Action IEC was not the first to launch mobile show strategies in the country. The initial idea of developing large and powerful mobile shows that are commonly used today came to us from a variety of perspectives. But at the start, in 1996, as we were filming 'An Army of Peace', we saw the CMAC teams that deployed a small pick-up truck and at the back of it, a small tv set with a set of speakers. In minutes, the CMAC had attracted over 3 to 400 people. It was truly amazing to see the avid looks on the faces of these remote people. At the back where we stood along the last rows, we could not even hear the sound. Yet people were still there, gazing at the mine warning productions. Then Kosal told me about the traditions of mobile shows and how his own father had taken up this task after the Khmer Rouge. Chheng Phon as Minister of Culture under teh Vietnamese rule had used the lost mobile theater tradition to simultaneously revive the arts in the provinces and train a new set of classical artists. The idea was brilliant and inspired us to develop educational mobile shows that would rely on the promotion of culture and Cambodian arts to deliver powerful and needy educational messages.

Soon after, with Marie Stopes International and UNFPA, we set out to develop the first major mobile shows. It was such a hit that our first implementation partners PSI then got a huge boost from UNFPA and developed their own MVU (Mobile Video Units). The trend was set. Today, most of the important media outreach providers rely at some stage or another on the art of mobile education media. We are proud to have contributed to this in a way that media do not only rely on centrralised mass broadcasts that do not reach the media 'Blackholes'. We continue to develop different models that fit all types of budgets, from the specifically targeted to the national ones.