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theOverviewThe Goa Hippy Tribe project is about people who shared a common space and time on the shores of Goa, India during the 70’s ‘hippy revolution’ and are now re-uniting after more than 30 years via Facebook.

Australian film-maker Darius Devas has travelled back to Goa to document this unique re-union of old friends and posted video interviews to the Goa Hippy Tribe Facebook group and fanpages with people central to this story.

The project is realized entirely online with it’s core being a community hub on Facebook.

theTrailer

www.sbs.com.au/goahippytribe/#/meet-the-tribe-introduction

timeline

Feb 23, 2010 May 9, 2011

20,000 Members inFacebook Group

Aug 3, 2011

Facebook Groupstarted

website launched

Oct 14, 2011

Accepted to IDFA

FWA Siteof the day

Nov 12, 2011 Mar 13, 2012

Win sxswinteractive award

Webbyhonouree

Apr 10, 2012

34, 489 Members inFacebook Group

Currently...

Facebook Website VIMEO | YouTUBE

thePlatforms

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Goa Hippy Tribe was built around community first with

Facebook as itʼs main platform. It launched the Facebook page as a way for the community to reconnect after more than 30

years. From this group Darius Devas, who spent the early part

of his life in this community, contacted and interviewed his subjects as they all gathered

for a reunion in Goa.

startingwithCommunity!' P-,)f%r4#

These video interviews were then launched on Vimeo / YouTube and posted the full documentary published on Facebook in 13 segments (each around 4 minutes) over a two month period in 2010.

This both broadened the community while keeping ties with the existing Facebook group.

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18 months after the initial Facebook launch, all of these assets were then pulled into a Facebook Connect enabled website. This allowed for personalization of the users experience, as well as the ability to collect and save a variety of assets including music, photos and videos. As well, all of the assets on the site are sharable to enable users to send music, videos and photos out to their own social media networks including Facebook and Twitter.

This is a great example of a project that has looked to the nature of their project in order to choose the appropriate platforms. In this case, building and maintaining community are at the core of this community, past and present so a social network such as Facebook is the perfect tentpole for this project.

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Goa Hippy Tribe uses Facebook Connect to merge the communities and the assets of this project. Using gamification techniques such as collecting and sharing, along with creating a personalized experience for each viewer allows for a deeper level of connection with their audience.

The Backpack is used as a place to collect and store music, videos and images. These assets can all be shared on the audience member’s Facebook and Twitter accounts at any time. There are 78 assets that can be collected.

Through Facebook Connect, the site stores your Backpack so all of the assets will be there next time you visit.

Audience is integral to Goa Hippy Tribe, not only as viewers, but also as researchers and contributors to the project. Justin Buckwell, Creative Head of Dubz.tv (who collaborated on GHT), explains it by saying: “Traditionally in the lead up to creating a documentary there would be a research and interview process that would never be released to audiences. What we are looking to achieve with GHT is allowing people to experience and become part of the whole documentary process.”{A}

In addition, the high level of user interaction is also intended to deepen the experience for the viewer. According to Freehand TV executive producer Paul Rudd: “Through the use of digital it is our hope that the build up of interaction will ensure the Facebook audience will feel a greater sense of community and involvement with the documentary than they would otherwise feel from simply watching on the television.” {A}

Buckwell goes on to say: “Facebook allows audiences to become involved in grow discussions surrounding the whole process helping to influence the shape of the documentary. This approach is turning the documentary from passive into an active experience, helping to build an increased community with the audience. The project shows howusing the internet you can find an audience then have it create, shape and share your story.” {A}

theAudienceA!!)r'*+, %) D"r*&# D$v"#, %-$ D*r$!%)r, %-$r$ "r$ %-r$$ ."*+ "&'*$+!$# f)r G)" H*//( Tr*b$:

1. People who had been interviewed in Goa 2. People who knew them 3. Likeminded people from all over the world

Awardsetc.

Webby HonoureeSXSW FWA Site of the Day

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theteam

WEBSITE

Darius DevasDirector, Camera & Editor

Paul RuddExecutive Producer

CONTENT

Steve BondSound

Thierry BledProducer

Sophie Seaborn & Gabrielle JonesProduction Managers

Ester HardingPost-Production Coordinator

Maria MooreHead of Production

matucha FreeSound/ kevinkacethereelfryboy

SBS Online.

Karen ShawAdditional Research

Stephen BoyleLegal

links&resources

www.beingfilms.com

www.facebook.com/

vimeo.com/goahippytribe www.youtube.com/user/

www.freehandtv.com.au www.sbs.com.au/goahippytribe

references www.monpamplemousse.wordpress.com/page/3/A

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G+& H#,," Tr#b) Case Study was prepared by:

anthea foyer antheafoyer.com @antheafoyer

contactus

TMC R)-+/r%) K#$info@tmcresourcekit.com

tmcresourcekit.com

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0) G+& H#,," Tr#b) Case Study is released under a NonCommercial ShareAlike Creative Commons license to be shared, remixed and expanded non-­‐commercially, as long as you credit the TMC Resource Kit, the creator of the Case Study, Anthea Foyer or Dr. Siobhan O’Flynn, and license your new creations under the identical terms. Images from third parties (IE. Goa Hippy Tribe) retain original copyright.