From informal to formal: understanding gendered energy transitions through filmmaking in Cape Town and Mumbai

Figures & data

Table 1. Collaborative methodological process adopted in the research.

Previous	Change	Value
Researchers in control of filming and interviewing	Skill exchange	Collaborative knowledge building
Letter of consent	Animated film, poster, and process of explanation with partners on the ground leading process, in local language over time to ensure understanding	Fully informed consent and time to deliberate if the research is valuable to participant
Researchers select participants	A ‘call for participation’	Autonomy and control
Researcher in charge of data collection	Research assistant recruited from community to coordinate data collection (CT) NGO partners collect data (Mumbai)	Control over what aspects of participants’ lives they chose to share, transparency, control and embedding of dignity into research process
Researcher conducts data analysis away from site	During the process of collection participants were invited to reflect on the films at multiple points in the process	Integrating participants reflections into researcher’s analysis of data Future potential for deeper, collaborative data analysis
Researcher publishes paper	Letter of achievement highlighting skills shown in process given to participants Film compilation of participants produced	Output can help with future employment and is a culmination of participants work and creativity

Figure 1. (a) Pickwick transitional housing in Cape Town (left), (b) Pickwick floor plan (right).

Figure 2. (a) Natwar Parekh SRA Colony in Mumbai (left), (b) floor plan in Natwar Parekh (right).

Figure 3. Printed poster visually explaining the research process to participants in Pickwick.

Figure 4. Key practices filmed by the participants in SRA (Mumbai) and Pickwick (Cape Town).

Figure 5. Filming locations in SRA (Mumbai) and Pickwick (Cape Town).

Figure 6. Screen shots from the participatory filmmaking in Pickwick (Cape Town), organised by the type of practice and time of filming.

Figure 7. Screen shots from the participatory filmmaking in SRA (Mumbai), organised by the type of practice and time of filming.

Figure 8. Screen shots from the participatory filmmaking in SRA (Mumbai), showing: (a) daily preparations for cooking (top), and (b) cooking in the afternoon (bottom), the quotations from the research interviews.

Figure 9. (a) Typical electric kettle used by the women in Pickwick (Cape Town) (top), and (b) screen shots from the participatory filmmaking, showing the participants’ daily cooking practices in their private rooms (bottom).

Figure 10. (a) Domestic technology observed in the participants’ films in Cape Town and Mumbai, and (b) screen shot from one participant’s film in Pickwick, the quotation from the research interview.

Figure 11. Aspirations expressed by the research participants in Pickwick (Cape Town), screen shots from the participants’ films and the quotations from the research interviews.

Figure 12. The SRA participants (Mumbai) commenting on the how the films made their work visible, screen shots from the participants’ films and the quotations from the research interviews.