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CULTURAL RADIO IN PALESTINE: We cannot see but we can hear each other Page 1 A Participatory Research Project Prepared for Goethe-Institut Ramallah, March 2020 I. INTRODUCTION The majority of the Palestinian population continues to Table of Contents listen to the radio. Despite radio stations’ sustained presence, independent and critical cultural reporting 1. Introduction 1 remains scarce in Palestine. Goethe-Institut Ramallah thus 2. Significance of Radio in Palestine 2 seeks to conceptualize and implement, in close cooperation 3. Culture and Radio – Working 6 with local partners and experts, a cultural radio project, to Definitions from the sector enhance independent critical cultural reporting in Palestine. 4. Way Forward 11 Under the theme, ‘We cannot see but we can hear each other’, and with the use of future-oriented broadcasting technologies, the cultural radio project, entitled ‘Radionists’ will form a community of broadcasters, shape free auditory spaces, and auditively contribute to overcoming the increasing geographical and social fragmentation of Palestine. It will open a critical discourse on cultural reporting and produce content on Palestinian arts and culture. Another main pillar is to establish and nourish dialogue between German and Palestinian radio journalists.

As an initial step to build this radio project, a participatory qualitative research was conducted in Focus Group Questionnaire

June-September 2019 to investigate a conceptual 1. What is significant to radio broadcasting and radio strategy for the cultural radio program. In 10 towns programming in Palestine? (Beit Jala, Bethlehem, Birzeit, Hebron, Jenin, 2. Is there a platform for critical cultural reporting in Jerusalem, Nablus, and Tulkarem in the West Bank Palestine? and Gaza City and Deir Al Balah in the Gaza Strip), 3. When you listen to cultural radio programs on the radio or ‘Expert Meetings’ were held to learn about and online, which content is important to you? What is good cultural content? collect needs and requirements for an independent 4. What can be done to support independent cultural radio project focusing on culture and arts. In total, reporting in relation to audio journalism? over 60 experts from various backgrounds, such as 5. What is the future of cultural reporting in Palestine? radio journalists, cultural practitioners, artists, 6. Is it possible to relate and connect to others through bloggers, and academics from media and journalism cultural experience? departments, participated in these one- to two-hour 7. Can debate be activated among the civil society discussions. The meetings focused on the current through the medium radio and audio formats/ platforms? state of cultural reporting and further investigated the needs and requirements for an independent radio program on culture and arts. They were facilitated by local moderators, recorded by technicians, transcribed, and then analyzed. The main findings of the participatory research and literature review are presented in this document.

FINDINGS ON THE SIGNIFICANCE OF RADIO IN PALESTINE Do people still listen to radio?

Radio remains extremely popular with a wide global audience. Worldwide, 3 billion people (i.e. nearly 40% of the world population) are estimated to listen to the radio weekly.1

Page 1 Globally, with the rise of streaming and podcasting, there has been renewed excitement around the audio medium. Palestine is not an exception to this general trend. 61% of the population in Palestine are estimated to listen to the radio (57% in the West Bank and 68% in Gaza Strip) according to the national statistical agency.2 A 2017 survey of 500 respondents, mostly aged 20 to 35, also revealed that over 60% listen to the radio daily or a few times a week. 3 Radio listenership in Palestine is likely to be considerably higher than surveys indicate. This is because people tend to underestimate how much they listen to the radio whilst doing something else – be that driving, commuting to work, waiting at endless queues at checkpoints, studying, or relaxing. In general, age and lifestyle generally tend to dictate where and how people listen to the radio in Palestine. The common perception, among the interviewed experts, is that the elderly and ‘homemakers’ turn on their transistor radios at home in the morning; working-age population listen to radio programs in their private car or public transportation during their commute to work; young people tune into online radio programs on their smartphones; and children listen to radio mainly at home with their grandparents or on their way to school.

While a few interviewed experts expressed their concerns about ‘radio dying’, most agreed that radio continues to be relevant in the daily lives of Palestinians. Its enduring popularity was attributed to the following factors:

• Radio is played everywhere in the country, and has a ‘captive audience’ especially in public transport, and also in restaurants and shops. As reported by one expert, (with the sentiment reiterated by others), “as long as there are cars and people commute to work, radio will remain popular”.

• It is a widespread inclusive medium that can reach women and men, highly-educated and less- educated people, the poor and the rich, the young and the old, and all groups in society.

• For many, radio is a ‘friend’ and a trusted medium, especially for the news. A recent survey showed that while some 70% of internet users in Palestine use social media for news updates4, radio stations are generally considered the most credible source of information.

• Radio – all audio – can be an intimate medium. When good, storytelling and reporting can produce creative imagery in people’s minds, which can be an evocative experience for listeners.

• In a context of political volatility, radio is an important media for people to feel connected. During military incursions, for instance, Palestinians have traditionally relied on radio not to feel cut off; and for political prisoners, radio often offers the only point of contact with the outside world.

• Radio provides a low-cost and low-tech option that does not necessarily rely on electricity, which is particularly relevant in the Gaza Strip, which has been experiencing a fuel crisis for nearly a decade.

• Most importantly perhaps, radio has successfully managed to withstand, and adapt to, technological changes and advances, much more so than television.

Page 2 According to interviewed experts, radio has been able to adapt to technological changes by integrating social media platforms and applications. Listening is now less tied to transistor radio, and is increasingly done via a smartphone or a laptop. A rising number of radio stations are using applications such as Facebook and YouTube to reach out to their audiences, and WhatsApp/Facebook is also being used by radio listeners to share links of their favorite programs and/or radio clips with their friends and families. Internet radio is also increasingly popular as it has number of advantages relative to traditional broadcast radio for both the listeners and broadcasters. The costs of setting up and running an internet radio station are for less than for a terrestrial radio station and the reliance on advertisements is much less than for AM/FM broadcasting, thus offering more flexibility and independence for broadcasters. Internet radio is possible to set up wherever there's an internet connection, and there are no geographical boundaries, thus potentially providing a broader audience to attract. Podcast listening is still nascent but seems to be adding to the audio audience in the country. In an increasingly digitalized and busy society, internet radio stations and podcasts offer unlimited convenience to listeners, many whom want to consume lots of content at the same time. For Palestinians in the Gaza Strip, podcasts offer easy access to the outside world that many physically are unable to access due to the longstanding blockade.

What do people listen to?

Locally-produced content is predominant. The majority of radio programs broadcasted in Palestine are produced in local radio stations, the overwhelming majority in Arabic.5 Surveys also show that the most frequently broadcasted programs relate to music, followed by religious programs, and news.6

With the exception of a few radio stations that are national, local programming is mainly limited in its coverage to the governorates where the stations are located.7 This is in part due to the fact that in the Palestinian context, radio frequencies and transmission possibilities are very limited. Technical aspects have contributed to the prevention of large scale nation-wide analogue radio coverage. For instance, programs broadcasted by radio stations in Ramallah can’t be listened to in Gaza, or even in nearby Jerusalem; in the Gaza Strip, most people listen to Gaza City-based radio stations, although in some areas, Hebron radio stations can also be heard. In Jenin, Ashams, a Palestinian radio station based in Nazareth, can also be heard. Surveys also show that the most frequently broadcasted programs relate to music, followed by religious programs, and news.8

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What are some of the challenges facing the overall radio sector?

The radio environment in Palestine is unique. Radio stations operate in a complex political and often restrictive context. A high number of human rights violations has been recorded against journalists, including arbitrary arrests and detention, raids of media outlets, and movement restrictions. In 2019, Palestine ranked a low 137 out of 180 countries in the World Press Freedom Index. This has resulted in a certain self-censorship and ‘avoidance of male/female journalists and media agencies to address many issues that they are aware will cause them troubles’, according to the Palestinian Center for Development and Media Freedoms (MADA).

The Palestinian radio sector is mainly composed of politically-affiliated radio stations and local commercial radio stations – raising critical questions about the strong binding of radio stations to leading business and political interests. This potentially affects the independence, quality, and plurality of radio content. In addition, there are a number of university radio stations (such as that of the Arab American University in Jenin and Birzeit University in Ramallah), community stations (such as Forsan Al-Irada in Gaza that mainly specializes in disability rights), and a growing number of youth-run radio stations (including Power Group in Bethlehem or Radio Nard, Palestine’s response to Boiler Room) that broadcast primarily or exclusively online.

The radio market is highly competitive – some would argue over-saturated – and struggling local radio stations are often forced to close down. In 2015 for instance, there were 81 radio stations in Palestine. By 2017, only 67 were operating, 50 in the West Bank (mainly located in Ramallah and Hebron) and 17 in the Gaza Strip (mainly Gaza City). This indicates that despite the popularity of radio, the sector is precarious. ------Sources: Reporters without Borders, 2019, https://rsf.org/en/palestine; Palestinian Central Bureau of Statistics, 2017, http://www.pcbs.gov.ps/Portals/_Rainbow/Documents/Culture-2012-2017-07E.html; UNESCO, 2014, Assessment of Media Development in Palestine, Palestinian Center for Development and Media Freedoms (MADA), 2018, Violations of Media Freedoms in Palestine 2018.

Interviewed experts generally agreed that while radio is widely listened to, there is considerable room for enhancing the content of radio programs. Many programs, especially those that allocate time to talk-back shows and that have integrated social media, have their loyal audiences. New online radio stations, moreover, are being initiated, bringing in more diversity into the media landscape. However,

Page 4 experts pointed out that radio’s potential is not being fulfilled as local radio programming has become conservative, stagnant, and repetitive. Some went so far to say as there is a crisis of content of local radio programming.

Most interviewed experts attributed this to the fact that, in Palestine, political content takes predominance over all other issues. The political situation generates a continuous stream of material and breaking news, including breaches of human rights, movement restrictions, and civilian deaths. As such, programs dealing with education, health, and social issues tend to be deprioritized. Arts and culture are even considered by some as a ‘luxury’ topic especially in a context of increasing economic and humanitarian challenges. In general, the limited vision of radio stations (many which are affiliated with a political party or are commercial and dependent on advertising) and associated lack of structured programming were also raised as contributing factors to a notable regression in the quality of radio programming.

The discussions highlighted that there may also be an emerging disconnect between local radio and today’s youth, as local radio programming may not be generating content of interest to young women and men. Currently, radio is not a platform that taps into the vitality of youth by providing them with a platform for creating content, A mere 5.7% of respondents of a 2017 survey on youth and instead youth tend to be consumers of radio reported that radio is the media platform which ‘best social media. represents young people and is the best source of information on matters of concern to them’. The media choice for young audiences are social networking sites, YouTube e.g., Furthermore, the expansion of digital although these are mainly used as means of platforms to drive an unprecedented communication and entertainment rather than content boom in radio listening is not being creation. fulfilled, as pointed out during the ------discussions. --- Source: UNESCO, 2017, Radio Survey findings Report World Radio II. CULTURE AND RADIO: Day 2017 “Radio is You!” WORKING DEFINITIONS What does ‘culture’ even mean?

The expert meetings confirmed that there are considerable differences in the way the word ‘culture’ is understood and defined:

• Culture as an artistic and aesthetic concept, referring to creative artistic production such as literature, visual arts, music, theatre, cinema.

• Culture as an anthropological concept, related to traditions, folklore, heritage, proverbs, cuisine, and all the things that come from and tie a people together, all the things that define a society. In Palestinian society, this includes dabka (popular folk dance), zajal (traditional form of oral poetry in colloquial dialect, semi-sung) and hakawati (traditional form of storytelling).

• Culture as related to education and knowledge, with the connotation that people who are ‘cultured’ are formally educated, know about a variety of subjects, and have an appreciation

Page 5 for the arts. This perspective on culture is underlined by the dichotomy between ‘popular’ and ‘high’ culture, with culture associated more with the elite and less with the lower-educated social classes. Many interviewed experts firmly insisted that this elitist view of culture needs to be rejected.

• Culture as a normative system that sets out values and rules for social behavior (‘good manners’ and ‘etiquette’).

• Culture in its broadest sense as ‘real life’, not seen as a separate sphere but bound up with everyday life, including issues and stories related to family, sports, fashion, health, traditions, arts, etc... “Even the occupation can be tackled from a cultural perspective”.

What is the current state of cultural radio programming in Palestine?

Radio broadcasting has a long, albeit uneven, history in Palestine. The first public radio station, initiated in 1936 during the British Mandate and headquartered in Ramallah, focused mainly on cultural programming.

On 20 March 1936, the Palestinian Broadcasting Service (the PBS) was inaugurated by the British High Commissioner of Palestine, and operated for over a decade before being overtaken by volatile events on the ground. With transmitter located in Ramallah, broadcasting offices in Jerusalem, and the frequency call ‘This is Jerusalem’, the PBS targeted Arabic-speaking, Hebrew-speaking, and English-speaking audiences. The radio focused on ‘knowledge and culture’ and for five hours each evening, broadcasted traditional music, classical music, art programs, women’s programs, and children’s hours, and educational talks, including farming-related talks for rural listeners. There was “a lot of music… some live music by the stations’ music employees, orchestral... the children's hours tended to be mostly plays. There were a lot of talks, short educational talks, 10 to 15 minutes. The Arabic ones tended to be on everything from great moments in Arab world history to things like the history of orange production”. As director of the station’s Arabic programs, the renown poet, Ibrahim Touqan, encouraged playwrights and actors to perform their work on air. Female broadcasters such as Asma Tubi, a playwright, poet and activist born in Nazareth, had a weekly program on women’s issues, and Anbara Salam, a feminist, writer and translator born in Beirut, delivered radio talks on famous Arab and western women in history. ------Sources: Palestinian Museum, Palestinian Journeys: Stories; Anne-Marie Bissada, 2019, The Power of Radio during British-Mandated Palestine; For more information see, Andrea Stanton, 2014, This is Jerusalem calling

In the present day ‘cultural radio’ form of programming is limited in Palestine, according to interviewed experts. The overall consensus is that it is still rare for radio to provide a critical space for arts and culture and to support a ‘culture of listening’. During the discussions, multiple examples of innovative cultural, educational, and artistic shows were provided including those that showcase local artists, encourage reading, debate societal issues, or introduce audiences to new alternative music or carefully curated audio experience… The consensus among the interviewed experts however is that the overwhelming majority of cultural programming tends to be ‘superficial’ without offering deeper insights or space for critical reflection. In particular, many of the cultural segments are limited to simple transmission of talk, music or news on cultural events, including exhibitions, stage plays, and concerts. Radio is therefore not currently fulfilling its role of providing a critical “handle on the complicated reality that frames those {individual cultural} events – the ever-shifting patterns of culture that determine how we live and what we make of our lives”.9

Page 6 The discussions suggest that the lack of quality cultural radio programming is both due to ‘demand’ and ‘supply’ factors. The general impression of interviewed experts is that audience demand for cultural programs is low. According to interviewed experts, audience demand is highest for political news / analysis, something that is not surprising given that politics permeate every aspect of daily life of Palestinians. This is also back by data from the national statistics agency which indicate that the households’ first choice of programs to listen to are the news (51.5%).10 Other types of programming that are popular according to the discussions were:

• Social programs, which are generally broadcasted in the morning and where social and humanitarian issues are covered including through a ‘complaints format’.

• Music programs, including classical Arabic singers.

• Sports programs, which are especially popular among young men.

• Religious programs.

Generally, it is hard to categorize and quantify a station’s coverage of culture (as programs often include a mix of content). Overall, however, cultural programs are not widely perceived as the kind of radio programming that attracts diversified audiences. Available (although limited) research into audience listening preferences confirm that cultural programs are not as popular as other type of programs. According to a radio program monitoring conducted in Tulkarem for instance, cultural program is one of the least sought-after type of programs by local audience. Moreover, according to the abovementioned national survey, arts, culture, and entertainment are the preferred type of programs for only 5% of interviewed households, compared to 18% for religious programs. Some experts pointed out that when audiences hear ‘culture’, they think ‘high culture’ and assume that it would be ‘highbrow;’ this perceived elitism makes cultural programming less attractive to less- educated audiences.

While acknowledging the challenges in reaching wider audiences in the culture sector, interviewed experts also questioned whether limited audience preference for cultural programs is due to the quality of cultural programs themselves. “Audiences are not interested in cultural programs because the programs are not presented in an interesting and attractive way”. “Cultural radio is the same as cultural scene itself – if you can’t bring the people to you, then you need to find a way to go to them”. Several reasons were provided for the lack of quality programming and generally ‘weak’ cultural content:

• Cultural journalism is a nascent field in Palestine. “Cultural journalism in general is weak, not only in the radio sector…. There is a problem with the way culture is presented in all media”. Although a number of short-term and small-scale training initiatives have taken place especially in Ramallah, specialized journalism is not currently available in the country, although a new course on cultural journalism is reportedly being developed by Birzeit University. There thus are currently very few qualified cultural journalists from the fields of print, online, radio or television, as reiterated in all the discussions. Skills in the conception, writing, and production of cultural radio programs are limited, leading to repetitive/unoriginal production that does not engage the audience.

Page 7 • While cultural journalists do not need an education in arts or culture, they do need a deep understanding of the subject, as pointed out by a number of experts. Only a person that knows a subject thoroughly can provide an assessment or critique. At present, many radio professionals generally do not have the required understanding of cultural issues. This is exacerbated by the fact that radio professionals are often not provided with sufficient time, resources, or incentives to research and prepare their materials. This results for example in an artist or director being invited to a radio show and the interviewer not being able to ask insightful or critical questions as she/he has not seen the exhibition or film and/or has not prepared background research. • Radio stations in general lack a clear vision on cultural programming. Most cultural segments that are broadcasted are based on the personal efforts of individual radio professionals rather than deriving from the radio station’s vision. Some radio stations do not even cover updates on major cultural events that occur in their localities if there is no one (donor or personal connection or interested radio professional) to push a ‘cultural agenda’, according to a number of interviewed experts. • There is very little practical understanding of what cultural criticism is and very few platforms for critical reporting, especially in arts and culture field. This may be attributed to ‘cultural factors’ – in the sense that Palestinians are not willing to critique (for fear of offending) nor are easily willing to accept critical review. As pointed out by a number of experts, critique is linked to the larger societal question of “do we accept the views of others?” Experts shared their opinion that Palestinians need more practice in accepting criticism and in voicing criticism.

Why should cultural radio be promoted?

The discussions confirmed the critical importance of supporting the cultural radio sector. As space for civil society is being reduced in Palestine, there has never been more need for engaging and critical cultural reporting. However the parameters of culture are defined, (the creative; the aesthetical; the ethical; the theoretical; the societal; the practical everyday life), promoting cultural radio that addresses a wide diversified audience can have tangible benefits and impacts on society. These include, according to the interviewed experts:

• Cultural radio has a potentially strong educational role to play. It can ‘elevate’ the listener through providing thought-provoking content. It can provide access to information, knowledge, and public discussion of ideas, the arts, science, history, etc. • Cultural radio can be considered a public influencing tool and ‘soft power’ that brings about social changes. Well-informed critical cultural content can foster broader conversation about social change. Social criticism (including through artistic medium such as drama, music, and storytelling) can shed light on critical issues in contemporary society and potentially contribute to altering social norms (and subsequently behaviors). Some experts also affirmed that people, especially youth, are thirsty for exposure to new ideas and for social change, and radio can offer a platform to channel individual energy and creativity. • Critical cultural radio is important for audiences to have insights into artistic events and trends, experimentation in the arts and emerging talent. It has the potential to open up more public spaces so that culture is no longer perceived as ‘elitist’. Radio can help to bridge the

Page 8 gaps between the ‘elite’ and ’ordinary people’ (‘street’), a gap which is growing across the country. Radio is often listened to by less-educated segments of the population and quality cultural content has potential to ‘democratize’ arts and culture. This is particularly important in a country where arts and culture events tend to be concentrated in a few locations with a niche audience, and where the level of knowledge of youth, perhaps especially in Jerusalem, on Palestinian arts and culture sector is becoming more restricted. • Cultural radio is particularly important for emerging lesser-known artists as it potentially represents a space for experimentation and innovation that is often not available to them in arts and culture institutions. It can also provide opportunities for artists to network and collaborate, especially in towns/districts where such platforms are lacking. Radio has strong potential to respond quickly to musicians, performers, and writers seeking to reach an audience. Radio programs can provide a platform for artworks not only to be showcased but also to be critiqued. As stated by a playwright that participated in the discussions, “I wish to find one good critical article or show about my plays. What all journalists do is to transmit information on the event itself”. An artist also stated, “Being told what gaps we have in our shows is helpful for us artists”. • Radio is an easy and important tool for arts and culture institutions to disseminate information on their work and to attract more diversified audiences. The demand for artworks and cultural events organized by such institutions might increase if the public becomes more familiar, interested, and engaged in cultural sphere, as pointed out by a number of experts. Cultural radio is thus linked to ‘audience development’ because quality content can provide opportunities for people to take part in cultural processes including through on-air debates that encourage listeners to form and voice their own ideas and critical views. • Radio is all about a culture of listening, which is especially important to foster a culture that is more open to nuance, compromise, diversity of viewpoints, and shows appreciation of creativity. Cultural radio’s premise is fundamentally about promoting cultural expression. Given the increasingly restrictive political context, spaces for people to express their voices and concerns are needed. • A potential role for cultural radio could be to bring people closer, to create a bridge between Palestinians, to foster dialogue, and shared understanding. Critical discussions, including on differences in cultural scenes between (and within) the West Bank, East Jerusalem, Gaza, and towns such as Haifa and Nazareth, can be fostered. Even at district and village level, there are tangible differences in ‘local culture’, including its arts, traditions, and heritage. Cultural content can help narrow the gap between Palestinians in different geographical locations, change perceptions, stimulate domestic cultural tourism, and thus help to build social cohesion, even with its various intersections, including among Diaspora Palestinians. • If broadcast internationally, cultural radio programming can give outsiders new perspectives on Palestinians, defining them beyond the conflict. It would present the multiplicity of Palestinian viewpoints to the outside world. It can also give Palestinian artists and cultural practitioners platform to make their voice heard and to present their work internationally.

III. WAY FORWARD

Page 9 Content and Format-Driven Cultural Programming

What is needed for critical and independent cultural radio programming, according to the interviewed experts, is not only to produce diversified critical content but to also present in an engaging and interactive way. To appeal to audiences, cultural radio programs initiated/supported by Goethe- Institut – or other initiating institutions that consider the outcomes of this report – would thus have to be both content-driven and format-driven. A number of interviewed experts suggested that selecting and ‘sponsoring’ existing radio stations in Palestine to develop such cultural programming would be more cost-effective, impactful, and sustainable than establishing a new radio cultural station. Goethe-Institut, or other institutions interested in cultural radio programming, should also, according to a number of experts, facilitate a cooperative and learning approach between the radio stations regarding the cultural programs to be produced and broadcasted. The discussions highlighted the need to move away from traditional, news-format form of radio programming to quality cultural content with multimedia platforms, where engaged listeners can shift from being passive media recipients to active content creators. For this to happen, what is needed is to build professionalization, enhance cultural journalism skills in the country, and support motivated radio stations to build their competencies in critical cultural reporting.

Be clear about what your goals are and who your audience is.

The most important aspect of establishing a cultural radio program, according to interviewed experts, is clarity – in terms of how culture is defined, what its goals are; who its targeted audiences are; and how it will be promoted and marketed. Radio programs should always be audience-centered, as recommended. In selecting radio programs to promote and sponsor, a strategic decision on targeted audience, in other words, whether cultural radio programs should target a single type of audience, multiple target audiences, or the widest possible range of people. Although some radio shows can be appealing to heterogenous audiences (students, children, elderly, less-educated, villagers, etc.), most of the time, content and format would need to be tailored to specific audiences. For this, audience research would be helpful, as knowing the listening interests of targeted audience leads to well-informed programming.

Always make it easy to listen.

Practical recommendations proposed by interviewed experts to take into consideration when designing cultural radio programs include:

• Having charismatic presenters, who can convey complex issues in an engaging way and digestible for different audiences, is key to the success of a radio program. • Cultural segments should be short, snappy, well-presented, and based on critical analysis. • Having a magazine-format which would combine a number of short cultural segments and employ producers and presenters across professional boundaries (journalists, artists, historians, intellectuals, authors, chefs, etc.) would be appealing to audiences. This could consist of short segments, especially of two to nine minutes along with longer form of 10- to 20-minute interviews or discussions, and interactive segments (such as quizzes, open air for callers, etc.). • It is important for cultural radio not to have an ‘elitist’ approach to culture and instead to ensure a much wider appeal to the broad masses of Palestinians. Cultural radio programs

Page 10 need to appeal to less-educated segments of the population, not through ‘dumbing down’ intellectual topics but through ‘elevating’ the listeners. • Formal, turgid, academic-type of cultural critique will not appeal to the listener. What needs to be produced is critical content that takes the listener to a different place where he/she is enlightened, engaged, surprised or even amused. • Panel discussions have been over-used in radio programs. Rather than having two or three people sit in front of a microphone in a radio station to talk about a certain topic, it might be more engaging to host a panel discussion at an outdoor market, garden, or public place. • If culturally sensitive topics are introduced, this should be done with awareness, consideration, in a non-confrontational way that is respectful to the listeners. • Paying attention to copyrights is important.

Experiment with different types of cultural segments/formats.

The discussions confirmed that a wide range of cultural topics and engaging cultural radio shows can be produced and broadcasted through a cultural radio project:

• Discussion and airings of alternative music. • Poetry, literature readings, or hakawati story-telling. • Performance, stand-up comedy, radio drama. • Reviews (of films, exhibitions, plays, books...) including background (‘hidden’) stories on how the pieces reviewed were produced. This could include for example, interviewing a young artist for instance from Jabalia and discussing how he/she became interested in art, what his/her artistic practices are. • Shows to introduce new local artists, musicians, performers. • Life stories including personal lives of actors, musicians, artists, writers and other cultural figures. • Shows on inter-cultural exchanges. • Short features on cultural heritage for instance folk music. • Updates (‘what’s on’) in the local arts and cultural sectors. • Call-in discussions and debates on arts and cultural topics. • Vox Pops i.e. short interviews with people ‘in the street’ is popular as people like to hear themselves/their friends/acquaintances being interviewed. • Games, songs, quizzes, competitions to encourage audience to participate and seek new information. • Audience-centered reading program (consisting of asking members of audience to dial in and read from their favorite books and initiate a discussion on these books afterwards on-air and on social media). • Shows to encourage children to read and to write. For example, a story can be narrated on radio, leaving out the ending, then children can be asked to use their imagination and come up with their own versions of how the story ends (either on-air or text to be posted on social media), and audience can be asked to vote for the best ending. • Inter-generational cultural programs to facilitate dialogue between different generations.

Page 11 • ‘Uplifting’ human interest stories and ‘solutions-focused news’ (evidence-based reporting on the responses to social problems) to empower people, give them hope, and engage them more in society.

Rely on multimedia platforms.

Multimedia platforms provide options to listeners for whom a fixed radio programming schedule is not suitable. For example, many radio listeners tend to listen to the radio for a short while doing something else, such as commuting to work. Engaged listeners who were piqued by a radio show but unable to continue listening should be provided with options to pursue the program at their convenience, either through information related to program content on the station’s website, or a video of the broadcast on its Facebook page, visuals on social media, Q&A and online discussion, with ‘commenting’ options, on social media, or a podcast on the topic covered. In general, effective use of social media is crucial to promote dialogue and engagement with audiences both in terms of determining the content and in providing critical review of radio content.

Support capacity building & networking.

To build professionalization of the cultural radio sector, the following recommendations were proposed during the discussions:

• Support communication platforms that bring together radio stations, civil society organizations, including youth groups and women’s organizations, and international agencies that work on arts and culture in Palestine. • Network with relevant Ministries and cultural institutes to amplify impact (including to ensure access to key resources, persons, and to develop content through conducting regular research on cultural topics of interest). • Provide training in cultural journalism and criticism to young and established journalists who, with their work, can contribute to a more critical society. • Provide opportunities for journalists to ‘immerse’ themselves in arts/culture institutions (residency of three months for instance) to develop skills in critical cultural reporting. • Provide training to artists / cultural practitioners to become cultural reporters and/or cultural critics.

IV. CONCLUDING WORDS Drawing on the insights gathered through the ‘Expert Meetings’ in 10 towns in the West Bank and Gaza Strip, this participatory qualitative research explored the current status of critical cultural reporting in Palestine. It confirmed that radio continues to be relevant to the daily lives of Palestinians, especially with an increasing number of local stations integrating social media platforms, but that independent and critical reporting on culture and arts remains scarce in Palestine. The report also provides concrete recommendations for the development of engaging cultural radio production in Palestine, including suggestions for the enhanced professionalization of the cultural radio sector.

This report represented an initial step for Goethe-Institut Ramallah in conceptualizing its cultural audio programming and identifying needs and requirements for an independent audio project

Page 12 focusing on culture and arts. As part of this project, a sound studio will be opened in the French- German Cultural Center in Ramallah. It will service as a hub for music and for audio production focused on arts and culture. In the future, an online audio platform, that is interdisciplinary and interactive, may also be launched to transcend borders and boundaries, within, but also beyond the geographically fragmented Palestinian Territories, because ‘we cannot see, but we can hear each other’.

Page 13 Endnotes

1 Deloitte, 2019, Technology, Media, and Telecommunications Predictions 2019. Percentage of persons worldwide listening to radio at least weekly is based on estimates that world population reached 7.7 billion in 2019. 2 2014 data, Palestinian Central Bureau of Statistics (PCBS), 2018, Palestine in Figures 2017 3 UNESCO, 2017, Radio Survey findings Report World Radio Day 2017 “Radio is You!” 4 Concept Technologies, 2018, Digital and Social Media Report in Palestine 2017. 5 PCBS, Percentage Distribution of Yearly Transmission Hours for in Operation Local Radio Stations which Provided Data by Producing Source, 2012-2017 and Percentage Distribution of Yearly Transmission Hours for in Operation Local Radio Stations which Provided Data by Language, 2012-2017 6 PCBS, Percentage Distribution of Yearly Transmission Hours for in Operation Local Radio Stations which Provided Data by Type of Program, 2012-2017 7 Internews, 2014, Media and Telecommunications Landscape in the West Bank and Gaza 8 PCBS, Percentage Distribution of Yearly Transmission Hours for in Operation Local Radio Stations which Provided Data by Type of Program, 2012-2017 9 Cultural reporting as defined by New York University’s Cultural Reporting and Criticism Program. https://journalism.nyu.edu/graduate/programs/cultural-reporting-and-criticism/ 10 PCBS, 2015, Palestinian Culture Day 2015, http://www.pcbs.gov.ps/post.aspx?lang=en&ItemID=1342

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