to report Jam Jam online The event of Ashura is one of the most important events in the history of Islam; The event that took place in the year 61 Hijri with the uprising of Imam Hussain (AS) in Karbala and with the martyrdom of that Imam and his companions, became a lasting point in the history and culture of Muslims. Over the centuries, Ashura has not only remained a historical narrative, but has become part of the collective memory and cultural identity of Islamic societies. This position has caused its representation in the media to not be limited to a single format.
Television has used various types in the narration of this event; From theatrical works that recreate the event in the form of stories and characters, to documentaries that record its rituals and historical effects. In addition to these, conversation-oriented programs analyze the intellectual and social dimensions of Ashura, musical forms reflect the collective emotion, and the broadcasting of mourning rituals portrays the lived experience of these rituals. From this point of view, the narration of Ashura on TV makes sense more than anything in the variety of formats.
* Narrative and dramatic format
Among the media formats, dramatic narration is one of the most important ways for the audience to encounter the world of Ashura. In these works, Ashura is not only a historical event, but it becomes a human and moral situation that confronts the characters with difficult choices and tests.
The film “The Event Day” is one of the leading examples of this approach. Instead of directly recreating the scenes of Karbala, this work tells the story of a new Muslim who embarks on an inner journey in search of the truth. A journey that finally leads him to the event of Ashura. At another point, the collection of “Mokhtarnameh” deals with the historical consequences of this event and through the life of Mokhtar Thaghafi, it narrates concepts such as seeking justice, struggle and political-social developments of that era.
In continuation of this path, works such as “Mahankshi” have paid attention to the periods before Ashura. Focusing on the mission of Hazrat Muslim bin Aqeel (a.s.) in Kufa, this collection portrays an atmosphere where the main event has not yet occurred, but the signs of crisis, doubt, and breach of contract are evident in it.
Along with these historical retellings, television has tried to reflect the extension of Ashura culture in social and contemporary narratives. The “Tenth Night” collection is one of the most successful examples in this field; A work that, by combining a love story and the ritualistic atmosphere of Muharram, turns ta’ziyeh into a platform for character transformation and the formation of the spirit of chivalry and resistance. The same link is also seen in “Pridakht”; Where the rituals of Muharram and the memory of Imam Hossein (AS) are present in the family memory and upbringing of the main character, and it becomes a moral support when he faces the difficulties of life.
On the other hand, “The Last Call” by linking the contemporary time to the history of Kufa, rereads the concept of choice and responsibility in the relationship between the past and the present. In “Yalda” also, the will of an old tazieh reciter is the center of the story, and tazieh becomes a context for the characters to return to their family and cultural roots. The review of these works shows that the presentation format is one of the most important capacities of television to represent Ashura concepts; A capacity that has provided the possibility of various payments both in historical narratives and in social and contemporary stories.
* Documentary and historical format
In Ashurai documentaries, the narrative moves away from the fictional world and approaches the historical and ritual reality. Here, instead of fictional characters, the camera goes to the people, places and rituals in which Ashura culture flows. For this reason, the documentary on TV has become one of the important formats for recording and replaying the different effects of this event.
In recent years, many documentaries have been produced in this field, each of them representing Ashura culture from a new and different angle.
“Termeh” collection focuses on the reflection of Ashura in arts such as cinema, theater and visual arts, and has addressed the cultural and artistic aspects of this event. The documentary “Home Fasting” also pays attention to the long-standing tradition of holding mourning gatherings in homes and presents an image of the continuation of this ritual in people’s daily lives. Along with these works, documentaries such as “Hussein Seyyed al-Shohadah” have tried to provide a deeper understanding of the personality and uprising of Imam Hussain (AS) with a historical and epistemological approach.
This diversity shows that the television documentary, relying on the recording of rituals, historical narratives and cultural reflections, was able to record and narrate a part of the lived experience of the society in facing Ashura. However, for many audiences, the understanding of this event is not formed only through the documentary image, and sometimes it gets deeper in the space of dialogue and analysis.
* Dialogue and analytical format
In addition to being a historical and ritual event, Ashura is also a subject for thinking and discussion. Therefore, in the form of dialogue-oriented programs, television has tried to examine the various dimensions of this event from a historical, social and epistemological perspective with the presence of religious researchers and experts.
“Surah” program is one of the examples that deals with the concepts of Ashura with an analytical approach. This program, relying on the verses of the Qur’an, the traditions of the innocents (a.s.) and Nahj al-Balagha, in a conversation with experts, examines the principles of Islamic government and its relationship with the issues of today’s society, and rereads the uprising of Imam Hussein (a.s.) in connection with concepts such as justice, governance, and social responsibility.
In the program “From History” the dialogue format is mixed with social narrative. Each episode begins with a social issue and continues with the narration of the life of a well-known figure whose lived experience is connected with Ashura concepts. This structure turns the program into a narrative that starts from an objective issue, reaches a spiritual point, and returns to the same issue again.
In addition to these, the program “I love Hussain (PBUH)” also deals with Ashura culture with an emotional and dialogue-oriented approach in relation to today’s generation. In this program, the guests talk about their personal experience and perception of Imam Hussein (AS) and the conversations are formed around the axis of how love for that Imam can be manifested in the lifestyle and social responsibility of people.
* Music format and music video
One of the most effective ways of representing Ashura in the media is musical formats. In these formats, words, sound and image are placed together and form an emotional and shared experience for the audience.
Visual eulogies and lamentations are the most important examples of this format. When the eulogy performance is accompanied by images of mourning rituals or suitable atmosphere, the work goes beyond a purely audio performance and becomes a part of Muharram visual narration. Besides that, religious songs and hymns have also found a prominent place in television productions in recent years. With a simpler and more musical language, these works try to recreate Ashurai concepts for a wider audience, especially the young generation.
Ashura music videos are also among other common formats in this domain; Short and compact works that usually focus on one image or symbol and convey a specific feeling and message in a short time.
* Live broadcast of mourning rituals
Along with all these formats, one of the most important capacities of television during Muharram is the broadcasting of mourning rituals. In this type of media coverage, the camera goes among the delegations, takayas, home prayers and local ceremonies and brings the audience with the real atmosphere of mourning. These images show Ashura not in a reconstructed form or a theoretical analysis, but in the context of social life. From large urban delegations to local rituals in cities and villages, each of them shows a manifestation of the continuity of this culture in the society.
* Innovative and combined templates
In recent years, some programs have tried to present a new experience in the narrative of Ashura by combining ritual and media forms. “Hosseinieh Moali” is one of the prominent examples of this approach. This program, with the focus on praise and the presence of young praisers, creates an atmosphere similar to a large television panel, and by distancing itself from the pattern of conventional competitions, it emphasizes singing together and transferring experience. Besides that, the program “Mahfel Setareha” also tries to narrate the concepts of Ashura in an educational format and suitable for the world of the younger generation, focusing on children and teenagers. An attempt to link ritual concepts with media language understandable for today’s audience.
In general, the juxtaposition of these various formats shows that Ashura is not a one-dimensional issue in the media. From theatrical and documentary works to analytical interviews, music videos and broadcasts of mourning rituals, each forms a part of this broad narrative. Perhaps it is this diversity that makes Ashura still possible to have new narratives in the media, especially the national media; An event that can be approached from a different angle every time and a new meaning can be discovered from it.
