and Unimagdalena 2014, OEDC 2019). especially small-scale fishers. Filmmaking and knowledge on environmental change and In this paper we review the existing literature about SSF in governance in aquatic environments Colombia and about the use of films to improve knowledge and Researchers are well aware of the need to bridge a gap in public governance of aquatic environments. We did not engage ourselves communication of science (Peters 2013). Filmmaking, and in film production for the purpose of this study. Our empirical especially the documentary genre, has been a preferred avenue for evidence relies on the systematic compilation of audio-visual the popularization of science, progressively moving from being a materials via the organization of an ad hoc “docu-conference” tool for the transmission of scientific findings to a space of where filmmakers, fishers, and the public engaged in a meaningful participation in science and knowledge integration (Gouyon discussion of the environmental justice issues affecting SSF 2016). Films are well suited to articulate complex narratives of communities in Colombia. environmental change and governance (Cumming and Norwood 2012). For example, film has been used to promote awareness and BACKGROUND concerns about conservation needs in fields ranging from wildlife An overview of small-scale fisheries in Colombia (Blewitt 2011, Gouyon 2016), cultural heritage sites (Pan and Territorial heterogeneity and associated socio-cultural diversity Ryan 2013), and the urban green (Ozduzen 2018). shape Colombia’s megadiversity. Understanding such a The management of aquatic ecosystems, and fisheries specifically, complexity is a prerequisite for any environmental, economic, or is an important case in point. The first film by John Grierson, social decision made in the country (Carrizosa Umaña 2014). The who coined the term “documentary,” was “Drifters” (1929), a fishing sector is a foremost example. At the marine level, fishing portrayal of the workers in the herring fishery in Britain. The film takes place on two coastlines, the Caribbean Sea and Pacific “The Cove” (2009) drew international attention to the dolphin Ocean, as well as in insular areas (De la Hoz et al. 2015, Acero hunt in the Taiji National Park, Japan. Likewise, “Darwin’s and Polanco 2017). Inland waters fishing occurs in five main Nightmare” (2004) denounced environmental and social impacts hydrographic basins: Magdalena, Sinú, Atrato, Orinoco, and of Nile Perch fishing in Lake Victoria, Tanzania. The disturbing Amazonas (Mojica et al. 2012, De la Hoz et al. 2015). Although audio-visual project “Leviathan” documents the toll of large- marine fishing involves both small scale and industrial sectors, scale industrial fishing on both the suffering of the fish and the fishing in continental freshwaters is essentially small-scale (De la brutalization of humans for the benefit or urban-driven Hoz et al. 2015). economies (Arboleda and Banoub 2018). These films sparked Colombia has registered 4200 fish species in either marine or controversy and generated debates about which points of view inland waters, that is, 12% of the world’s fish richness (Acero and were represented, and which were excluded. Yet they serve as Polanco 2017). This positions Colombia as one of the countries examples of how different currents of environmentalism (Guha with the highest fish diversity worldwide (Andrade 2011). Yet, as and Martinez-Alier 1997) can be portrayed also through happens in tropical zones, fish populations occur at relatively low filmmaking. abundance (Stuart-Smith et al. 2013). Moreover, fish species Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ Drama films have also long taken notice of the livelihoods of working approach, directly asking the participants to submit fishers. The Italian film “La Terra Trema” (The Earth Trembles, materials that reflected conflicts over small-scale fisheries and 1948) by Luchino Visconti, or the Southern Asian movie “Thirai shaping a conceptualization from their inputs. Therefore, we Kadal” (The Chasm, 2017) by Janaki Viswanathan, allowed accepted as a fisheries conflict anything regarded as such by the audiences to witness the relationships between fishers and nature, people directly involved. and conflicts around interests in fisheries. Thus fisheries The online submission form was amply circulated among different management emerges as a matter of social struggle and justice channels of potentially interested groups, fishers’ societies that urges the adoption of a social science approach (Bavinck et included. Of 29 items submitted, 20 fit the objectives of the call al. 2018). (10 coastal-marine fisheries and 10 continental fisheries) and were In fact, social and indigenous movements worldwide use films included in the final program of the conference (Appendix 1). along with other artistic manifestations, e.g., music, poetry, or The event involved 56 registered participants across different painting, in their repertoire of contention (Wiebe 2015, institutions (universities: 28, NGOs: 10, fisher’s organizations: 15, Vasudevan and Kearney 2016). A prime example around the other). Thus, different types of knowledge and expertise management of SSF is the Too Big To Ignore “SSF Virtual Art interacted. Representatives from fishing communities, fishers’ Festival” that aims to bring awareness about issues and challenges organizations, and NGOs appealed to traditional and local forms faced by communities, organizations, and researchers working on of knowledge. Professionals from institutions involved in the this topic (http://toobigtoignore.net/share-your-talents-at-ssf- fishing sector and universities approached discussions from a virtual-art-festival-june-8/). technical and scientific stance. Clearly, the use of films is a fundamental part of both informal The social media live streaming received ~3600 hits during the and formal environmental education, especially for adults (Clover days of the event. During the conference, each piece was projected 2011). In addition, films help to overcome representation issues after a presentation of the director/producer or their through counterhegemonic narratives that provide visibility and representative (20 to 30 minutes). The pieces were grouped help to gain support for powerless movements (Gunn and thematically in blocks of three to four pieces, basically organized Horvath 1987, Ozduzen 2018). This does not equate with around types of fisheries, coastal-marine and continental. Each sensationalistic attention-seeking until the next spectacular image block gave ample time for public discussion. The discussions arrives (Heissenbüttel 2014). Rather, films have become strategic during the conference were video- and audio-recorded and pathways for dissemination and awareness about environmental transcribed, after explicit notice to and authorization by justice conflicts. Yet, despite the increased recognition of participants. Detailed proceedings of the event were distributed filmmaking in scientific research and the ample use of films in and validated by all participants. grassroots processes around fishing, the scientific literature lacks a systematic examination of film materials about conflicts over Data organizing and analysis SSF. Qualitative data analysis of each piece involved coding to identify the following: (a) type of fisheries conflict referred to in the piece; METHODS (b), ecosystem and species affected; and (c) operating drivers Data gathering (principal and secondary), impacts of the conflict, responses in Inspired by Curtis et al. (2012), we compiled empirical data about the conflict. The transcripts of the public discussions, along with visual arts of interest for conservation through a conference the information supplied during the registration stage provided organized for that purpose. The docu-conference “Documentary- data about the purpose of the piece, the way it was used in the films for Environmental Justice: environmental conflicts conflict, its limitations, and recommendations for improved associated with SSF marine-coastal and continental fisheries” impact. This data was also coded. Cross checking of coding and was held at the University of Magdalena, Santa Marta, the creation of a unified codebook underpinned the reliability of Colombia, on 2–3 May 2018. The event program relied on a the data organization process. national open call for audio-visual materials about environmental Therefore, the content of the pieces, the presentations of the conflicts that affect the SSF sector in Colombia. The event aimed filmmakers, and the discussions around each piece constituted at facilitating a space for reflection about this topic mediated by the empirical basis for the analysis. The two research aims guided audio-visuals and multimedia methods, i.e., documentaries, the reasoning, supported with descriptive statistics (frequency animation, photo exhibitions, and interactive platforms. The call analysis) and geographic representation of results, using ArcGIS® made explicit our aim to explore the use of documentary films as software by Esri. A visual representation of code structures about a research tool to reveal conflicts, visualize the actors’ roles in the purposes of film production and stakeholders made use of the conflicts, and promote transformations toward sustainable social network software Gephi 0.9.2 (Bastian et al. 2009). Certain fisheries management. codes within the network were relatively more closely connected Besides supporting the preparation of the conference, the purpose to each other. We used modularity analysis to identify and of the call was compiling three types of data on each piece of represent such tightly knit groups of codes. Modularity is a audio-visual material from the producers or users themselves: (1) measure of community structure in the network, integrated into technical information about the piece (location, production date, the statistics panel in Gephi, that detects significant differences type of audio-visual material, awards, and organizations involved in the number of links between the analyzed network and a in the production); (2) data about the reported fisheries conflicts; random network: significantly less links between groups, and (3) purpose of the piece. Given the lack of a precise definition of more links within groups (Newman 2006). Nodes with the same fisheries conflict in the literature, we adopted a bottom-up Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ Fig. 1. Location of the conflicts reported in the films. Source: Questionnaire to film producers and content of the films. modularity class constitute a community of terms with the in inland fisheries only. The third encompassed institutional and network of codes. To make these communities visible, we cultural tensions that affected the fishers (green points). We found displayed them in a circular layout using modularity classes as a most of the conflicts within the third type in coastal fisheries. partition value, a method recommended to visually detect Across types of conflicts, the films denounced damages over a communities in networks (Blondel et al. 2008). Then we used the variety of elements of the biophysical environment, ranging from results in the reasoning. broad features (e.g., landscape, land, water, protected areas), to RESULTS concrete ecosystems (e.g., benthos, river mouth, mangrove). The pieces also reported impacts that affect specifically the SSF sector, Films represent the range of conflicts over small-scale fisheries such as impacts on fishing grounds or certain species habitats, Figure 1 presents the map with 31 locations distributed along 16 and the introduction of alien species that affect fishing resources, Colombian departments (first-level administrative divisions) e.g., carp (Cyprinus carpio). The harvested species most frequently reported as places of fisheries conflict. This covers all coastal mentioned in the pieces were “bocachico” (Prochilodus departments but two, plus four inland departments. magdalenae), “blanquillo” (Sorubim cuspicaudus), and “bagre Claims in the conflicts were diverse and often combined a chain rayado” (Pseudoplatystoma magdaleniatum) for inland water of interconnected problems. Along with the main matter conflicts; and “robalo” (Centropomus undecimalis), “jurel” reported, each case was often associated with issues that in turn (Caranx hippos), and tuna (Thunnus spp.) for marine conflicts. configured other types of conflicts. We focus here on the main The pieces represented some level of violence across all types of issue reported in each film. Thus, three major types of conflicts conflicts. Particularly pronounced was the violence related to the emerged (Table 1). The first referred to tensions within the fishing degradation of ecosystem and fishing resources, which involved sector that caused environmental degradation (blue points in Fig. armed conflict and violation of human rights, and the tensions 1). The second involved the clash of fishing with another between fishing and monocultures (see Table 1). Additionally, the economic activity (red points). In our dataset, this type occurred allegation of direct violence against fishers was a specific type of Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ Table 1. Types of detected fisheries conflicts, affected ecosystems, and related issues. Source: Content of the films and questionnaires completed by film producers. Note: M (Marine), I (Inland); the dot represents occurrence. Violence is rated according the perception of the film producers on the extent to which their own piece represents violence (*** High; ** Medium; * Low). Type of conflicts M I Ecosystem / Biophysical Violence Other associated conflicts environment Tensions within Degradation of ecosystems and * * Wetland, forest, mangrove, river, *** Armed conflict; human rights the fishing sector fishing resources lagoon, protected areas, fishing grounds, water Illegal or irresponsible fishing * Sea/ocean, river, mangrove, ** Fishing regulation; environmental fishing grounds degradation; overfishing Fisheries’ pressure on threatened * Mangrove, coral reef, sea/ocean, * Ecosystem degradation; irresponsible marine species water fishing; overfishing; pollution Unsustainable fishing methods * Swamp, bentos/benthic terrain, * Waste management; incidental fishing sea/ocean, wetlands, water Fishing clashes Fishing vs infrastructures * River * - with other economic activity Fishing vs monocultures * Forest, crops, water, landscape *** Land access; illegal crops; hydro- morphological alteration; pollution Fishing vs mining * River, mountains, forests, land, ** Armed conflict; transportation water, sea/ocean, fishing grounds Institutional and Lack of fishers’ participation in * Sea/ocean, fishing grounds ** Fishing regulation; overfishing; fishers cultural tensions legal frameworks livelihood; surveillance and monitoring around fishing Loss of fishers biocultural * * River, wetland, swamp, bentos/ ** Fisheries resources diversity and livelihoods benthic terrain, Sea/Ocean Uncertain land and fishing rights * Open sea, sea/ocean ** Displacement; land/resource access; megaprojects; deforestation; clashes between economic activities Violence against fishers * Wetland, mangrove, river, river *** Coastal erosion; displacement; mouth, forest deforestation; pollution; monocultures; mining institutional conflict that even encompassed the displacement of Films portray fisheries conflicts as processes of change fishing communities. Systematizing the content of the films provides a picture of conflicts over SSF in Colombia with drivers and impacts in inland Gender considerations were not at the core of the films’ content. waters akin to patterns in marine and coastal environments but The representation of women in fishing activities tended to be with diverging responses or calls for action (Fig. 2, Appendix 2). moderate or low, except for a few cases, mostly in coastal areas, Common drivers and pressures portrayed in the films that emphasized women’s role as fishers, traders, or promoters of encompassed weak institutions, and the lack of a good systems fisheries conservation projects. for surveillance and monitoring. Notably, the armed conflict and The films emphasized the vulnerable entities of the fisheries violence was also a shared stressor. Multisector pressures, conflicts. In more than half of the reported cases (55%), these especially those linked to extraction projects of subsoil resources were the fishers and their livelihood. All conflicts were related to or biomass, seemed to affect particularly inland fisheries as well institutional and cultural tensions, and at least one-fourth of the as pollution. Meanwhile coastal and marine fisheries faced other types represented threats to fishers. In contrast, the tensions colliding values within the fishing sector, which led to increasing within the fishing sector tended to imperil fisheries resources and fishing effort, overfishing, and the use of unselective fishing the maintenance of healthy environments. Other vulnerable methods, without an effective guiding role of the government to entities portrayed in the films were future generations, local cope with this problem. cultures, indigenous communities, and wetlands or, more As a result, small-scale fishers perceived multiple impacts. Both generally, Mother Nature. inland and marine fisheries suffered from ecosystem and habitat All in all, the films clearly expressed a concern for issues that affect degradation, accompanied by an observed decline in the fishers’ fishers. The consideration of the fishers’ views and their quality of life, with even their food security put at risk. Many involvement in the film was rated between 7.4 and 8.8 out of 10 fishers saw their livelihoods diminished or no longer viable. An by the producers of the films across different types of conflicts. important implication that the films emphasized was the fading Still, the initiative of the film production was usually external to away of SSF in the Colombian economy. Another shared impact the community. The actual community engagement in film was the decrease in fishing areas, the changes in species production tended to be low or moderate, with only 15% of the populations, and a feeling of cultural loss. Fishers in the coastal pieces presented reporting a very high participation of fishers and community members in all stages of the production. Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ and marine fisheries perceived some effects more frequently, such Fig. 2. Drivers-pressures (a), impacts on (b), and responses (c) as the impacts on endangered species, decreasing income and jobs, to unwanted developments in the small-scale fisheries sector of and fisheries depletion. Colombia reported in the films. Responses to this situation were assorted. Political mobilization and local resistance were a small part of the responses. More frequent were the calls for tackling specific pressures with ad hoc measures. Common responses across types of fisheries included the promotion of increased environmental awareness, and enhanced respect for life and for the environment. The call for the affective realm does not mean that recommendations for technical improvement or bans to unsustainable practices, as well as enhanced monitoring and surveillance are not necessary. In the marine and coastal areas, proposals involved the creation of new regulations or the enforcement of existing laws, capacity building for fishers, and fishers’ cultural revalorization. Fishers in inland SFF expressly requested training in sustainable fishing practices and zoning. Films aim to support transformation Purpose of the films According to the film producers and participants of the docu- conference, a key use of the films was knowledge sharing, involving the purposes of dissemination (including science dissemination), awareness raising, education, and attracting public attention on facts about the conflict. This broad category encompassed knowledge creation by systematizing or documenting experiences, e.g., of success stories of SSF management, or a baseline of evidence in underreported cases of conflict. Also frequent was using films for persuasion and political mobilization. Starting from a claim or complaint, the users aimed at increased visibility of the conflicts, and social mobilization, empowerment, community engagement (for instance, in conservation practices), and alliance formation. Finally, films served social functioning purposes including artistic/aesthetic expression, cultural valorization, consolidation of identity and memory, promoting environmental values such as the respect for nature, and giving hope to communities under pressure. Across the different purposes, the main target of the films was the general public, followed by the local communities, and decision makers (mainly governmental institutions). Researchers were also a target audience, albeit minor. The convergence of several purposes in every piece allowed for an analysis of co-occurrence, as well as of the links between actors and their respective goals while using the films (Fig. 3). We used modularity analysis to reveal three clusters of converging interests in the assemblage of film producers and their respective purposes. A first group united indigenous people and local communities (IPLC), academia (both researchers and students), and the media. They tended to use films to denounce the pressures and impacts suffered by the SSF, attract public attention, and make the conflicts visible. Awareness raising and education were among the most important pursuits of this group, which also emphasized cultural aspects linked to SSF management identity and memory. The second group connected conservation NGOs, fisheries authorities, and production companies that employ films for dissemination purposes. In this group, there was a strong artistic and aesthetic aspiration, and films were used to promote Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ Fig. 3. Network of purposes and film producers. Note: Radial axis layout, grouping nodes by modularity class. Data on target audience, added manually. IPCL, indigenous people and local communities. environmental values and spread the discourse of empowerment. Direct input from the producers plus the discussions at the time In the third group, faith communities aimed at creating evidence of the screening suggested that films operated as tools for the by compiling facts in the films, giving hope, and engaging the visibility of the fisheries conflicts, and of the socioeconomic community with conservation practices. Interestingly enough, the implications of land management with effects on SSF. In fact, the third group was the one emphasizing science dissemination the film producers compiled a pool of evidence, systematizing most. relevant facts and processes in the conflicts, and creating records of both success stories and injustices witnessed by the fishing Perceived effects communities. In this respect, the producers thought that the films Not much has been said about the effectiveness of artistic consolidated a memory of important events in the fishing practices in conflicts, or in environmental management in general. communities that could be lost otherwise. The collected materials provided evidence about the perceived results of using films, beyond the original intentions of the An important outcome was dissemination. Films were an producers and users. The story film producers told, and excellent communication method, perceived as far more superior participants discussed during the docu-conference, departed from in terms of outreach than other channels of scientific or the ability of films to expand knowledge and relations among institutional information. Users praised the dynamism of audio- people with interest or concern in fishing management. visual materials, with easy-to-remember content and high Intellectual processes of thinking and feeling followed, triggering potential to spread information fast. Therefore, films can transfer action in two ways: through manifestations of support or ideas about success stories efficiently. A fisher leader from the disapproval, or through changed states of the issue at hand (Fig. Atlantico Department applauded the opportunity of “bringing 4). this dissemination medium to organized communities ... that already have the capacity to participate in management so as to motivate other fishing communities in Colombia with their Fig. 4. Chain effects of using films in fishing conflicts example.” In remote fishing communities, films even replaced inaccessible mass media. In this respect, films helped researchers to give back to the community in easier ways than the mere delivery of reports and documents that very few would eventually read. According to the participants of the docu-conference, films raised awareness about the conflicts along the fishing commodity chain and possible actions to face them. More generally, participants agreed that films promoted environmental awareness. They constituted a powerful educational tool that, for instance, introduced youngsters to the issues of the fishing sector. In the words of a fisher from the Santander Department: “We are using Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ the films with schools. So, we can also reach the heart of those are vibrant moments when [films] generate controversy. To create who do not want to see or accept the reality.” a buzz is already a good outcome” (Wetland conservation NGO). The production and use of the films entailed relational effects, The second type of action, fed by the previous one, was changing both between people and between ideas. “Yes, the idea was the situation through three basic avenues. First, people gained an disseminating information, but also bringing people together and increased level of place attachment to the lands and water bodies meeting allies, creating closer ties in order to preserve the resources shown in the videos. Changes in values stemmed from a and make our voices heard” (Marine program officer, connection with “reality” and a “direct” contact with impacted Environmental NGO). Film production helped to merge efforts communities, their livelihoods, and their plights that were in fact and connect different institutions, stimulating interstakeholder mediated by the content of the films. Second, the films enhanced conversations, collaboration, and coordination. Films also the governance of the fishing sectors, promoting local enhanced social cohesion within the communities, for instance engagement and self-management of community organizations, through intergenerational links, and their use promoted e.g., comanagement experiences and local consultations. These encounters between previously disconnected communities. served as examples of success to other fishing communities. Third, Another relational effect was the interconnection of different the films promoted management toward more sustainable fishing elements of identity portrayed in the films. practices, such as community-based monitoring or the proposal The expanded knowledge base and the increased relatedness of new conservation areas. Another fisherman from Santander boosted several forms of intellectual development that were summarized: “Thanks to the film we united forces. Without relevant for understanding the conflicts and their implications. governmental intervention, we organized two fishing bans in the The films became a mirror where local communities saw Magdalena River, in our swamps, and in our streams. With the themselves represented, giving voice to different viewpoints fishing ban, we protected the “bocachico,” the “doncella,” the involved in the conflict. “The voices are from the region, “pacora,” the “bagre,” and all our species; this is a yield that we everything that was done is from the region. ... We build on the created; our resources in our precious land.” grounds of what the community wanted. Films are supportive as they provide feedback on communities’ own views” (Wetland Limitations of the films and conditions for effective use conservation NGO). Beyond the mere representation of the Although perceived as effective at multiple levels, several fishers as victims, the films revealed their cultural significance and limitations restricted the potential of the films to promote the agentic capacities. Films provided an outlet for the people’s need desired changes: to express themselves, e.g., in the face of injustice. Likewise, films . Practical limitations started from technical conditions offered a channel for the creative talent of young people. All in because film production required skills or access to all, the films configured a space for reflection about the current technologies, e.g., stable electric power supply and internet situation and prospects of the SSF. connection, that most communities lack. The economic cost Contributing to audio-visual content empowered communities, of film production further narrowed the narrative to reduced or groups within the community, e.g., young people or children. geographic spans regardless of the actual scope of the “The communities feel themselves empowered by generating their problem at hand. own films. The Communication Collective [name of the collective, . Framing limitations emerged from the frequent absence of in the Chocó Department] is an example. It is constituted by decision makers (governmental institutions of corporate community members who have trained themselves and learned actors) in the moment of production or screening of the how to use films for showing internal processes in the community” films. Rather than risk of bias, which was also mentioned, (Advocacy organization member). A key benefit was to form the drawback was a reduced potential for constructive emotional connections with the issues at hand. Often, the debates. Issues of framing also emerged from the need to emotions were positive, and films conveyed joy and offered contextualize the problems of the fishing sector within a positive notes for the future, as members of the audience pointed broader set of relevant socio-environmental processes that out. This was praised in the contexts of stressful pressures suffered are hard to compress into a short film. A recurrent topic of by actors in the conflict. Finally, the films had a unique integrative discussion during the screening of the films, for instance, capacity in the context of complexity, and hence they promoted was corruption. interdisciplinarity: a fisher participating in the docu-conference . Representation limitations arise in some cases from the summarized: “a film is worth much more than a thousand words.” absence of other voices from the land aside from the fishers. The above triggered two types of actions, according to the Also, when film producers were external to the community, participants. The first consisted in moving the conflict from a an inescapable disconnection with local values increased the situation of latency to a manifest stage. On the one hand, some risk to disseminate wrong messages or culturally unsuitable groups (e.g., fishers, younger generations) or campaigns received recommendations. support, solidarity, and social ownership of the ideas promoted. . Research-related limitations were mostly related with On the other hand, the actors in the conflict openly denounced mistrust toward academia, often because of past experiences unwanted situations and protested the pressures suffered. In this of researchers not “giving back” to the community that respect, the films exacerbated tensions and led to more dynamic collaborated with them for the completion of a project. discussions, controversy, and public scandal. “I believe that there . Institutional limitations emerged from biased receptions of the message or possible misuses of the piece, especially when Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ the actors driving a stressor on SSF dominated the Interdisciplinarity and fact checking is to be expected by linking conversation. A critical institutional limitation was the real the production with academic research, incorporating threat of putting local leaders at risk of violence (and even scientifically reliable messages from different disciplines with clear of death) once their involvement with the conflict was content. The engagement with science goes hand in hand with disseminated in the film. cultural valorization, preventing prescriptive messages against community traditions. The engagement of professional Mirroring such limitations, participants identified three types of filmmakers seems advisable to strengthen the quality of the conditions for effective use of videos as a source of transformation produced films, but this requires clarifying mechanisms for in the conflicts. The first was framing the films in ways that protection of intellectual property rights of content creators. prevented ambiguity and clearly conveyed the need of a collective change. The relevance of context was critical. Nothing was to be DISCUSSION gained, said the participants, from isolating narratives of pressures on SSF from other environmental pressures, or Expanded knowledge about types of small-scale fisheries disconnecting such narratives from the overall socioeconomic conflicts and their dynamics context. If the film was not explicit enough, the gap between The introduction of this paper noted the worldwide increase of content and context needed to be bridged with ad hoc activities fisheries conflicts, particularly in the last four decades. While during the film screening. Beyond being informative, the pieces advancing knowledge, global studies on this matter (see Spijkers needed to promote environmental awareness and collective action et al. 2019) seem to underreport fisheries conflicts in South to support self-subsistence and autonomy of the fishers. A proper America that nonetheless appear in the media, e.g., radio, TV, articulation with local identities may guarantee that the fishers social networks, web pages (Dejusticia, https://www.dejusticia. see themselves identified with the offered narrative. org/; Foro Nacional Ambiental, http://www.foronacionalambiental. org.co/; Universidad Nacional de Colombia, http://oca.unal.edu. This led to a second condition, related with the engagement of co/) and are well known by directly affected local people, such as communities and fishers in the film production. This meant the participants in our research. By compiling audio-visual involving fishers, and other key actors in the community, at all materials about conflicts from half of the 32 Colombian stages of the process, and giving them direct voice about the departments, this study contributes to the understanding of SSF conflicts they perceive. Active involvement may require training conflicts that have mobilized fisheries stakeholders inside and in film production with adequate technologies, and engaging with outside the fishing communities in the country. community concerns, with a proper understanding of fishing strategies and local notions of environmental stewardship. Local Colombia’s ecosystemic and cultural complexity manifests itself production of short videos could also help to overcome technical in both continental and marine environments (Carrizosa Umaña and resource constraints for external film production, ensuring 2014). Historically, continental ecosystems suffered stronger that relevant cases are followed up in different moments of the pressures as spaces for small-scale fisheries. In the last decades process. however, increased stressors affected marine environments and led also to fisheries degradation. It is not rare then that our study An expected benefit was the portrayal of different positions and found shared characteristics in SSF conflicts affecting stability in roles played by community actors, both positive and negative. marine and continental ecosystems. Still, the economic activities According to the participants, the gained sense of realism ensured that trigger the conflicts differ. In marine waters port the appropriation of the materials by the actors involved infrastructure generates significant impacts (see, e.g., Saavedra- (especially the fishers), which is another necessary condition for Díaz et al. 2015, Bennett et al. 2020) while in inland waters the a productive discussion about environmental justice in the films reflected the impact of hydroelectric plants and dams (see communities. During the projection of the films, participants Jiménez-Segura et al. 2014, Da Costa Doria et al. 2018). Overall, featured cases as a potential focus of further films. Participants a problem of continental SSF is the scarcity of studies about stressed the significance of bringing information about such cases fishing resources and ecosystems in Latin-American regions to other communities to promote their mobilization. Benefits of (Saavedra-Díaz and Jentoft 2017, Barragán Paladines et al. 2019). engagement also emerged from intergenerational communication. Our work contributes to bringing awareness to these issues and to filling part of this knowledge gap. Third, arrangements during the production of the film reinforcing interstakeholder coordination in film production and use, Further, our study positions the issue of violence against fishers involvement of professional filmmakers, and adequate as a key constituent of SSF conflicts. Blue crimes, crimes at sea, dissemination are key for an effective use of the films as a source or fishery crimes are becoming a visible issue in SSF (Bueger and of transformation. The coordinated preparation and use of the Edmunds 2020, Witbooi et al. 2020). In these new studies, violence materials should involve donors, NGOs, fishers, local managers, in the fisheries sector results from interactions with other activities and authorities. Combined with other participatory artistic/ in the same fishing territory, such as drug trafficking, illegal crops, experiential activities, such as visits to the affected areas, film use infrastructure, and extractive industries. As a result, fishers suffer promotes peer-to-peer knowledge sharing. The search for from violations of human rights, including forced labor, forced alliances between entities linked to the fishing sectors is part of displacement, robbery, and murder of fisher leaders. Yet global this coordination. So is ensuring media coverage of the film studies on violence against fishers are rare (Ratner et al. 2014). production and screening and protecting local leaders who engage For the Colombian case, most of these types of violence were with the production. present but poorly documented. Moreover, five decades of illegal Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ armed conflict took its toll on fishers as well (Saavedra-Díaz and Use of filmmaking in interventions on small-scale fisheries Jentoft 2017). Our results confirm different levels of violence (low, conflicts medium, or high) perceived across all types of conflicts and areas Films offer a powerful tool for purposes that our study helps to reported (Table 1). Besides direct aggressions as the ones listed identify, cluster, and associate with the different actors in the above, the films depicted pervasive harmful effects (on local conflict. Unsurprisingly, governmental actors and conservation ecosystems, cultures, and economies) of the set of unwanted NGOs tend to use films to disseminate institutional or drivers over SSF, evoking the notion of slow violence, one “of proenvironmental messages. For years now, conservation delayed destruction that is dispersed across time and space, an ecologists have praised the capacity of visual arts to synthesize attritional violence that is typically not viewed as violence at all” complex scientific messages (Curtis et al. 2012). (Nixon 2011:2). Meanwhile education and awareness raising are a major goal of Among the three types of conflicts categorized by this research, fisheries communities and researchers who work with them. the first type (related to tensions within the fishing sector) is Simultaneously, communities use films to render more visible comparable to the way fisheries conflicts are documented pressures they suffer and that otherwise would remain hidden. In worldwide (FAO 2020; the Secure Fisheries Program web site) and line with Wiebe (2015), we learned that visual media, and films in Colombia (Acero and Polanco 2017, Chasqui et al. 2017). The in particular, are distinctively fitted to improve antioppressive other two types (clashes between SSF and other economic knowledge generation. Indeed, Blewitt (2011) emphasizes critical activities, and institutional and cultural tensions that impact SSF) engagement with the content as a requirement for promoting are less discernible in recent studies in Colombia (Mojica et al. conservation behaviors and transformations through education 2012 for continental ecosystems; Saavedra-Díaz et al. 2015 for and awareness using visual media. In this respect, the docu- marine ecosystems), but somehow recognized in global analyses, conference we organized as an interactive data gathering process such as the study on Blue Acceleration (Jouffray et al. 2020). emerged as a needed space of dialogue among the different actors involved in the films, and it was praised as such by the participants. Both categories of SSF conflicts are mainly related with co- As Cumming and Norwood (2012) also note, a fruitful occurrence of fishing and other external activities in the same deliberation hinged on the hybrid nature of the films, exposing territory. In Colombia, as in other Latin-American countries, the viewers both to facts and to intimate reflections of the involved these tensions increased over the last decades (FAO and parties. MinAgricultura 2014, OEDC 2019) as governmental priorities turn toward economic agendas framed as “Blue Economy” or The use of films to support scientific research about SSF was a “Blue Growth” (Bennett et al. 2020). Noting the vulnerability of main motivation of this paper. Parts of the discussion above show the affected populations, especially in developing countries, that compiling films and discussing them with communities and global voluntary instruments and provisions (such as Code of other involved actors provided data about SSF rapidly and far Conduct for Responsible Fisheries, Voluntary Guidelines for beyond existing academic reports. In the decades-long experience Securing Sustainable Small-Scale Fisheries in the Context of of two of the authors, achieving similar first-hand data about Food Security and Poverty Eradication, and Sustainable environmental conflicts, their location, actors involved, types of Development Goals) promote a human-rights approach to tackle conflicts, and their perceived causes, impacts, and possible courses conflicts related to the SSF sector (FAO 2015, Singh et al. 2018). of action would take long and costly fieldwork activities. Thus, However, pervasive issues of inequity and inequality around the films are a valuable source of information that allow making SSF worldwide have motivated the emergence of the “Blue visible issues previously unnoticed by academic researchers. Justice” movement to emphasize the concrete needs of the SSF Beyond being a source of factual data, films offer understandings sector within the Blue Economy agenda (Bennett et al. 2020). of intra-community dynamics in ways that conventional scientific Meanwhile, the Colombian government keeps promoting ocean analysis would hardly capture. In this respect, our investigation extractive activities in its attempt to position the country as a tests the potential of film-related research activities as a “Sustainable Bioceanic Power” for 2030 (CCO 2020), while methodological tool to interact with communities in a more expanding port infrastructure with negative effects over SSF horizontal and creative manner than surveys, interviews, focus (Saavedra-Díaz et al. 2020). The Colombian government has also groups, and other forms of qualitative research. This entails a long pushed for the construction of hydroelectric megaprojects change in the discourse and practice of (social-)ecological sciences with disruptive effects in inland SSF that eventually trigger that is open to arts-based analysis, similar to what has already conflicts (Rueda et al. 2011, Jiménez-Segura et al. 2014, Garcia occurred in other domains of natural-resource management 2016). (Fernández-Giménez 2015). Along with its virtues, the use of The range of conflicts identified in our study confirms and builds films entails challenges as a tool for knowledge development. over previous research about fisheries conflicts. In line with the Opening the door to new constituents of the ecosystem-related strong social component of filmmaking, the content of the films topics, e.g., perceptual, procedural, and emotional, does not tends to emphasize the human and social dimensions of the preclude fact-checking against available scientific expertise (see, conflicts. The ecological aspects are present in the narrative, but e.g., Calvet-Mir et al. 2012). Thus, ensuring scientific reliability typically not at the core of the message. Yet the films convey the of the content is a role that researchers can, may, and should adopt critical reliance of social subsistence on the integrity of the in the use of films to articulate transformations around SSF ecological and natural resources systems. conflicts. In agreement with Gouyon (2016), our results therefore emphasize the relevance of process over outcome in films that Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ aim at engaging with policy action from scientific evidence. The audiences through a process that connects the perception of research participants (filmmakers, fishers, and the public in the complex facts, affect (via emotions, expression, and reflection), event) discussed advantages and weaknesses that the SSF sector and behavioral change, as shown in Figure 4. This confirms could face in their endeavor to use film materials as a tool to deal previous insights from literature linking the arts with the with the environmental crisis in Colombia. Such conversation communication of ecological knowledge (Curtis et al. 2012), as disclosed specific parts of the process that contribute to more well as the setting of a reflective tone in deliberations about land effective usage, its conditions, and limitations. use planning (Cumming and Norwood 2012). Therefore, we contribute to previous attempts to clarify the role of emotions in A clear insight was that collaborative film production tends to struggles for socio-environmental transformation (Gonzalez underpin the transformative potential of the films, as also Hidalgo 2017), with the specific scope of engaged filmmaking. highlighted by Wiebe (2015). Although the whole film production offers opportunities for community participation, our CONCLUSIONS investigation pinpoints two critical moments of such In this paper we reveal the significance of visual media, and collaboration: the framing the film project, and the time when the especially films, to document environmental conflicts over SSF film is screened and discussed. and to promote transformations in support of vulnerable groups, In this respect, SSF conservation is not delinked from a set of such as fishers and their communities. A national call for audio- social processes that configure different frames of understanding visual materials, the organization of a “docu-conference” where (Bavinck et al. 2018, Scholtens and Bavinck 2018). Filmmaking stakeholders exchanged viewpoints about the conflicts, and the helped to bridge this communication by appealing to different systematic examination of the data thus compiled led to a fine- rationalities, e.g., of the fishes, of the researchers, and of the grained understanding of SSF conflicts in Colombia. Our study governmental officers, and ensuing forms of representation, and compiled just a selection of a broader set of existing materials. the expression of emotions. The representation of marine Admittedly, a larger sample would provide nuance and may help environments, and aquatic ecosystems in general, have been to qualify the intensity of some of the processes identified above. influenced by high-quality film production and notions of However, we are confident that a larger sample would not paradise or wilderness (Kennerson 2008). For instance, when the challenge our key findings. theme of the World Exhibition held in Lisbon in 1998 was "The The investigation offers novel knowledge about the distribution Oceans, a Heritage for the Future,” the aesthetics of the of SSF conflicts, and their drivers, impacts, and ensuing exhibitions created a fiction of the ocean as a space of beauty and responses. In a context of long-lasting civil unrest that hinders harmony that was far from the real pressures suffered the fishers. fieldwork research, the study was able to provide greater insights A possible outcome is that visual media may have perpetuated into the types of conflicts in SSF, including SSF in inland waters distorted views on the separation between humans and the that hitherto had been scantly documented. Films not only make environment (Blewitt 2011). the conflicts visible, but also facilitate the appreciation of their The reality we unveiled is different. The use of more modest contexts and dynamics. Films show fishers interacting within such production, often through short formats such as clips or self- contexts and with each other. Thus, beyond the descriptive produced short videos, fits the real needs of the fishers in SSF variables compiled, audio-visual content provides different, often conflicts. When communities appropriate the production process, richer, insight into social-ecological processes and community an opportunity emerges to present facts under a different light. problems than the usual interaction in the field. In the films, “Creating visibility can mean disseminating images that are not fishers express views about their own conditions to extents that spectacular, but rather images that illustrate ... everyday life, the surprised expert scientists on the topic of SSF management. At daily struggle, but also the will to survive, or indeed even the the same time, the films allow for different perspectives to be beautiful and poetic moments of reality otherwise marked by presented together, enabling a nuanced understanding of the hardship” (Heissenbüttel 2014: 475). problem at hand. This point got reinforced when the authors were preparing the Overall, most of the films we analyzed were produced by actors present discussion during the period of restrictions imposed by external to the community with community support. Films are the COVID-19 pandemics. The precarious lifestyle of the small- useful instruments, both as ways for communities to raise their scale fishers was once again hit by external conditions that further voice and for outsiders to share a message or convey communities’ limited their access to resources and markets (EFE 2020). Then, standpoints. Besides denouncing socio-environmental problems, as a survival strategy, fishers resorted to producing short videos films voiced alternatives or solutions to those problems defended to voice their situation in a timely manner and advertise their by the communities, including their views on conservation and products to distant consumers who could support them. sustainable use of fishing resources. Likewise, both governmental and nongovernmental organizations engaged in ecosystem The visuals thus produced may not appeal to a conventional management used films to disseminate institutional initiatives for artistic experience, but they provide a glance to the lifestyle of conservation. actors in the field, their actual concerns, and the processes that shape such concerns and their very identities. For the researchers Compiling information from documentary films on SSF conflicts interested in SSF conflicts, audio-visual materials offer an has proved to be an effective way to underpin scientific knowledge understanding of the conflicts as processes, rather than as isolated that would hardly be attained otherwise. Over time, researchers events of social mobilization. The webs of relations (Rocheleau increasingly use creative means (theatre plays, songs, creative 2008) that are thus unveiled bring both the stakeholders and their workshops, drawing contests, or photography contests) to transfer their findings or key messages to the local communities. Ecology and Society 26(2): 5 https://www.ecologyandsociety.org/vol26/iss2/art5/ Our research confirms the usefulness of this approach to the Colombiana de Ciencias Exactas, Físicas y Naturales 41 subject matter of SSF conflicts, and possibly for other types of (159):200-212. https://doi.org/10.18257/raccefyn.480 socio-environmental conflicts as well. Beyond that, filmmaking Andrade, C. M. G. 2011. Estado del conocimiento de la contributes to the promotion of interdisciplinary knowledge, biodiversidad en Colombia y sus amenazas. Consideraciones para underpinning both access to data and the understanding of fortalecer la interacción ciencia-política. 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However, our inland fisheries: implications for a people‐centred response to investigation reveals a significant potential for the use of films in management and governance challenges. Freshwater Fisheries engaged research about socio-environmental conflicts. In this Ecology. https://doi.org/10.1002/9781118394380.ch39 respect, some interesting lines for future research include the Autoridad Nacional de Acuicultura y Pesca (AUNAP) and compilation of audio-visual media about fisheries conflicts in a Unimagdalena. 2014. Caracterización de los principales artes de broader geographic scope, both in Colombia and around the pesca de Colombia y reporte del consolidado del tipo y número de world, and the analysis of the available materials through the lens artes, embarcaciones y UEP´s empleadas por los pescadores of claims from the fishers, such as human-rights vulnerabilities vinculados a la actividad pesquera. 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(Ciénaga Grande, the big lagoon) de Santa Marta Marine Ministry of Environment and Guajira sustainable development Nariño https://www.youtube.c Mi compromise Coastal- 2016 World Wildlife Foundation Archipiélago de San Music video om/watch?v=WC9NkX (My commitment) Marine Colombia Andrés y 2P2ts Mano amiga collective Providencia Asociación de Cabildos Indígenas https://www.youtube.c Y siguen llegando por el Oro 2012 del Norte del Cauca Cauca Short film Inland om/watch?v=UiDF4q5i (And they keep coming for the gold) Tejido de comunicación j30 (trailer) Center for Social Justice Studies – https://www.youtube.c El carbón en Colombia ¿quién gana, quién pierde? Cesar Coastal- 2015 Tierra Digna Documentary om/watch?v=O1LJRT (Coal in Colombia: Who wins and who loses?) Magdalena Marine Chasqui Foundation 0UlqA&t=458s Pesca y Contaminación Photography + Coastal- 2017 University of Magdalena Magdalena n.a. (Fishing and Pollution) music Marine Grupo Semillas corporation https://www.youtube.c Ruta por el agua - Tibú/Catatumbo Pastoral social Diócesis de Tibú 2016 Norte de Santander Documentary Inland om/watch?v=FQW3Fl (Route through water- Tibú / Catatumbo) HEKS EPER 8gIMU MISEREOR IHJ HILFSWERK Guardianes y Guardianas del Oro del Magdalena Transmedia http://micoom88.wixsit 2017 Ichthyology and Culture Project Santander Inland (Guardians of the Magdalena River's gold) (photo, video, e.com/ictiologiaycultur Production Supporting organization / Location Type of Title Type of film URL year institution (Department) fishery performance) a/bagre-rayado Fúquene: una apuesta sustentable 2017 Humedales Foundation Cundinamarca Documentary Inland n.a. (Fúquene: A sustainable bet) https://www.youtube.c Andalucía, un puerto sin pescadores 2013 Cromatophoro corporation Cesar Documentary Inland om/watch?v=Qd8l6j8g (Andalucía, a port without fishers) Lqs Research group -Oralidad, Pescadores de la Ciénaga del Sapo Narrativa Audiovisual y Cultura 2017 Magdalena Music video Inland n.a. (Fishers of the Ciénaga del Sapo) popular en el Caribe Colombiano, University of Magdalena https://www.youtube.c La Agonía de la Ciénaga de San Silvestre TV show, not om/watch?v=WFn7jIQ 2017 TvAgro Santander Inland (The Agony of the San Silvestre’s Lake) TV news oqMY&feature=youtu. be Cauca www.youtube.com/wat Redes del Pacífico (primera parte) Chocó Coastal- 2012 Cromatophoro corporation Documentary ch?v=aEIeI- (Fishing nets of the Pacific (Part one) Valle del Cauca Marine 4RDgs&t=75s Nariño https://www.youtube.c De Faena, relatos de la vida en el Golfo de Urabá Coastal- om/watch?time_contin 2017 University of Antioquía Antioquia Documentary (Fishing, life stories in the Gulf of Urabá) Marine ue=3&v=Yj3pxpiY4FE &feature=emb_logo Research group -Oralidad, https://www.youtube.c Pescadores de Raya y Tiburón Narrativa Audiovisual y Cultura Coastal- 2015 Magdalena Short film om/watch?v=x5lwI_uD (Sharks and rays fishers) popular en el Caribe Colombiano, Marine ihY University of Magdalena Production Supporting organization / Location Type of Title Type of film URL year institution (Department) fishery Por una pesca de arrastre de camarón más https://www.youtube.c responsable y sostenible (primera parte) TV show, not Coastal- 2018 TvAgro Atlántico om/watch?v=vYHlARD (For a more responsible and sustainable shrimp TV news Marine Ep4Y trawling (Chapter one)) Proceso de Consulta Previa DRMI Golfo de https://www.youtube.c Tribugá- Cabo Corrientes En Puja Communications Coastal- 2015 Chocó Short film om/watch?v=LKgQLL (Prior consultation process in the DMRI Gulf of Collective Marine ZsA_k Tribuga- Cabo Corrientes) En Puja Communications https://www.youtube.c Criterios de pesca responsable Coastal- 2016 Collective Chocó Short film om/watch?v=JMOdls2 (Responsible fishing guidelines) Marine Marviva Foundation 3a2c Niños y jóvenes de Buenaventura cantan para National Authority for Aquaculture https://www.youtube.c combatir la pesca ilegal and Fisheries - AUNAP Coastal- 2015 Valle del Cauca Music video om/watch?v=zjOQhbN (Children and youngsters from Buenaventura sing to World Wildlife Foundation Marine 0WXU fight illegal fishing) Colombia National Fisheries and Aquaculture Authority Atlántico Research group ‘Sistemas Córdoba Pensando colectivamente el manejo de la pesca socioecológico para el bienestar Chocó https://www.youtube.c artesanal marina en Colombia Coastal- 2015 humano’, University of Magdalena La Guajira Short film om/watch?v=SHj5XPj (Thinking collectively about the management of Marine Research group ‘Evaluación y Magdalena 9vTM&t=72s small-scale marine fishing in Colombia) Ecologia pesquera’, University of Nariño Magdalena Valle del Cauca Squalus Foundation Supplementary Material 2 Complete list of drivers-pressures, impacts on and response to unwanted developments in the artisanal f ishing sector of Colombia reported in the f ilms . Source: Own elaboration Note: CM- Coastal / Marine Fisheries; I – Inland Fisheries; T – Total System PRESURES DRIVERS CM II T IMPACTS CM II T RESPONSES CM II T Alien species 0 1 1 Changes in f ish species populations 4 4 8 Conservation projects 1 1 2 Climate change 1 1 2 Decreased water quality 2 2 4 Ecological restoration 3 1 4 Ecosystem / habitat degradation 1 3 4 Ecosystem / habitat degradation 8 6 14 Stop dumping toxic materials 0 1 1 Ecosystem Hydro-morphological alterations 1 2 3 Environmental destruction 4 0 4 Water management 2 0 2 Pollution 5 7 12 Impacts on endangered species 2 0 2 Waste management 1 1 2 Loss of ecological connectivity 1 0 1 Cultural loss (identity, heritage, societal Civil armed conf lict / Violence 2 4 6 relevance) 4 2 6 Alliances with social movements 1 0 1 Collision of interests 1 0 1 Consumption of unhealthy f ish 1 0 1 Cultural revalorisation 2 0 2 Lack of environmental awareness 3 1 4 Decline in f isherf olks quality of lif e 7 5 12 Ecological justice 1 0 1 Lack of land planning 1 0 1 Eroded moral values on Mother Earth 0 1 1 Improved governance 0 1 1 Society Urbanisation 1 0 1 Health problems 0 1 1 Increase awareness 2 2 4 Weak institutions 6 5 11 Impacts on f ood security 7 3 10 Local resistance against extractivist projects 1 0 1 Institutional problems 2 0 2 Political participation 1 0 1 Issues on access to nat. res. (land, water) 2 1 3 Regulations / Law enf orcement 4 0 4 Loss of subsistence capacity 2 1 3 Respect and love lif e and the environment 2 2 4 Social problems 3 0 3 Use of local ecological knowledge 3 1 4 Economic activities incompatible with f ishing (general) 3 4 7 Decreasing income / jobs 4 0 4 Aquaculture 1 0 1 Fisherf olks livelihoods no longer viable or Energy crops 0 1 1 reduced 5 6 11 Compensation 1 0 1 Economy Forestry /Logging 2 0 2 Poverty 1 0 1 Increase economic value 1 0 1 Global markets 0 1 1 Public investments 0 1 1 Hydropower 0 1 1 Responsible consumers 1 0 1 Illegal crops 0 1 1 Stop mega-projects 1 0 1 Inf rastructures 0 1 1 Livestock 1 0 1 Oil/coal/ ore extraction 1 2 3 Unsustainable souvenirs 1 0 1 Destructive / unselective f ishing methods 8 3 11 Decreased f ish catch (number, size) 0 1 1 Ban to capture of endangered species 1 0 1 High demand of f isheries resources 1 0 1 Decreasing f ishing areas 5 4 9 Best practices f or bottom trawling 0 1 1 Increasing f ishing ef f ort 5 0 5 Fisheries depletion 6 0 6 Co-management 0 1 1 Irresponsible f ishing 1 0 1 High costs in f ishing 1 0 1 Community Fishing agreements 1 2 3 Lack of surveillance / monitoring 6 3 9 Low f ish quality 1 1 2 Controlled f ishing in protected areas 0 1 1 Non-compliance of f ishing regulations / bans 1 0 1 Unsustainable use of f isheries resources 3 0 3 Fish restocking 1 0 1 Overf ishing 9 3 12 Fishing ban / close season 2 1 3 Fishing management plan 2 1 3 Minimum catch size / Ban to juvenile catches 2 2 4 Fishing Monitoring / Surveillance 1 1 2 New / adapted f ishing methods & techniques 3 1 4 Participatory f ishing management plans 1 2 3 Participatory workshops 0 1 1 Promote integral f ishers 3 0 3 Reduce by-catches / Avoid discards / Ban shark f inning 1 1 2 Responsible f ishing 4 1 5 Spatial marine zoning 1 0 1 Traceability 1 0 1 Training in sustainable f ishing practices 0 3 3 Zoning / Protected area 0 2 2 None None 1 0 1