It would be hard to find two sisters who are more different. One of them is Egypt’s most famous belly dancer, provocative and self-assured. The other a strict Salafist, a member of the ultra-conservative branch of Sunni Islam, who always wears a veil, is shy and even distrustful.
One leads a life in the spotlight. Her every appearance is recorded on countless cell phones. Among her fans are many women wearing headscarves.
The other sister lives withdrawn, almost entrenched in her home. A nun-like shadow existence.
For close to a year, RTL television’s chief reporter, Antonia Rados, accompanied the sisters in times of grave political unrest in their country. Her summary: “The fate of Egypt – of a whole country – is reflected in the fate of the two sisters.”
This example shows that whoever wants to report beyond the daily news about politics and history as it is being made, must be in the field, talk with the people, and tell their stories. And that means investing time and money.
Whether private TV and radio broadcasters, public radio, newspapers or magazines, it is primarily the “classic” media companies that finance the creation of journalistic and creative value, thus making it possible in the first place. This is also the case in the digital media world.