Gender Sensitization &

Technical Capacity Building Training

Workshops of Radio Staff

OBJECTIVES OF THE TRAINING MODULE

Create awareness of radio production team from across the country on gender issue.

Pool up Radio producers, presenters/writers undertaking advocacy on gender equality & equity through their respective spheres of influence in policy/planning implementation.

Appraisal of production team in raising awareness of the target audience from across the country on the issue of gender equity and equality through meaningful and effective radio formats.

Keep abreast the production staff of modern tools and techniques of broadcasting and the challenges ahead of them.

SESSION 01-GENDER BROADCASTING

1.1 Community Broadcast for Gender Sensitization and Development

1.2 Idea formulation-Sources of ideas on Gender Issues

1.3 An Idea on Gender Issue, How to transform it into a program? (Program Planning)

1.4 Development Campaign1.5 Question Answer

SESSION 02 - EMERGING CONCEPTS OF RADIO PRODUCTION2.1 Ethics, Objectives and Limitations of

Media-Broader Guidelines2.2 Sensationalism2.3 Documentary (New concepts of radio

Documentary) 2.4 Talk Shows Vs Discussion Programs (What

make them different?)2.5 Question Answer

SESSION 03 - REFURBISHING THE TRADITIONAL TOOLS & TECHNIQUES IN GENDER PERSPECTIVES3.1 Children Stories (the art of storytelling)3.2 Radio Portrait (another way to present

talk)3.3 Public Service Messages (copy writing and

treatment)3.4 Question Answer

SESSION 04 - ACTIVITY

4.1 Planning a catchy program on gender issue (GROUP ACTIVITY / PRESENTATION)

SESSION 01

GENDER BROADCASTING

COMMUNITY RADIO

“From Wikipedia, the free encyclopedia”

“Community Radio is a Radio Service offering a third mode of radio broadcasting, in addition to

commercial and public broadcasting”.

Serving geographic communities and communities of interests.

Content is popular and relevant to a local, specific audience.

Operated owned and influenced by the communities.

Generally run on no profit basis (no commercial).Enabling individuals, groups and communities to

voice their hearts, shares experiences and to become creators and contributors of media.

Vehicle for the community & the voluntary sector, civil society, agencies, NGO’s and citizens to achieve further community development aims.

Should be 10% radio & 90% community. It involves & empowers community to explore

sense of identity to reflect positive aspects.

COMMUNITY/ ISSUE BASED BROADCAST FOR GENDER

SENSITIZATION

“Community/ Issue based radio has an obligation to redress the imbalance; facilitate women’s

involvement at all levels of decision-making and programming; ensure that women’s voices and

concerns are part of the daily news agenda; ensure that women are portrayed positively as active

members of society; and support women acquire the technical skills and confidence to control their

communications”.

(Gender Policy for Community Radio, by AMARC-WIN International,)

HINDERENCESTraditionsReligion Attitudes Political situationThe term “gender” does not translate well in local

languages.News is told largely through the eyes, voices and

perspective of the men (Media Watch groups)The coverage of incidents of violence against women is

usually seen flawed carrying prejudices, inapt language and underreporting.

EXAMPLESNepal Indonesia India – community radio operated by SEWA (Self

Employed Women’s Association)Bangladesh CambodiaKyrgyz RepublicLaos Srilanka

GENDER ISSUE IN PAKISTAN (MEDIA PERSPECTIVE)Gender disparity (socio-economic, political

spheres)Biased Portrayal of women in print and electronic

media, reports and features.Biased hypothesis (dependent and less

enlightened, lack of sagacity).Percentage of coverage

BEIJING PLATFORM FOR ACTION 1995

To increase women’s participation and access to expression and decision making in and through the media and new technologies of communication.

To promote a balanced and non-stereotyped portrayal of women and girls in the media; encourage gender-sensitive training for media professions; and to take effective measures against pornography.

CONCLUSION

Gender training for media personnel to:-

Recognition, promotion and projection.Analyze (facts, issues and data from a

gender perspective). Balancing of women voice.

IDEA FORMULATION, SOURCES OF IDEAS ON

GENDER ISSUES

DICTIONARY MEANINGS

“thought, picture plan or design, opinion, feeling”“Something, such as a thought or conception,

that potentially or actually exists in the mind as a product of mental activity”.

“A plan, scheme, or method”.

Ideas emanate from feeling of being something possible. This in turn flares up thinking process which creates a mind picture.

SOURCES OF IDEAS FROM EXPERIENCES

FIRST HAND• Situations• Association (sensibility

& past notions)• Observation, induction

and deduction• Intuition • Infancy experiences

SECOND HAND • Values • Mass Media• Museum, archaeological

heritage, culture• Fine Arts • Leaving authorities• Folk lore

One can have first hand experience in the situations of conflict with current norms and cross experiences.

Creativity means to draw what is invisible into vision (conversion of an abstract idea in to concrete one).

Correlate conceived idea with previous experiences of listeners.(Common frame of reference)

Communication is accomplished through message received; understood keeping in view needs of target audience and its proper feedback. Needs can be identified with the help of various agencies, departments and NGO’s.

AN IDEA ON GENDER ISSUE, HOW TO TRANSFORM IT

INTO A PROGRAM (PROGRAM PLANNING)

OUTLINES OF A COMMUNITY BASED PROGRAM ON

GENDER ISSUES

GENERAL PROBLEMS

Socio-economic & cultural potentialities of the country. Social Economic Cultural Religious

Role of Women in overall economy of the country.

Career opportunities and barriers in employment

GENERAL PROBLEMS

Training opportunities ( vocational, kitchen gardening, poultry, live stock(90% women in this field in Sindh, and75 % overall in Pakistan)farming, fisheries etc ) .

Issues arising from customary practices in other prevalent negative gender practices

COMMUNITY COPING UP PRACTICES

Self help.Collective actions.Female education concepts.Women organizations.Voluntary work.Civil Society Partners/organisationsPositive contributions from Government;

including change in policies and women friendly laws

COMMUNITY COPING UP PRACTICES

Gender based Issues prevalent in the community

Early marriages Exchange marriages. Acid throwing. Street crimes. Influence of peer group.

FAMILY LIFE

Traditional.Family relations.Child development.

LAW PRACTICES

Traditional.Family relations.Child development.

TRANSFORMATION OF AN IDEA INTO A PROGRAM (PROGRAM PLANNING)

Generate IdeaFormatTarget audienceLanguageTime of broadcastDurationFrequencyLocal/networkScope of main titleSub-titles( with brief scopes)

Assign topics to the contributing stations with brief scopes in case of Network idea

Selection of voicesProposed contributors/Talent pool(with

credentials, addresses, contacts)Budget estimateApprovalProposalsProduction/Presentation

DEVELOPMET CAMPAIGN

WHAT IS A CAMPAIGN?

A campaign is coordinated use of different modes of communication aimed at focusing attention on a particular problem and its solution over a period of time.

It must be noted that not all problems are adaptable to campaign treatment. To determine whether or not a campaign is justified, the following questions may be kept in mind.

WHAT IS A CAMPAIGN?

1. Is the problem important to a large number of people?

2. Can a definite time limit be set for the duration of the campaign?

3. Is it possible to establish campaign goals & to measure progress towards these goals?

PLANNING A DEVELOPMENT CAMPAIGN

1. Successful implementation of any campaign strategy is largely dependent on the approaches. Certain generalization may be formulated to serve as guidelines for planning and implementing the campaign strategy. These are based on available research data on the target audience, the message, the channel and the source.

2. Planning and implementing campaign strategies follow certain systematic steps, These are:-

Determine the area of concern. Among the areas of concern may include Gender development programs including the following GEP objectives;

Enhancing Gender Equity by expanding women’s access to justice and women human rights.

Increasing women empowerment by expanding knowledge of their rights and opportunities to exercise their rights in the workplace, community and home.

Combating Gender Based violence and Strengthening the capacity of Pakistani

organizations that advocate for Gender Equity, women empowerment and the elimination of Gender Based violence.

CONDUCT RESEARCH

Research is a pre requisite for planning any campaign strategy. Data-gathering methods include library research, field survey, formal and informal group interviews with community leaders, and consultations with researchers, planners and decision-makers.

CONDUCT RESEARCH

Data is available with human resources (e.g. number of field-workers or extension agents and community leaders) hardware (e.g. Radio/TV Stations, printing press, etc.), software (e.g. radio/TV Programs, slides, films) and financial resources (e.g. budget allotted by different agencies for communication) are vital. Data to capture the knowledge, attitude practices, needs and aspirations of the target audience is also essential.

DETERMINE TARGET AUDIENCE

Your campaign should appeal to the community that you want to reach. Do you know who these people are? Determine the characteristics of the average intended beneficiary you want to engage.

1. Determine a demographic profile for your target audience. Age: What is the age range of the population

who needs your message? Gender: Which gender would be most

interested in this message? Income: What is the income level? Education: What level of education do they

have? Marital Status: What is their marital or family

status?

2. Determine the values and lifestyle of your target audience. What does your target community value the

most? Where do they get most of their decision-

making information? Are they first responders or followers? Will

your target audience respond to something new, or wait for others to try it first?

3. Determine how you intend your target audience to interact with your message. How will your target audience benefit from

your message? What do they like or dislike about your

message in general? Is this a message they need (helps fill a basic

need, food, shelter, health, education etc) or a luxury ideas (may increase quality of life, but not essential)?

4. Create a target audience profile. Using your answers from the last questions create a prototype person from your target community. Give him or her name, an age, and a job. Does he or she have a family? If so, how many children does he or she have? Where does he or she live? What are her or his interests? How much education does he or she have? Write down the attributes of your prototype person. When developing campaign, keep the prototype

person you created in mind.

DETERMINE SOURCES

The characteristics of the source also determine the effectiveness of communication. The most important characteristics of the source are credibility. Generally the following will strengthen the credibility of the source:-

More knowledge, skill and commitment of the source ensure credibility and reliability.

DETERMINE THE MESSAGEThe message is the easiest to control of all the elements

of communication. Following are some general rules which may increase the effectiveness of the message:-

Message presented either at the start or at the end of the campaign are better retained then those presented at the middle;

Subjective reporting is more effective than factual reporting in increasing knowledge and changing attitudes of audience with less education and knowledge.

DETERMINE THE MESSAGE Message and tool should be

designed/developed/determined in accordance with the target audience.

Celebrity/expert testimonials presented in carefully selected words as per the understanding level of the target audience are highly retainable.

No use of jargons and technical terms Focus should ONLY be on one issue/component.

DETERMINE AVAILABLE RESOURCES The implementation of campaign strategy

largely depends on available resources which include manpower, financial, equipments, facilities and logistics.

DETERMINE NUMBER OF TARGET AUDIENCE To determine the success or failure of a

campaign strategy, specific number of target audience and their location should be made available. The target may be 5,000 working ladies while the location may be 5 districts. Areas which have the necessary resources which can support the campaign should be considered priority areas.

DETERMINE DURATION The duration of the campaign is largely

determined by the scope of the message and the availability of funds.

DETERMINE WHEN TO LAUNCH THE CAMPAIGNTiming is a vital factor for launching a campaign.

Campaign launch may be dependent on following factors:

Political situation Economic situation Law and order situation Traditional and Cultural events Religious events Natural calamities and disasters International and National days

DETERMINE IMPACT ASSESSMENT To determine or assess the impact of the

campaign, monitoring and evaluation are necessary, monitoring refers to the process of determining whether the schedule of activities is followed on time and executed as defined Evaluation refers to the process of determining the impact of the campaign. Results, monitoring and evaluation are recycled regularly to improved strategy.

QUESTION ANSWER

SESSION 02

EMERGING CONCEPTS OF RADIO PRODUCTION

ETHICS, OBJECTIVES AND

LIMITATIONS OF MEDIA-BROADER GUIDELINES

Truthfulness Accuracy Fairness Privacy Respect Objectivity Morality Relevance Self-regulatory(Freedom)

SENSATIONALISM

According to sociologist John Thompson, ” the debate of sensationalism used in mass

medium of broadcasting is based on audience….”

Definition (Wikipedia), “Sensationalism is a type of editorial bias in mass

media in which events and topics in news stories (spoken words) and pieces are overhyped to increase viewership (listenership) or readership numbers.”

DICTIONARY MEANINGS Subject matter, language or style producing or

designed to produce startling or thrilling impression or to excite and please vulgar taste

(Es in journalism) the use of exciting or shocking stories or language at the expense of accuracy, in order to provoke public interest or excitement

OBJECTIVES/CONTENTS Deliberately obtuse Appealing to emotions Controversies Omission of facts and information Self-centered to obtain /attract attention Exaggeration Individual/small group actions Insignificant topics/subjects relative macro-level

events

OBJECTIVES/CONTENTS Procurement of business in view of increased

number of audience Complex subjects and are often twisted into

sensationalism

RADIO DOCUMENTARY

The term “DOCUMENTARY” is derived from French word “DOCUMENTAIRE” means a (Travel Picture).

Concise Oxford dictionary defined it “A film dealing with natural history, Archaeological, industrial, travel, or similar subject usually accompanied by an explanatory talk”.

Webster’s dictionary defines it as “having or claiming to have objective quality, authority or force of documentation in the representation of a scene, place or condition of life or of social or political problem or cause”

A Radio documentary or feature is a purely acoustic performance devoted to cover a particular topic in some depth, usually with a mixture of commentary and sound pictures.

It uses an abundant number of primary sources e.g. music, drama (Docu-Drama), interviews, reports, excerpted documents and Fx.

A real people and real time reference, sharing through interviews.

A narrator explaining or commenting on the visuals and facts and figures.

PURPOSES Propaganda Entertainment Information Education

TO MOTIVATE OTHERS INTO ACTIONS Documentaries are nonfiction. Either narrated or told in the actual words of

participants (perhaps re-enacted dialogues). Based on diaries, letters, Journals, and records

from the archives.etc

REQUIREMENTS Truth. Research. No inventions/non-fiction. Understanding and perspectives/speculations. Facts and figures. Objectivity Factual evidence in its original context and form.

DIFFERENCE BETWEEN TALK AND DOCUMENTARY

TALK• Sound monotony.

• Not suited for facts and

figures.• Lack of personal

involvement.• Appeal limited.

DOCUMENTARY• Variety of sounds. • Amenable to facts and

figures.• More personal

involvement.• Larger appeal due to

dramatic elements.

PLANNING Out line

Objective. Scope Logical development. Language.

Research Information Facts and figures Real people

Contributors Authorities on the

subject. Accessibility. Narrator/

performers/ writer.

PRODUCTION TECHNIQUES Research beforehand Collection of data, background information and

facts Tentative out line script. Clearance from relevant agencies. Recording of insertions. Treatment. Unity of theme is more important than technique. Continuity.

PRODUCTION TECHNIQUES Entertainment. Contrast. Audience oriented/ people oriented. Tone of narrator. Sound effects. Music (opening/ closing, bridging linking).

Silence. Narration. Inserts. Montage. Resources required (writer recoding facility).

DOs & Don’ts when recording and using Actuality Sounds in a documentary (Document + Commentary) CUT IT OUT where there is DOUBT Never change the meaning CUT OUT extraneous words CUT OUT reiterations CUT OUT subordinate clauses (without changing

the meanings Edit to help sound shorter, tighter, and clearer.

Use excerpts or sound bites in different order than the original ones

Always identify the contributor at apt punctuations Avoid later stage re-asks (It can distort ambience) Pursue truth aggressively and present it accurately

in its context Don’t tell the interviewee /contributor what to say Never use sound bites you did not record yourself

at the scene (unless verified)

Don’t use sound effects, sound beds from previous files or fabricated sound (spot effect)

Don’t manipulate sounds in any fashion that is misleading

Don’t present sounds those are re-enacted without informing your listeners

COMPILATION Order of insertions Break long insert to fast the pace. Griping opening using strong statement,

actuality sound, are a montage of sound (don’t use the best peace)

HOW TO CREATE A RADIO DOCUMENTARY IN 9 EASY

STEPS

1. Develop an idea:2. Outline the project and define the details:3. Decide who to approach with the newfound

concept:4. Write a proposal 5. Research:6. Write a script: 7. Record the show: 8. Edit:9. Broadcast:

AFTER THE SHOW: KEEPING THE MESSAGE ALIVE. Listener’s letters, Emails, face book, telephone

calls, audience research cell, and interpersonal communication.

Motivate the listeners for action to get the desired SOCIAL CHANGE.

TALK SHOWS

INTRODUCTION A forum in which society talk about topics, issues and

themes to arrive at certain conclusions. It focuses on host as a central character. The host represents multifaceted styles and approaches

towards the topics based mainly on social encounters or events (RADIO: Khuli Katchehri, Radio mela, Bilmushafa or Radio press conference and many more recently introduced by N.B.S).

Basically emerged out of news and entertainment but with the passage of time it mixed news, public affairs and entertainment.

FORMATS Limited formats. Public affairs talk show may contain limited

authorities, an expert or panel of experts and a news figure.

A Magazine format for a single topic, where as this format is multiple-topics oriented or it may be one or it may be one-on-one host/ guest interview (some time with audience participation).

FORMATS A soft news talk show that mixes news,

entertainment and public affairs could be on single topic.

A special interest news format focuses on economic, sports, home affairs, fashion, psychology, literature etc.

Comedy shows through satirical jocks (taal matol, Moeen Akhter show, Umar Sharif show, Studio Dhai etc.).

Sport show is a talk show in disguise.

THE HOST/ ANCHOR Central, focal point personality/ authority on the

theme The host is the Managing Editor from marketing

point of view and can be termed as “Commodity”.

The anchor characteristically holds the overall control on the show and production crew.

Mushroom growth of FM radio channels in Pakistan (1998).

THE HOST/ ANCHOR National Broadcasting Service. Popular hosts/ anchor persons in Pakistan (to

name of few:- Zia Mohee-ud-din, Tariq Aziz, Yasmeen Tahir,

Moeen Akhtar, Anwar Maqsood, Naeem Bukhari and recently a number of Anchors of talk shows introduced by PBC Current Affairs Channel NBS).

CONCLUSION Talk shows are like daily newspaper which is

oftenly considered as disposable format. Audience/ host/ guest occupy the same

moments; hence repeat broadcast needs extra care.

Highly sensitive to socio-cultural perspectives. In term of host the talk show also carries the tag

of commodity.

CONCLUSION The shows are amenable to commercial/

sponsorship tendencies. The talk shows are consisted of unscripted

conversations and directly address the audience in present tense.

It must adhere strictly to time and money constrains (spots, jingles).

DISCUSSION PROGRAM

Spoken words program. More than two participants and a moderator. Provides platform to exchange ideas. It is an extension of interview. Appreciating participants Difference of opinions. Contrast of opinion. The moderator sums up the discussion and

agreements reached and wraps with concluding remarks with workable solutions, suggestions and referrals but does not offer his/her own verdict.

TYPE OF DISCUSSION Positive discussions. Controversial discussions

Panel discussion. Forum discussion. Audience participated discussion.

PREPARATION Research. Subject or theme. Choice of pertinent participants, including the

moderator.

PRODUCTION Talk to the participants before actual rehearsal/

recording Brief the moderator prepare a running sheet to

have a check on time slot. Brief the participants to avoid over talking. The moderator should frequently identify the

participants. Provide note paid, pencils, a glass of water.

WHAT MAKE THEM DIFFERENT

TALK SHOW • Unlimited parties in

proposition • Unlimited point of

views(audience/callers• Variety of opinions• Vast range of participants

• Time money constrains• Host/Guest/show tags

commercial values• Studio oriented/O.B • Liveliness

DISCUSSION• 2-3 • limited point of views• Less opinions• 3-4 range of

participants • Time constraint• Limited commercial • Mostly studio based• Dull

QUESTION ANSWER

SESSION 03

REFURBISHING THE TRADITIONAL TOOLS

& TECHNIQUES IN GENDER

PERSPECTIVES

CHILDREN STORY (THE ART OF STORYTELLING)

Storytelling is an ancient art reaching back to a time before people had written language. In some cultures, oral storytelling is still the main way that history is handed down from generation to generation. In some other cultures, it is experiencing emergence as entertainment.

Educators have long known that the arts can contribute to student/listeners academic success and emotional well being. The ancient art of storytelling is especially well-suited for student/listeners exploration.

As a folk art, storytelling is accessible to all ages and abilities. No special equipment beyond the imagination and the power of listening and speaking is needed to create artistic images.

As a learning tool, storytelling can encourage students/listeners to explore their unique expressiveness and can heighten their ability to communicate thoughts and feelings in an articulate, lucid manner. These benefits transcend the art experience to support daily life skills.

In our fast-paced, media-driven world, storytelling can be a nurturing way to remind children that their spoken words are powerful, that listening is important, and that clear communication between people is an art.

A storyteller can help children to learn new vocabulary communicate effectively use the imagination practise social skills understand concepts explore new interest value their culture

Moreover, children learn through their senses, especially by hearing, seeing and touching. Accessible to all ages and abilities Imagination and the power of listening and speaking

is imperative to create artistic images. A learning tool encouraging exploring unique

expressiveness. Can heighten communication skills thoughts and

fillings in an articulate manner. Nurturing way to remind children of their spoken

words.

WHY STORY TELLING? Gaining verbal skills. Imagination. Passing on wisdom. An understanding of human nature. Understanding of sequences (occurrence of

events). Awareness of role characters.

WHY STORY TELLING? Language skills (vocabulary, grammar, syntax

and pronunciations) Ability to follow instructions. Cooperation with others. Understanding of concepts. Information packed

entertainment (INFOTAINMENT).

STRATEGIES No recognition between fantasy and reality by

the children, therefore make a clear distinction between the two boundaries.

Adopt/Adapt concrete experiences/ ideas. Involve the children. Dramatization. Create ambience. Relevance (of topics).

• STORYTELLING is the conveying of events in words, images, and sounds, often by improvisation or embellishment. Stories or narratives have been shared in every culture as a means of entertainment, education, cultural preservation, and to instill moral values. Crucial elements of stories and storytelling include plot, characters, and narrative point of view.

CONTEMPORARY STORYTELLING Modern storytelling has a broad purview. In addition to its traditional forms (fairytales,

folktales, mythology, legends, fables etc.), it has extended itself to representing history, personal narrative, political commentary, and evolving cultural norms.

Contemporary storytelling is also widely used to address educational objectives. New forms of media are creating new way for people are able to record, express, and consume stories.

CONTEMPORARY STORYTELLING Games and other digital platforms, such as those

used in interactive fiction or interactive storytelling, may be used to position the user as a character within a bigger world.

Documentaries, including interactive web documentaries, employ storytelling narrative techniques to communicate information about their topic

NARRATIVE MODE From Wikipedia, the free encyclopedia (Redirected from Point of view (literature)) The 'narrative mode' (also known as the mode of narration)

is the set of methods the author of a literary, theatrical, cinematic, or musical story uses to convey the plot to the audience. Narration, the process of presenting the narrative, occurs because of the narrative mode. It encompasses several overlapping areas, most importantly narrative point-of-view, which determines through whose perspective the story is viewed and narrative voice, which determines a set of consistent features regarding the way through which the story is communicated to the audience.

ELEMENTS OF A STORY “Story is composed of events that take place in

certain space, time, by the people, animals or fictional characters, albeit natural or supernatural”

SETTING: When, Where the story takes place (time, place, people-past, present or future).

EXPOSITION: Introduction or background information about setting.

CHARACTERS: Characters are the people. Animals or supernatural or the fictional entities.

ELEMENTS OF A STORY “Story is composed of events that take place in

certain space, time, by the people, animals or fictional characters, albeit natural or supernatural”

SETTING: When, Where the story takes place (time, place, people-past, present or future).

EXPOSITION: Introduction or background information about setting.

CHARACTERS: Characters are the people. Animals or supernatural or the fictional entities.

RADIO PORTRAIT (ANOTHER WAY TO PRESENT TALK)

TALK Formal solo conversation to the listeners in a

spoken language. Differs from speech or lecture. Audience is outside the studio (blind medium).

OBJECTIVES Immediacy of event. Topicality. Acceptability/Relevance.

COMPONENTS/REQUIREMENTS Idea. Personal

experiences. Comments. Language. Authority on the

subject. Feelings not

emotions.

Economy of words. Write to talk. Read to talk. Vocabulary. Short sentences. No tongue twisters. No slang language. Avoid irony. Use satire for social

reform.

COMPONENTS/REQUIREMENTS Avoid (mandarjazyl, mandarjabala). 5-Ws Thought provoking. Duration/Frequency/Continuity Facts and figures rounded.

FORMATS General. Ad hock Talk (Directive). Pep talk/ Talk let. Anniversary. Adlib (Usually not desired). Personality Talk (Radio Portrait).

VETTING “To examine/ treat a person/ animal medically”.

In radio it means “to examine, to scrutinize and/ or test a script or test a talk script”.

WHY VETTING? Widen area of common interest/ experience Make understand the message by the receiver

through signs (language). Policy. Barriers (socio- cultural ethical religion). Language.

A Radio Portrait is thus informal solo conversation by a celebrity, personality with distinctions in his/her field of influence, whereby the life sketch, achievements, aims and objectives are depicted / painted through sound picture in an artistic manner, thus irrespective of slot duration, the format is nearer to a documentary.

PUBLIC SERVICE MESSAGE

AS DEFINED BY FCC ”An unpaid Announcement that promotes the

programs of Govt. or voluntary Agencies, or that serves the public interest. PSA’s can be produced for TV and Radio broadcast”.

Announcement that informs the public about safety and health information, community services, or public affairs- Produced and programmed much like commercials but usually not produced for profit.

YOU WILL INDIVIDUALLY Select a topic. Research the topic. Write the script. Direct and record (If you act it, must be a small

portion). Edit to get End Product.

Topics/ Themes Gender Rights Gender Discrimination

COPYWRITING (NOT TO BE CONFUSED WITH

COPYRIGHT)

DEFINITION (As defined in Wikipedia, the free encyclopedia)

“Copywriting is the act of writing copy (Text) for the purpose of advertising or marketing a product, business, person, opinion or idea”.

The addressee (reader, listener etc.) of the copy is meant to be persuaded to buy a product advertised for, or subscribe to the view point the text shares.

A copywriter is a creative team member.He/she is a story teller with his imagination and

craftsmanship.Copywriter is similar to technical writer,

overlapping each other.Copywriter is to expand the client base of a

business.

POINTS TO PONDER Write with laziest Reader/ Listener in mind. Write like talk. Break up paragraphs. Write in short sentences. Avoid the passive voice. Write briefly. See how things look like.

FORMS Jingles Spots Slogans Promos

RECAPTURING THE PUBLIC SERVICE MESSAGES

S: Specific.M: Measurable.A: Attractive.R: Relevant.T: Time-bound.“PSM’s are of 30-60 seconds duration,

productions are similar to commercials, intended to benefit the public interest by raising awareness of an issue, affecting public attitudes, and potentially stimulating ACTION. They are non-controversial”.

POINTS TO PONDER Chose the topics. Do research Identify specific actions. Take into account the target audience. Keep the script to simple to simple statements based

on up-to-date, accurate research, findings/data. Use simple language but arrestive sentences at the

opening. Should have “Hook” or punch line. Use dramatic rendering where necessary.

WHEN SHOULD YOU CONSIDER USING PSM’s?. For information dissemination For advocacy and lobbying For raising awareness For promotion

WRITE YOUR PSM SCRIPT KEEPING IN MIND Don’t overload the message (if you have asthma,

you should not smoke ) Brainstorming sessions with your colleagues,

include members of target group. Check your facts sheet. Identify a “Hook” or punch line. It could be

something funny, a piece of music, a sound effect & an emotional appeal...SKY IS THE LIMIT FOR A CREATIVE PRODUCER.

QUESTION ANSWER

SESSION 04

ACTIVITY

PLANNING A CATCHY PROGRAM ON GENDER ISSUE

(GROUP ACTIVITY / PRESENTATION)

FORMATS ARE Documentary Talk show Children Story PSM Radio Portrait

THANK YOU