Who is cashing in on TikTok’s growing popularity in the Middle East?

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Updated 06 January 2023
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Who is cashing in on TikTok’s growing popularity in the Middle East?

  • Arab News takes a look at whether the platform’s investment in content creators is paying off and who ultimately benefits the most from it
  • Several high-profile creators have criticized TikTok over its Creator Fund; one major complaint is that the pool of money remained the same as the number of creators increased

DUBAI: With more than 100,000 influencers active on TikTok globally in 2020, according to Statista, the short-form video app has increasingly positioned itself as a potentially lucrative social media platform for content creators.

Creators often describe the app’s editing capabilities and binge-worthy content style as especially appealing, luring them away from other popular platforms such as Instagram and Facebook.

Along with this shift in platforms, there has also been a move away from the use of the word “influencer,” to be replaced by “creator.” The former conjures up images of lavish holidays, luxury fashion and a type of aspirational lifestyle that can leave followers feeling inadequate about their own lives.

“The term ‘influencer’ has become outdated, with many social media stars preferring ‘creator,’” Harry Hugo, the co-founder of The Goat Agency told The Drum. “Why? Top creators aren’t just posting aesthetic content; they do so much more.”

In other words, for a creator to be successful it is imperative that they post authentic and helpful content and do not simply aim to “influence” an audience.

Xzit Thamer, a creator in Saudi Arabia, focuses on gaming and mostly posts content related to Grand Theft Auto. He quit his day job in 2020 to focus on creating content for TikTok.

“I never knew back then I would reach 7 million followers and be one of the top gaming content creators in the Middle East,” he told Arab News.

TikTok is certainly having its moment in the sun but this is more than just a passing fad, experts believe. The platform’s popularity appears to be sustainable, according to Natasha Hatherall-Shawe, founder and CEO of marketing agency TishTash.

“The simplicity of TikTok’s mission,” which is to capture the attention of audiences with short videos, has “superseded other platforms” such as Meta’s Facebook and Instagram, which are now trying to play catch-up by introducing features such as Reels, she told Arab News.

According to Thamer, who has been creating content for nine years: “TikTok is the best platform for content creators.”

With top creators capable of building such large audiences, TikTok understandably invests in them through programs such as the Creator Fund, which directly rewards selected creators. In the Middle East and North Africa region, the platform also launched its Creator Hub program in the UAE and Egypt in September 2022 to help identify talented creators and connect them with mentors and experts who can support their development and nurture their skills.

But several high-profile creators have criticized TikTok over its Creator Fund. One of the main complaints is that the pool of available money has remained much the same even while the number of creators continued to increase.

Popular creator Hank Green, who has more than 7 million followers on TikTok, called out the platform in a video uploaded to YouTube. In it, he acknowledged that TikTok is “tremendously powerful” and “extremely well designed” but accused it of “dramatically underpaying creators.”

TikTok isn’t the first or the only platform to offer direct financial rewards to certain creators. Several social media platforms, including YouTube and Instagram, offer special initiatives for creators but some experts say this is not always a good thing and question their value.

“YouTube is notoriously stingy with the revenue it shares with creators and TikTok is not much different,” said Hatherall-Shawe.

While “creator programs benefit the platform at a micro level,” she added, “it is definitely hard to feel justified in the revenue received as a creator directly from the platform.”

This is why it is important for creators to consider alternative monetization opportunities on the back of their TikTok fame, said Hatherall-Shawe.

One such opportunity is brand collaboration. The cost to a brand of recruiting a creator to collaborate on a campaign, or even a single post, on TikTok can vary widely. Although the social media and influencer industries are strictly licensed in Gulf countries, it is still something of a “wild west” situation in which the cost to a brand of a single post from a popular creator can be upwards of $4,000, said Hatherall-Shawe.

By way of an example, Mohammed Ghadour, who spends four hours every day creating TikTok videos, earns between $1,000 and $3,000 a month, according to a report by the BBC.

Aside from the possibility of brand collaborations, Hatherall-Shawe said, TikTok also provides tools designed to help creators make more money directly from their own content. Last year, for example, the platform introduced a “tip jar” feature through which fans can send cash tips to creators.

It also unveiled “video gifts,” a mechanism for viewers to send creators virtual gifts and coins. These can be redeemed for TikTok’s digital currency, “diamonds,” which in turn can be converted to cash. And, of course, popular creators can also use the fame they achieve on TikTok to sell their own merchandise or business-related offerings to followers.

“TikTok as a search engine for retail is hugely powerful,” said Hatherall-Shawe. “For many consumers, it is the first port of call for being influenced by fashion, beauty, sports, food and household items that are then purchased via direct channels publicized within the content.”

In May last year, the platform announced a new feature, TikTok Pulse, for sharing advertising revenue with leading creators. To qualify, a creator must have content in the top 4 percent of best-performing videos, have at least 100,000 followers, be over the age of 18, and have posted at least five videos in the past 30 days. Creators meeting all of these criteria receive 50 percent of the revenue from adverts appearing alongside their content.

Taking all of this into account, it is hard to see any downside for creators to prioritizing TikTok over other platforms, particularly for “short-form video content, especially in the fun, food, family and entertainment space — the type of content that is best received in the Arab world at the moment,” Hatherall-Shawe said.

She also pointed out that social media platforms, though extremely well-funded, are not always profitable, and that quantity usually takes priority over quality.

“These platforms are built on a model of user acquisition at all costs and keeping viewers’ eyeballs within their native apps as much as possible — it’s a volume game,” she added.

When leading creators gain enough of a following on TikTok to collaborate directly with brands, they can potentially earn thousands of dollars for a single post, none of which goes to the platform that helped them raise their profile. But that does not mean it is losing out on the deal.

“While a creator will outperform the platform financially as an individual, as a whole business, TikTok is certainly in the lead here,” said Hatherall-Shawe.


US media experts demand review of New York Times story on sexual violence by Hamas on Oct. 7

Updated 54 min 19 sec ago
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US media experts demand review of New York Times story on sexual violence by Hamas on Oct. 7

  • 64 American journalism professionals sign letter accusing the newspaper of failing to do enough to investigate and confirm the evidence supporting the allegations in its story
  • It concerns a story headlined ‘Screams Without Words: Sexual Violence on Oct. 7’ that ran on the front page of the newspaper on Dec. 28

CHICAGO: Sixty-four American journalism professionals signed a letter sent to New York Times bosses expressing concern about a story published by the newspaper that accused Palestinians of sexual violence against Israeli civilians during the Oct. 7 attacks.
It concerns a story headlined “Screams Without Words: Sexual Violence on Oct. 7” that ran on the front page of the newspaper on Dec. 28 last year.
In the letter, addressed to Arthur G. Sulzberger, chairperson of The New York Times Co., and copied to executive editors Joseph Kahn and Philip Pan, the journalism professionals, who included Christians, Muslims and Jews, demanded an “external review” of the story.
It is one of several news reports by various media organizations that have been used by the Israeli government to counter criticisms of the brutal nature of its near-seven-month military response to the Hamas attacks, during which more than 34,000 Palestinians have been killed and most of the homes, businesses, schools, mosques, churches and hospitals in Gaza have been destroyed, displacing more than a million people, many of whom now face famine.
The letter, a copy of which was obtained by Arab News, states that “The Times’ editorial leadership … remains silent on important and troubling questions raised about its reporting and editorial processes.”
It continues: “We believe this inaction is not only harming The Times itself, it also actively endangers journalists, including American reporters working in conflict zones, as well as Palestinian journalists (of which, the Committee to Protect Journalists reports, around 100 have been killed in this conflict so far).”
Shahan Mufti, a journalism professor at the University of Richmond, a former war correspondent and one of the organizers of the letter, told Arab News that The New York Times failed to do enough to investigate and confirm the evidence supporting the allegations in its story.
“The problem is the New York Times is no longer responding to criticism and is no longer admitting when it is making mistakes,” he said. The newspaper is one of most influential publications in the US, he noted, and its stories are republished by smaller newspapers across the country.
This week, the Israeli government released a documentary, produced by pro-Israel activist Sheryl Sandberg, called “Screams Before Silence,” which it said “reveals the horrendous sexual violence inflicted by Hamas on Oct. 7.” It includes interviews with “survivors from the Nova Festival and Israeli communities, sharing their harrowing stories” and “never-before-heard eyewitness accounts from released hostages, survivors and first responders.”
In promotional materials distributed by Israeli consulates in the US, the producers of the documentary said: “During the attacks at the Nova Music Festival and other Israeli towns, women and girls suffered rape, assault and mutilation. Released hostages have revealed that Israeli captives in Gaza have also been sexually assaulted.”
Critics have accused mainstream media organizations of repeating unverified allegations made by the Israeli government and pro-Israel activists about sexual violence on Oct. 7, with some alleging it is a deliberate attempt to fuel anti-Palestinian sentiment in the US and help justify Israel’s military response.
Some suggest such stories have empowered police and security officials in several parts of the US to crack down on pro-Palestinian demonstrations, denouncing the protesters as “antisemitic” even though some of them are Jewish.
New York Mayor Eric Adams, for example, asserted, without offering evidence, that recent protests by students on college campuses against the war in Gaza had been “orchestrated” by “outside agitators.”
Israeli Prime Minister Benjamin Netanyahu has said the protests against his country’s military campaign in Gaza are antisemitic in nature.
Jeff Cohen, a retired associate professor of journalism at Roy H. Park School of Communications at Ithaca College, told Arab News The New York Times story was “flawed” but has had “a major impact in generating support for Israeli vengeance” in Gaza.
He continued: “Israeli vengeance has claimed the lives of tens of thousands of civilians. That’s why so many professors of journalism and media are calling for an independent investigation of what went wrong.
“That (New York Times) story, along with other dubious or exaggerated news reports — such as the fable about Hamas ‘beheading babies’ that President Biden promoted — have inflamed war fever.”
Cohen said the US media “too often … have promoted fables aimed at inflaming war fever,” citing as an example reports in 1990 that Iraqi soldiers had removed babies from incubators after their invasion of Kuwait. The assertions helped frame anti-Iraqi public opinion but years later they were proved to be “a hoax,” he added.
“On Oct. 7, Hamas committed horrible atrocities against civilians and it is still holding civilian hostages,” Cohen said. “Journalists must tell the truth about that, without minimizing or exaggerating, as they must tell the truth about the far more horrible Israeli crimes against Palestinian civilians.
“The problem is that the mainstream US news media have a long-standing pro-Israel bias. That bias has been proven in study after study. Further proof came from a recently leaked New York Times internal memo of words that its reporters were instructed to avoid — words like ‘Palestine’ (‘except in very rare cases’), ‘occupied territories’ (say ‘Gaza, the West Bank, etc.’) and ‘refugee camps’ (‘refer to them as neighborhoods, or areas’).”
Mufti, the University of Richmond journalism professor, said belligerents “on both sides” are trying to spin and spread their messages. But he accused Israeli authorities in particular of manipulating and censoring media coverage, including through the targeted killing of independent journalists, among them Palestinians and Arabs, and said this was having the greatest impact among the American public.
“Broadly speaking, a lot of the Western news media, and most of the world news media, do not have access to the reality in Gaza,” he said. “They don’t know. It is all guesswork.
“They are all reporting from Tel Aviv, they are reporting from Hebron, they are reporting from the West Bank. Nobody actually knows what the war looks like. It is all secondhand information.
“Most of the information is coming through the Israeli authorities, government and military. So, of course, the information that is coming out about this war is all filtered through the lens of Israel, and the military and the government.”
Mufti said the story published by The New York Times “probably changed the course, or at least influenced the course, of the war.”
He said it appeared at a time when US President Joe Biden was pushing to end the Israeli military campaign in Gaza “and it entirely changed the conversation. It was a very consequential story. And it so happens it was rushed out and it had holes in it … and it changed the course of the war.”
Mohammed Bazzi, an associate professor with the Arthur L. Carter Journalism Institute at New York University, told Arab News the letter demanding an “external review” of the story is “a simple ask.”
He added: “This story, and others as well, did play a role” in allowing the Israeli military to take action beyond acceptable military practices “and dehumanize Palestinians.” Such dehumanization was on display before Oct. 7, Bazzi said.
“In the Western media there seemed to be far less sympathetic coverage of Palestinians in Israel’s war in Gaza as a consequence of these stories,” he continued.
“We have seen much less profiles of Palestinians … we are beyond 34,000 Palestinians killed but we don’t have a true number or the true scale of the destruction in Gaza — there could be thousands more dead under the rubble and thousands more who will die through famine and malnutrition. This will not stop, as a consequence of what Israel has done.”
Bazzi said the Western media has contributed to the dehumanization of Palestinians more than any other section of the international media, while at the same time humanizing the Israeli victims.
“The New York Times has a great influence on the US media as a whole and sets a standard” for stories and narratives that other media follow, which is “more pro-Israel and less sympathetic to Palestinians,” he added.
Bazzi, among others, said The New York Times has addressed “only a handful of many questions” about its story and needs to do more to present a more accurate account of what happened on Oct. 7.
The letter to New York Times bosses states: “Some of the most troubling questions hovering over the (Dec. 28) story relate to the freelancers who reported a great deal of it, especially Anat Schwartz, who appears to have had no prior daily news-reporting experience before her bylines in The Times.”
Schwartz is described as an Israeli “filmmaker and former air force intelligence official.”
Adam Sella, another apparently inexperienced freelancer who shared the byline on the story, is reportedly the nephew of Schwartz’s partner. The only New York Times staff reporter with a byline on the story was Jeffrey Gettleman.
Media scrutiny of the story revealed that “Schwartz and Sella did the vast majority of the ground reporting, while Gettleman focused on the framing and writing,” according to the letter.
The New York Times did not immediately respond to requests by Arab News for comment.


Creative tech agency Engage Works to launch in Saudi Arabia

Updated 02 May 2024
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Creative tech agency Engage Works to launch in Saudi Arabia

  • Representation at the Saudi Entertainment and Amusement Expo 2024

DUBAI: Creative technology agency Engage Works has announced its expansion into Saudi Arabia with the acquisition of a new trade license in the Kingdom.

Steve Blyth, founder and group CEO of the agency, told Arab News: “Saudi Arabia feels like the center of the universe right now for the creation of cultural destinations and immersive experiences.

“We get to work on projects that probably wouldn’t happen anywhere else in the world right now. The wealth of untapped cultural assets the Kingdom wants to bring to life — for new, young and international audiences — is unsurpassed.”

The agency will be represented at the Saudi Entertainment and Amusement Expo 2024, which takes place at the Riyadh Front Exhibition and Conference Center from May 7-9.

Alex McCuaig, Engage Work’s strategy director, said: “This is a great opportunity for us to showcase our expertise in creating immersive experiences and to collaborate with other industry leaders to drive innovation and engagement in the region.”

The agency has already won several projects in the Kingdom and will be opening an office in the country in the coming months, he added.

Engage Works currently has premises in London and Dubai, and its clients include Emirates, Accenture, Google, KPMG, Microsoft, and EY.


TikTok announces new safety measures

Updated 02 May 2024
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TikTok announces new safety measures

  • Features aimed at enhancing safer content creation and sharing

DUBAI: TikTok has announced a slew of safety updates to enhance content creation and sharing on the platform.

The company said the features were designed to provide better transparency and help creators learn about its policies and check their account status.

Adam Presser, head of operations, said: “Creators play a fundamental role in helping maintain a safe and entertaining environment for everyone on TikTok.

“We focus on empowering people with information about our policies and tools so they can safely express themselves and connect with others.”

Effective this month, TikTok’s community guidelines have been updated to include refined definitions and more detailed explanations of the platform’s policies, such as those concerning hate speech and health misinformation.

They also feature expanded guidelines on the moderation of features such as Search, Live and the For You feed.

The platform is revising its eligibility standards for the feed. For example, accounts that repeatedly post content that goes against the standards for the feed might become temporarily ineligible for recommendation, making their content harder to find in searches.

The creators behind these accounts will be notified and be able to appeal the decision.

In order to help people better understand its policies TikTok will issue a warning when a creator violates community guidelines for the first time. This will not count toward the account’s strike tally.

The platform will notify creators of any violations and provide details about which rules they have breached and allow them to appeal the decision if needed.

However, policies that are considered zero tolerance, such as incitement to violence, are not eligible for such reminders and accounts violating them will be banned immediately.

Building on the account status page introduced last year, TikTok is launching an account check tool that will allow creators to review their last 30 posts and account status in one place.

It will also roll out a creator code of conduct in the coming weeks, which sets expectations for creators involved in programs, features, events and campaigns to follow both on and off-platform.

Presser said the standards were being introduced because the company “believes that being a part of these programs is an opportunity that comes with additional responsibilities.”

“This code will also help provide creators with additional reassurance that other participants are meeting these standards too,” he said.


Media watchdog says journalists should be allowed to cover college protests safely

Updated 02 May 2024
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Media watchdog says journalists should be allowed to cover college protests safely

  • Journalists said they have been barred from reporting on events

LONDON: Media watchdog Committee to Protect Journalists has called on authorities to allow journalists covering US college protests to do so “freely and safely.”

“Journalists — including student journalists who have been thrust into a national spotlight to cover stories in their communities — must be allowed to cover campus protests without fearing for their safety,” said Katherine Jacobsen, the CPJ’s US, Canada and Caribbean program coordinator.

“Any efforts by authorities to stop them doing their jobs have far-reaching repercussions on the public’s ability to be informed about current events.”

Tensions have escalated between pro-Palestinian demonstrators and law enforcement during recent protests at universities across the US.

On Tuesday night, New York police equipped with anti-riot gear forcibly entered Columbia University’s Hamilton Hall, a focal point of the protests, resulting in the arrest of approximately 300 pro-Palestinian students.

Meanwhile, student journalists at the University of California in Los Angeles reported being assaulted and exposed to gas during violent clashes. In Northern California, local journalists covering college demonstrations were detained and arrested by police.

The CPJ said at least 13 journalists had been arrested or detained since the start of the Israel-Hamas war on Oct. 7 and 11 have been assaulted while covering related protests in the US. 

Those arrested include FOX 7 reporter Carlos Sanchez, who was shoved to the ground last month while covering a protest at the University of Texas in Austin. He is currently facing two misdemeanor charges.


Universal Music Group artists to return to TikTok after new licensing pact

Updated 02 May 2024
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Universal Music Group artists to return to TikTok after new licensing pact

  • New deal to restore label’s song to platform, increase artists’ protection from AI
  • Universal Music says TikTok accounts for 1 percent of its annual revenue in 2023

LONDON: Universal Music Group and TikTok said on Thursday they had reached a new licensing agreement that will restore the label’s songs and artists to the social media platform as well as give musicians more protections from artificial intelligence.
TikTok began removing Universal’s content from its app after their licensing deal expired in January and the two sides failed to reach agreement on royalties, AI and online safety for TikTok’s users.
Describing their new pact as a multi-dimensional deal, the companies said they were working “expeditiously” to return music by the label’s artists to TikTok, and also said they would team up to realize new monetization opportunities from TikTok’s growing e-commerce capabilities.
They will “work together on campaigns supporting UMG’s artists across genres and territories globally,” the two firms said in a joint statement.
The short video app is a valuable marketing and promotional tool for the music industry. TikTok is where 16- to 19-year-olds in the United States most commonly discover music, ahead of YouTube and music streaming services such as Spotify , according to Midia Research.
“Roughly a quarter of US consumers say they listen to songs they have heard on TikTok,” said Tatiana Cirisano, Midia’s senior music industry analyst.
However, Universal Music claimed its artists and songwriters are paid just a fraction of what it receives from other major social media platforms.
The music label says TikTok accounts for 1 percent of its annual revenue or about $110 million in 2023. YouTube, by contrast, paid the music industry $1.8 billion from user-generated content in the 12 months ending in June 2022, according to Midia.
In a move that may well have eroded its bargaining power, Taylor Swift, one of Universal Music’s biggest acts, allowed a selection of her songs to return to TikTok as she promoted her latest album, “The Tortured Poets Department.”
Swift owns the copyrights to her recordings through her 2018 deal with Universal and can control where her songs are available, according to the Financial Times.
As licensing negotiations resumed in recent weeks, AI remained a major point of contention. Universal has claimed TikTok is “flooded” with AI-generated recordings, including songs that users create with the help of TikTok’s AI songwriting tools.
In Thursday’s deal, TikTok and Universal said that they would work together to ensure AI development across the music industry will protect human artistry and the economics that flow to those artists and songwriters.
“TikTok is also committed to working with UMG to remove unauthorized AI-generated music from the platform, as well as (developing) tools to improve artist and songwriter attribution,” the statement said.
Concerns about AI have grown in the creative community. In April, a non-profit group called the Artist Rights Alliance published an open letter urging the responsible use of the technology. The group of more than 200 musicians and songwriters called on technology companies and digital music services to pledge not to deploy AI in a way that would “undermine or replace the human artistry of songwriters and artists or deny us fair compensation for our work.”
The deal comes amid questions over TikTok’s long-term future in the United States. President Joe Biden signed legislation last week that gives TikTok’s Chinese owner, ByteDance, 270 days to sell its US assets. TikTok has vowed to file suit to challenge the legislation, which it calls a ban.
More than 170 million Americans use its video service, according to TikTok. Globally, it has more than 1.5 billion monthly active users, according to research firm Statista.