{"id":381,"date":"2025-05-23T14:09:21","date_gmt":"2025-05-23T13:09:21","guid":{"rendered":"https:\/\/jusmedia.co.uk\/scarletthreads\/?p=381"},"modified":"2025-06-06T16:56:22","modified_gmt":"2025-06-06T15:56:22","slug":"the-disconnected-news-narratives-are-an-injustice-to-palestine","status":"publish","type":"post","link":"https:\/\/jusmedia.co.uk\/scarletthreads\/2025\/05\/23\/the-disconnected-news-narratives-are-an-injustice-to-palestine\/","title":{"rendered":"The ‘disconnected’ news narratives are an injustice to Palestine"},"content":{"rendered":"\n

It was the year 2000 and Mirna Sakleh was 15 years old. She was attending Terra Sancta Girls School in Bethlehem, Palestine at the time, and her English Teacher, Susie got her class to keep diaries in the wake of the Second Intifada. <\/p>\n\n\n\n

As the years passed and the Intifada heightened, Bethlehem became an epicentre for military action. As a result, the diary pages became overridden with the harsh realities of military intimidation, the murder of classmates, curfews, and checkpoints. A reality no human, let alone a child, should have to endure.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Mirna\u2019s classmate Dalia Qumsieh wrote in her diary, 16th April 2002:<\/strong> \u201cThat time we were expecting them [The IDF] to pay us a \u2018cheerful\u2019 visit. We were ready all the time. They checked some houses in the neighbourhood. We were waiting for about nine hours. Then the tanks just withdrew\u2026 I was so angry, I wanted to throw everything at them. I know it might sound crazy, but if they had checked our house, it would have been so much better than being scared… I really feel empty, just like that street I’m staring at. You know, with the shooting and the bombing.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

This was during a  pinnacle point of the Second Intifada, in 2002 when the IDF surrounded the Church of the Nativity in Bethlehem, an event that was heavily covered by international news at the time. <\/p>\n\n\n\n

\u201dIt was very significant for Christians around the world, so it felt like everyone cared, you know.\u201d Mirna explains.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"
Mirna Sakleh, Bethlehem Calling 2025: Personal photo provided by show organisers<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Life was different during the early 2000s, the political situation in Palestine was different, but so was the entire media landscape. There was no social media and the internet didn\u2019t function in the way we now know, so most people got their information about the world from the TV and the nightly news. <\/p>\n\n\n\n

\u201cBack then, writing the diaries was something really powerful and really unique. Someone was listening,\u201d she continues.<\/p>\n\n\n\n

The diaries were originally created to help the girls process the things happening around them. Later, theatre was introduced, and the written anecdotes soon turned into a way to be heard. From this, the diaries were brought to life and turned into their first live UK theatre production in London in 2004. <\/p>\n\n\n\n

\u201cYet, in this current ongoing war, they [The IDF] bombed all the churches, all the mosques, all the hospitals, all the schools, they didn\u2019t stop, and it can feel like nobody cares,\u201d Mirna says.<\/p>\n\n\n\n

During the current war across Palestine, there’s no shortage of people posting and sharing about the Conflict<\/a>, but \u201cnot everything finds someone to listen,\u201d Mirna notes.<\/p>\n\n\n\n

\u201cThe first time it happens, there’s a big reaction, but then when it keeps repeating, it’s no longer significant.<\/p>\n\n\n\n

\u201cThe same news doesn’t have any meaning anymore. It’s become normal. It’s just become another piece of news that no one cares about,\u201d she explains.<\/p>\n\n\n\n

Read more about what is happening in The West Bank currently here<\/em><\/a><\/p>\n\n\n\n

Here Mirna is referring to what researchers call the 24-hour news cycle, and the influx of social media, a phenomenon that can have profound effects like desensitisation.<\/p>\n\n\n\n

Professor of Communication Erica Scharrer, from the University of Massachusetts Amherst who specialises in the effects of media content says desensitisation is a \u201cmulti-faceted concept”.<\/p>\n\n\n\n

\u201cGenerally where we might expect a stronger response to something that is disturbing – the more we see something that is disturbing, the more that stronger emotional response or physical response gets muted. It\u2019s this idea of becoming inured.<\/p>\n\n\n\n

\u201dPeople who study the news have long found that the news itself tends to be populated with bad news, this idea that bad news travels fast, and bad news sells news. So with repetition of this content, we almost, as a coping mechanism, become a bit immune,\u201d she says.<\/p>\n\n\n\n

Professor Scharrer links \u2018news fatigue\u2019 and \u2018desensitisation\u2019, highlighting that changing media landscapes and the increasing range of readily available sources means news is fighting for an audience’s attention. She refers to this as “the attention economy\u201d, and this current era where our attention is almost this commodity that can get bought and sold by media platforms.<\/p>\n\n\n\n

This constant news supply means a news audience is repeatedly confronted with terrible and violent acts, hence the term \u2018doom scrolling’, it’s this concept that there’s \u2018doom and gloom\u2019 on our screens.<\/p>\n\n\n\n

Even with this constant flow of information, Professor Scharrer notes how the narrative is often depersonalised and militarised within news coverage about war and suffering.   <\/p>\n\n\n\n

\u201cWe almost never get the stories, we may see fleeting images of someone grieving, but real stories we almost never get. The idea of stories of life before, as well as during, and after siege are I think really important for relatability,” she says.<\/p>\n\n\n\n

The Diaries heavily pulled on this idea of relatability, as they showed the normal daily thoughts of the teenage girls; from boy bands, to dreams of college – before the invasion of Bethlehem, and then how this changed during the thick of the Second Intifada. This comparison highlighted that children and adults living in Gaza and The West Bank<\/a> are not just \u2018Conflict <\/a>stricken people\u2019, they are people just like me, just like you, an element which can often get lost in the news.<\/p>\n\n\n\n

\u201cWe all have this somewhat protective tendency when we see images of war and suffering, and even then those are somewhat rare because they do tend to be sanitised,\u201d Professor Scharrer continues.<\/p>\n\n\n\n

\u201cBut when we see that, we maybe distance ourselves from it. Almost saying thank goodness, that’s not me, right? That’s so far away, and it’s got nothing to do with me and my life, right?<\/p>\n\n\n\n

\u201cBut if we see or hear things that we all do in our daily life, you know, people going to the market, and people celebrating events in their lives. Then that distance has collapsed, and there is a connection, a human connection.\u201d<\/p>\n\n\n\n

It\u2019s this double-edged sword, we are aware and \u2018connected\u2019 to events taking place across the globe, but we\u2019re so overrun with information and \u2018bad news\u2019, and this lack of real human connection, that we can\u2019t actually \u2018connect\u2019 with the narrative. Our ability to empathise is diminishing the more we consume, which can lead to, as Professor Scharrer puts it, this \u201ccollective feeling of being desensitised\u201d.<\/p>\n\n\n\n

This is why the diaries were brought back for a second live production – to address this and to highlight the need for human connection amid the wars across Palestine. <\/p>\n\n\n\n

\u201cI think the world has pushed us so much, and the politicians, to become very individual people. We live in a very strange time, everybody lives in this bubble, and they don’t know how to break it. We kind of get to the point where we think nothing can be changed,\u201d says Raeda Ghazaleh, who tutored the girls during the Second Intifada and co-directed the live theatre productions.<\/p>\n\n\n\n

\u201cThat’s why the diaries are so powerful, because you realise that those are really just kids, teenagers, dreaming of things like any kid in the world would, talking about the idea of friendship or whatever it is. Then you see those normal dreamers in the middle of this war and you see it killing their feelings,\u201d she continues.<\/p>\n\n\n\n

The second production called \u2018Bethlehem Calling\u2019 took to the stage in Glasgow in January this year, showcasing the original diaries from 2000, and a new set written by girls in 2024 from the same school. <\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"
Bethlehem Calling 2025: Personal photo provided by show organisers<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

2024 diaries:<\/strong><\/p>\n\n\n\n

Selina Odah\u2019s diary, 6th March 2024:<\/strong> \u201cI still remember them watching us through the big kitchen window as we pretended to sleep. My grandma and my cousin were crying silently, too scared to make a sound. The Israeli soldiers said something in Hebrew, then finally left. It was terrifying.\u201d<\/p>\n\n\n\n

Zeina\u2019s Diary, 9th November 2024:<\/strong> \u201cLife in here means that even the simplest trips \u2014 like going to school \u2014 become filled with fear and uncertainty\u2026 As we were waiting to pass through a checkpoint, I saw something that really shook me. There was a man just ahead of us who only wanted to get to the other side. The soldiers stopped him, and for no reason I could understand, they forced him to take off his clothes. Right there, in front of everyone, as if his dignity didn\u2019t matter at all. I could see how humiliated he felt, and I felt a mix of anger and sadness watching it happen.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

The show worked to amplify the Palestinian voice and, alongside the new diaries, highlight the same recurring situations from the 2000\u2019s diaries, long before the October 7th attacks.\u00a0<\/p>\n\n\n\n

\u201cTo see this now, and know it\u2019s happening across Palestine every day, even though you don’t really get to see it because people can’t properly communicate, they just see the images,” Raeda continues.<\/p>\n\n\n\n

\u201cWhen you realise through these diaries that those are normal kids, normal people being killed and in the middle of wars, and then you realise that nothing has changed over the years. That’s why it’s so strong.<\/p>\n\n\n\n

\u201cIt\u2019s the idea that we need to hear this voice to imagine that they are, you know, real people, real life, not just a picture. That’s what art does, it puts us in front of it. It’s the ability to communicate in the moment. It\u2019s the idea that you are in front of another human being, and you’re reacting there, and you get it, it’s a real thing.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"<\/figure>\n","protected":false},"excerpt":{"rendered":"

A set of diaries written by schoolgirls in Palestine which was turned into a live production highlights what it’s like to live under occupation in the West Bank. 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