In the context of the transformations witnessed by Morocco in preparation for the embrace of the 2030 World Cup finals, the academic Abdel -Fattah said to Jazari that the Moroccan media does not keep pace with this transformation with the same dynamism that the stadiums and facilities know.
While the cameras develop, broadcasting systems speak, and the stadiums are furnished with the latest technologies, the media, according to his opinion, remains trapped in a gray area, in which faces and phrases are repeated, and serious critical approaches are absent from them.
In an article entitled “Before the VAR reaches our stadiums: to make ideas reach our publishing,” Al -Jamari stressed that the real challenge does not lie in the technical aspects, but rather in the ability of the media to build a speech that goes beyond just the instant coverage of events, towards the production of thought that analyzes and suggests. And he considered that the problem is not in the absence of the means, but in the absence of a vision, asking if the Moroccan media is ready to transform from the event’s carrier to an actor in it.
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The camera sees … but who teaches the screen to think?
What if the media match is more important than the football match? What if the real victory is not measured by the number of goals, but rather the number of ideas that we express to the world? Is not the media that is satisfied with transferring the fast shots is like a player running behind the ball without knowing the meaning of the game? Can a country prepare to embrace the World Cup to prepare the stadiums with green grass and leave its screens without intellectual fertility? Do we not need, before the bright cameras and the flour VAR, to a mental compass that makes the media a suggestion force that does not echo applause? Then which is more important: to hear the whistle of the ruling, or to listen to the questions that our screens have postponed for decades? Can a country media shine thanks to the limelight and is unable to light the minds? Is not, in essence, an intellectual match that needs a deeper analysis than just describing a cross pass? Then is it not time to ask: How do we make a media that talks to the world, not about him, participates in formulating the discussion instead of being satisfied with commenting on its limbs?
Between grass and blame: a ball on the field and a ball in the mind
It seems that Morocco is preparing to host the 2030 World Cup, in front of two parallel exams: the grass exam in the stadiums, and the thought exam in the TV channels. The first needs a continuous watering, and the second is a milestone, the least of which is to understand that the media is not just a microphone chasing the players in the corridors to ask them: “How did you feel after scoring the goal?”
Two do not differ that the Moroccan media is invited, before buying new cameras or collapsing his studios with the bright LED, until he reconsidates his message. What we need is not just a high -quality image, but rather a high -quality word because the sound may reach from Marrakech to Casablanca in one second, but the idea may need half a century to split its way to news bulletins. Our media is like a judgment that releases the start whistle and forgets the match; The screens are filled with the same faces, with repeated discussions as if Morocco has a country that has only ten analysts and five subconscious; The World Cup is a historical opportunity to redistribute the papers: to open the way for young people who know that the ball is not just 22 players, but a cultural, economic, psychological, and even philosophical industry. The media is no longer required today to be satisfied with the role of the broadcaster who applauds with the public, but rather turns into a space for critical analysis and a bold question: Why do people test joy or sadness? How can the match reveal the dimensions of identity, history and economics, and reflect social and cultural relations in a deeper way?
Therefore, the development of the Moroccan media starts from the liberation of imagination: to move from the media to inform the analysis, from the fasting of the quick moment to informing the spacious memory. For this, the World Cup will not test the skills of players, which will mainly test the language and cognitive broadcasters skills. However, if we want to inform us to succeed in the World Cup, he must remember that his role is not to describe the transfer of the ball from foot to foot, but rather transfer the idea from mind to mind. Just then we will deserve to be a country that conveyes to the world a vision, thought and wisdom.
World Cup Mirror: Is our media ready to look at itself?
The Moroccan media sometimes appears like a diligent student in the construction session: he writes a lot, but always about “my journey to the forest” or “the cat that was lost”, whatever the subject of the exam. The world changes at the speed of light, and we are still explaining to the world how our player created a cross pass as if it were the invention of the century. Therefore, I do not think that the problem is in lack of enthusiasm, because the Moroccan media does not skimp on us, the deficiency is in the most horizontal. We are talking about the world as if it was a neighboring room, not an open space that requires a common language. From there, we list the events from the spectator, not from the partner’s position in the history industry.
Take, for example, the World Cup: Instead of talking about its cultural, environmental, economic, or even geopolitical connotations, we drown in a question: “Will the Tanjajiya be lost on the new stadium?”; This is how Konni’s event turns into a local debate that comes between the kitchen and the stadium.
To learn how to talk to the world means that we have the audacity to put our Moroccan experience in the heart of the Koni discussion: to show how football can turn into a lesson in coexistence, and how the media can be a bridge between peoples, not just a broadcaster for national songs.
The world, gentlemen, does not wait for us to half of it … The world asks us to translate our privacy into a cosmic language, intelligently, lightly shadow, and with judgment, then the Moroccan media will not be just a broadcasting machine, it will become the power of proposal, collective memory, and a vision that exceeds geography.
Moroccan media and the shock of “postponed matches”
In football, the postponed match means that the fans will return later to complete his joy or sadness. As for the Moroccan media, the postponed match is the rule, not the exception: the news arrives late, the analyzes come after the global debate has ended, and even the television dialogues are recorded and then it is broadcast as if we are afraid of directly as the guard is afraid of the penalty shootout.
While the world discusses the revolution of artificial intelligence, some of our media still discovers that “the phone now can shoot the video.” While the speed of reporting news in seconds is measured globally, we sometimes need two additional beaches and a lost time to announce something that was happening in the street in front of the studio.
The painful irony is that the Moroccan media is proficient in the art of the postponement: conferences that are broadcast after their completion, programs that discuss issues that have lost their validity, and analysts explain what the citizen understood days before them via Facebook or “Tek Tok”. The dilemma here is not a technique, it is philosophical: Do we want a media chasing the world, or a media chasing itself? Do we want a screen that reflects the present time, or a cracked mirror that brings us a picture of yesterday? Therefore, the next World Cup will be the biggest test: If we remain prisoners of the “postponed” match, we will transfer to the world the image of a country watching the semi -finals, while others celebrate the cup; Then it will not help us justify the “technical damage” because real damage is not in the wires, but in the coffin.
From the news bulletin to the Bulletin of Ideas
In Morocco, the news bulletin appears a daily ritual that resembles drinking tea with mint: it has a specific time for the beginning and another for the end, and the viewer often comes out of the same awareness that he entered, surrounded by the echoes of words and the scenes, without changing his vision of the world. The news is presented in the same way as the weather: a rigid language, a solid camel, as if the world is taking place according to monotonous official papers, not according to the pulses of social and human reality. But the fundamental question remains: What if the news bulletin turns from a mere list of events into a space to circulate ideas, and motivate the mind to think and criticize? What if the broadcaster who is smiling with sarma appears with a broadcaster who dares to ask: Why does this happen? What does this mean? How do we read it in our context and in the context of the world?
The world lives on the rhythm of the accelerating news, but the nations that lead it are not those that know the events first, but rather that in which they think deeply. The significance is not to know that the team won or lost, but rather to understand: Why do people rejoice in all this joy? And why are they collapse at the loss? What does the ball reveal our relationship with ourselves and others?
Here is a satirical paradox: Our television channels may cut the news bulletin to display the football match, but it does not cut the same match to provide space for a serious idea or discussion. We always put the “direct event” in the first place, transgressing deep analysis and critical meditation as if the instant follow -up of the details is more important than awareness beyond the event, and the ability to understand the broader contexts and connotations.
It does not require the transition from the news bulletin to the Bulletin of Ideas to give up the microphone or the camera. It is necessary to use them as tools for collective thinking and critical analysis. When the media turns from a mere factory of facts to a catalyst for consciousness, the citizen realizes that his knowledge of what happened is not sufficient without absorbing the reasons and the implications behind the event. In this sense, the media becomes a space for controversy and understanding, allowing the recipient to engage in the meaning of meaning instead of being satisfied with the superficial view of the events.
Do we need correspondents or a stadium philosopher?
Do we need today correspondents who convey the facts to us as they are, or to the philosophers of stadiums who ask deep questions amid the hustle and bustle of the masses? The correspondent, accurately the microphone and the camera, transmits pictures and sounds, reminds the names, describes tension between players and coaches. But it often overlooks the deeper dimension: Why does this match in us raises joy or sadness that exceeds the importance of the result? From here, the philosophers of stadiums, on their part, do not write the facts, but rather test the scene from the inside, analyze the emotions, and translate the conflict into questions about identity and belonging, about the group and the individual, about mathematical spirit and collective madness.
As such, the fans of the stadiums are an active element that makes the moment, moves feelings, and creates the questions that the media needs to ask. Here, specifically, the media meets philosophy: the first documents the moment, and the second explains it, to generate a deeper understanding of what is happening in the interior and between the folds of being.
From this perspective, we cannot separate sports from life, nor encourage existential questions. When the fan shouts with joy with a goal, it expresses the moment of victory, a collective dream, about a desire for belonging, and for a moment when the individual meets others in a common experience. The reporter may describe the goal, but the philosopher asks: Why does this goal concern us? And why do we live this moment with all our prejudices to a degree in which we forget all our daily concerns?
Then we need an integrated combination of experience and knowledge: a reporter that transmits fine details, and a philosopher re -prioritizes, questioning values, and puts the event in a wider context than just the direct result. A successful media is that which opens a small window to the deep question: What makes us care about what is happening here, and how does this reflect what we are as individuals and societies? It is a media that stimulates thought, and turns follow -up to events into an experience of understanding and analysis, instead of sufficiency in the surface consumption of information.
This is my call to renew the media discourse, and a recognition that we need a deeper reading of what we see and hear. We are not satisfied with knowing who scored the goal, but rather we want to understand why our hearts have been shaken, and what makes the game more than just a sport, and what makes it a platform for a permanent human question, amid the hustle and bustle of the joy of victory.
When the discussion becomes preserved
The analytical studio appears today as a futile theater, where familiar faces sit in front of the cameras, the conversation exchanges loudly as if it is in a race to draw attention, but the truth is that the text is written in advance, and the dialogue is preserved as if it was part of a repeated play. Every word, every objection, every laugh appears calculated, and every discussion seems to be a scene that the viewer watched thousands of times, without adding new to understanding or analysis.
In these small theaters, the dispute becomes formal, and whatever analysts try to show the difference, the narrative thread remains firm so that it is not shaken, as if they were all students in one school who learned the art of showing the debate without reaching a real conclusion. The viewer watches, laughs sometimes, sighs at other times, realizing that what is presented to him is nothing but a tradition of reality, not the reality itself.
The strange thing is that this course is constantly repeated before and after each match, and every analysis, and every studio: the same faces, the same expressions, and the same resonant phrases. The scene appears to be a vicious circle, in which dialogue does not stem from the collision of ideas, but rather from the clash of voices, so the experience turns into a comic comedy, in which there is no truth except the illusion of interaction, while the reality shows that everything goes according to a unified and repeated pattern without change. Interestingly, this play is not limited to audio expression, but also extends to include body language, rigid smiles, and studied gestures; Each movement has carefully calculated, as if we are in front of a professional crew playing a specific role with extreme accuracy, without being allowed to deviate from the text or innovation. It is a picture of the structural media, where each detail is carefully managed to maintain a specific pattern, which blocks any trace of seashells or spontaneity, and turns the follow -up to a presentation governed more than that it is a real interaction with reality.
In this space, the same criticism turns into an element of the game, so that no one dares to break the rules, as the analyst who goes out of the text is often seen as strange or annoying, while watching the audience, between astonishment and mockery, how the meaning is woven into closed circles, without any trace of experimentation or surprise, as if everything is pre -prepared to satisfy a specific pattern of recipients.
The analytical studio represents a contemporary model of absurdity: everything is carefully prepared, and all aspects of seriousness are just a mask. The viewer believes that he acquires accurate knowledge, while the truth is that knowledge turns into an acting show, simulating seriousness without touching the depth or essence. Thus, the criticism of these studios aims to attack analysts, as much as it is an invitation to critical awareness, to search for new sounds, a thought capable of producing real dialectic, and rid the scene of the episode of repetition and artificial chants.
Moroccan media … a core pass that lost the meaning
What if the real media is the one that dares to leave us without ready answers? Isn’t the role of the screen to awaken the questions instead of being promoted by slogans? Is it sufficient to convey what is happening, or do we have to rethink the meaning of what is happening? Can a media do not exceed “now” to be a witness to the future? Do we have the courage to transform the microphone from a carrier to a generator? Isn’t the essential question today: Which media do we want to present to the world? Media the moment that goes on, or the memory media that remains? Informing the transit image, or noting a deep vision?
Let’s contemplate; And to another hadith.
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