Alternative forms are one aspect of peace journalism, and it was preached to most in Morocco with the film “475” and in Sri Lanka with Jean Arasanayagam’s poems.
The “475” documentary is a bold inside look to rape and the abuse of women in Morocco and the country’s laws that indirectly guard the perpetrators from being prosecuted.
It was directed and produced by an inspiring young woman, Houda, who was a rape victim and now dedicates her efforts to giving Moroccan women a voice.
Though documentaries are placed in their own category of journalism, they could easily overlap into one of the platforms peace journalism utilizes. It is also an example of using attachment to a situation instead of being the objective observer.
The way it counters peace journalism is the victimization it portrays instead of weighing both sides of the issue. One message captured by an interviewee in the film, however, is no one ever asked the women for their side of the story until “475.”
The director also said the film is risky, because the societal codes wire women to handle this abuse “like everything else here, you just do it and don’t say anything.”
When writing stories from both sides, there must be preparation for approaching this type of silencing found in various groups in societies. Questioning the voiceless is challenging, however writing their story is essential.
The other alternative example was the defiant and active phrases Arasanayagam used to bring her country’s issues to light through her poetry.
In one of her poems she asked, “how will you write peace?”
To write effectively, she said you must be open to everything around you and remember that no matter where it is written, it is applicable to all.
The beauty of her philosophy is she feels carefree, un-censored, because she goes unrecognized and unaccepted by politicians. She said they don’t read her, but it doesn’t matter. A two to three person congregation is enough.
Though reaching the masses or at least people with authority is an important step to changing issues, Arasanayagam taps into her own right to do what she can to spread the message of war and suffering.
If peace activist artists like her are to succeed in expanding their congregation, it is important to receive publicity and attention. There must be a shift to respect and analyze platforms like poetry or documentaries with the same value as other journalistic platforms.
Alternative mediums can be just as affective as mainstream ones, if not more, however there is a serious demand for people to acknowledge them as such.
The “475” documentary is a bold inside look to rape and the abuse of women in Morocco and the country’s laws that indirectly guard the perpetrators from being prosecuted.
It was directed and produced by an inspiring young woman, Houda, who was a rape victim and now dedicates her efforts to giving Moroccan women a voice.
Though documentaries are placed in their own category of journalism, they could easily overlap into one of the platforms peace journalism utilizes. It is also an example of using attachment to a situation instead of being the objective observer.
The way it counters peace journalism is the victimization it portrays instead of weighing both sides of the issue. One message captured by an interviewee in the film, however, is no one ever asked the women for their side of the story until “475.”
The director also said the film is risky, because the societal codes wire women to handle this abuse “like everything else here, you just do it and don’t say anything.”
When writing stories from both sides, there must be preparation for approaching this type of silencing found in various groups in societies. Questioning the voiceless is challenging, however writing their story is essential.
The other alternative example was the defiant and active phrases Arasanayagam used to bring her country’s issues to light through her poetry.
In one of her poems she asked, “how will you write peace?”
To write effectively, she said you must be open to everything around you and remember that no matter where it is written, it is applicable to all.
The beauty of her philosophy is she feels carefree, un-censored, because she goes unrecognized and unaccepted by politicians. She said they don’t read her, but it doesn’t matter. A two to three person congregation is enough.
Though reaching the masses or at least people with authority is an important step to changing issues, Arasanayagam taps into her own right to do what she can to spread the message of war and suffering.
If peace activist artists like her are to succeed in expanding their congregation, it is important to receive publicity and attention. There must be a shift to respect and analyze platforms like poetry or documentaries with the same value as other journalistic platforms.
Alternative mediums can be just as affective as mainstream ones, if not more, however there is a serious demand for people to acknowledge them as such.
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