Donate Now"Kimberly Abbott: Working together, NGOs and journalists can create stronger international reporting"
By Kimberly Abbott
Neiman Journalism Lab
In 2005, before Ted Koppel left ABC's Nightline, a highly respected American news program with a long commitment to international stories, he opened one of his signature broadcasts with a simple disclaimer: the story the audience was about to see was produced in partnership with a non-profit, non-governmental organization (NGO), the International Crisis Group. Said Koppel:
"This is not how we normally cover the news. But consider it a case of coordinating interests…Nightline has had a long-standing interest in Africa over the years. But there are hundreds of stories like this across the continent. Where do you start? Also, the expense of sending a crew, producer and correspondent can be prohibitive. But [actor Don] Cheadle and a video crew were already in Kampala [Uganda]. And Nightline producer Rick Wilkinson had worked with Cheadle in Sudan. Cheadle wanted his wife and daughters to get a sense of the kind of suffering that is so widespread in Africa. The International Crisis Group wanted publicity for what is happening in Uganda. And we, to put it bluntly, get to bring you a riveting story at a greatly reduced expense. [August 23, 2005]"
The following year, Nightline and Crisis Group teamed up on another project, this time in the Eastern Democratic Republic of the Congo. Correspondent Jim Wooten and Crisis Group analyst Jason Stearns revisited the horrors of the Rwandan genocide, attempting to track down some of the perpetrators of killings. While Nightline had covered the genocide a decade earlier, like most American networks, it had not closely followed the developments in the region since, and did not have the contacts or the background to update the story with the nuance and depth it required. International Crisis Group, on the other hand, had analysts living in the region who spoke the local language, knew the terrain, and were well-connected. While Nightline maintained full editorial control over the story, Crisis Group helped shape it with analysis, depth and context, and the two shared the cost of the production.