Write a newspaper report of the incident. It is important to write in the style of a real newspaper article.
I do not pretend to know Kashmir. I am not among those who have been used, tricked, tortured, beaten, raped, or killed by the myriad forces of violence and distrust within the region some sanctioned by the Indian government, some the result of desperate Kashmiris who see hateful acts as their only alternative to poverty and degradation, some propelled by terrorist groups of all creeds and stripes.
I have not travelled to India, let alone Kashmir itself, have not had the opportunity to sit down with the people there, to hear their stories and see their lives play out: In short, I am an outsider, albeit an informed one.
But here, perhaps, this status is an advantage: I do not write to analyze the inside of this particular complex situation from yet another foreign white perspective. This particular inside situation is, of course, the tangled political and social net trapping the region of Kashmir.
Two miles to the East and West were ridges of sandrock. It basically looked like you were driving down a channel, this dilapidated road, and there was seemingly no end to it. It does, however, invite us as a community of artists and consumers of art to enter into a dialogue uniquely appropriate for an era in which global struggle, stereotype, and cultural identity are free muses for anyone with access to a news source — how do we react when an outsider with limited knowledge of a sensitive topic creates a work of art examining a mere facet of a situation in possession of far more gravity than the piece allows for?
And now, with that question, we are back at the beginning of the discussion: There is, however, something to be said for the embrace of a multiplicity of views.
Art is an agent of diversity and profundity; it draws attention to wrinkles of a situation that may not be clear to the undiscerning eye. The most effective and transcendent creations are a denial of a singular narrative, a refusal to see a place, person, idea, or situation in a fashion limited by popular perception.
Allowing turbulent conditions to both define who gets to make art about a particular idea and draw limitations for the subject matter within the art is a surrender to the divisive presences that nurture atrocity in the first place and a vindication of the worst aspects of human potential. The artistic landscape is one where the possible, not just the present, is promulgated, and where explorations of dormant and multitudinous ideas should be encouraged.
On the contrary, its lyrics are a testament to the power and majesty of the region and the opportunities for the ignition of creative and spiritual renaissances that Kashmir, and the East as a whole, carries.
The responsibility of journalism and political coverage is to bring truth and justice to a situation such as the one gnawing at Kashmir, to acknowledge the magnitude of horror present and serve as a scrutinizer of the most pervasive elements of atrocity.
But it is the duty of art to provide a sense of potential for a realizable future beyond the circumstance in question, and defending the interface of Led Zeppelin with a fraught situation is key to protecting that potential.
Though the gift of potential is not the azadi Kashmiris yearn for, it is a certain degree of freedom from the shackles of perception that bind human observers and experiencers alike, and as such is worth defending.
Author theendeavornewspaper Posted on.Even though I no longer subscribe to a newspaper, I hope that fact won’t lead you to infer that I don’t support local newsrooms.I just believe that newspapers must reinvent themselves to survive in the Internet era. Online news start-ups must structure themselves not along traditional newsroom beat line-ups, but choose instead a new design that better connects their reporters with the.
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For English Class, the only thing I am grading is the article itself.
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