This project analyses the role of social media and small media use during the ongoing Anglophone crisis in Cameroon by projecting social media as a product of new ICTs used to bring positive social change. An argument is raised to address some of the inadequacies that have centered around social media and protest with a focus on the Anglophone crisis. Questions aim at highlighting the positive and negative role of social media use, the role played by the Cameroonian diaspora’s “online activism” and how small media use served as an alternative medium in maintaining crisis status quo during the internet ban. The study suggests a combination of social and small media for community development and social change using theories of media affordances and participation in combination with qualitative ethnographic research methods (participant observation, interviews and online survey). It concludes that even though social media are very powerful tools for information sharing, their shortcomings in protests cannot be overlooked as the success of online activism greatly relies on offline action and the use of small media greatly complements social media use as platforms for alternative discourse. The research concludes that social media (online) activism without ground action (offline) is not enough to achieve development and social change. Key words: ICT4D, Social media, small media, activism, diaspora.

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This ethnography examines the processes in which rooted but overlapping forms of cosmopolitan engagements implicate the Tausug imagination of collectivity. It investigates Tausug expression of connection and belonging as they find themselves entangled into global cultural flow and caught up in the state and secessionist politics of attachment. Utilising methodological and theoretical approaches engendered by visual and material anthropology, the ethnography locates rooted cosmopolitan imagination in the works and lives of creative but marginalised and often silenced Tausug cultural agents engaged in street-based production, circulation, and consumption of popular music and dance videos on compact discs. The ethnography follows these cosmopolitan expressions as they are being imagined, embodied, reproduced, and shared by and across Tausug communities in the Zamboanga peninsula, the Sulu archipelago, and beyond through the digital spaces of the internet and cross-border flow of the videos. How the translocality of imaginaries reflected on the videos play out in everyday life and the broader politics of representation are demonstrated here as vital to the understanding of Tausug imagined community as an open, flexible, and dynamically engaging Muslim society despite long-standing political turbulence and economic uncertainty in their midst. Saliently, the thesis argues that Tausug cosmopolitanism cannot be reduced into a phenomenon driven by the expansive currents of Western-led globalisation. Rather, Tausug cosmopolitanism constitutes both continuity of and departure from past forms of translocal connections of Zamboanga and Sulu, which as a region was once integrated to a pre-colonial Southeast Asian emporium and continually through varying ways of connectedness. Old and new global processes come into play in shaping the everyday production of Tausug imaginaries inevitably rendering Tausug identity formation as a trajectory rather than an unchanging fact of being. Drawing from the Tausug ethnographic experience, the thesis contends that rooted cosmopolitanism does not necessarily constitute a singular condition but rather a contested and distinctively multifaceted phenomenon.