HDNet World Report Season 7 Episode 62 Democratic Republic of the Congo: The U.N.'s Ultimate Peacekeeping Test; Tagging L.A.: Art or Vandalism?
- June 30, 2009
Democratic Republic of the Congo: The U.N.'s Ultimate Peacekeeping Test; Tagging L.A.: Art or Vandalism?
In the first segment of the HDNet World Report episode, correspondent Greg Dobbs travels to the Democratic Republic of Congo to investigate the United Nations' peacekeeping mission in one of the world's most dangerous conflict zones. Dobbs interviews officials on the ground, including Anneke van Woudenberg of Human Rights Watch, who discusses the ongoing violence in the eastern region of the country, where multiple armed groups are fighting for control of mineral resources. Dobbs also speaks with locals who have been victims of violence, including women who were raped by members of armed groups.
Dobbs documents the challenges facing the UN peacekeeping mission in the DRC, including limited resources, lack of cooperation from the Congolese government, and the difficulty of engaging with armed groups. Despite these challenges, Dobbs also meets with UN peacekeepers who remain committed to their mission and determined to protect local communities.
In the second segment of the episode, correspondent Roger Weber examines the debate over graffiti and street art in Los Angeles, a city known for its vibrant street art scene. Weber visits with artists, urban planners, and community leaders to explore the competing perspectives on this issue. Some argue that graffiti is a form of vandalism that damages public property and poses a threat to public safety, while others view it as an important form of expression and cultural heritage.
Weber interviews LA City Councilmember Herb Wesson, who has championed efforts to commission street art on public walls as a way to discourage illegal graffiti. He also speaks with artists who feel that their work is underappreciated and that the city's policies are overly restrictive. By exploring different perspectives on this contentious issue, Weber offers a nuanced view of the debate over street art in Los Angeles.
