Gender Sensitization

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 Campaign
1.5 Question Answer

SESSION 02 - EMERGING CONCEPTS
OF RADIO PRODUCTION
2.1 Ethics, Objectives and Limitations of
Media-Broader Guidelines
2.2 Sensationalism
2.3 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 PERSPECTIVES
3.1 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

“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,)

HINDERENCES
Traditions
Religion
Attitudes
Political situation
The 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.

EXAMPLES
Nepal
Indonesia
India – community radio operated by SEWA (Self
Employed Women’s Association)
Bangladesh
Cambodia
Kyrgyz Republic
Laos
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/organisations
Positive 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 Idea
Format
Target audience
Language
Time of broadcast
Duration
Frequency
Local/network
Scope of main title
Sub-titles( with brief scopes)

Assign topics to the contributing stations with
brief scopes in case of Network idea
Selection of voices
Proposed contributors/Talent pool(with
credentials, addresses, contacts)
Budget estimate
Approval
Proposals
Production/Presentation

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

 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

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 MESSAGE
The 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
CAMPAIGN
Timing 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.

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)

 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

 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.

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

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).

 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.

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
DISCUSSION
• 2-3
• limited point of views
• Less opinions
• 3-4 range of
participants
• Time constraint
• Limited commercial
• Mostly studio based
• Dull

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.

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.

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.

PLANNING A CATCHY
PROGRAM ON GENDER ISSUE
(GROUP ACTIVITY /
PRESENTATION)

FORMATS ARE
 Documentary
 Talk show
 Children Story
 PSM
 Radio Portrait

Gender Sensitization

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