Securitisation can be defined as a way in which parts of global and international security and how they are analyzed. In the terms of international relations it was derived from the Copenhagen School and so there the framework of securitisation is based of a constructivist perspective. Ole Wæver in 1995 was the first person to speak about securitisation and he aimed to redefine the terminological definition of security by challenging and criticizing all the previous ontologically materialistic, hypothetical methodologies with securityThe constructivist ontological investigation of securitization approaches security in a totally unique premise. In constructivism, the traditional idea of security cannot thoroughly reflect reality, because of the solely materialistic way the term is drawn closer. Established hypotheses approach security in light of the collaborations between “objective” materialistic components, for example, military power, financial and political capacities et cetera. Rather, for securitization, the idea of security is developed by relative and subjective standards, and rely upon the political motivations behind every on-screen character for each situation. As it were, “the word security is (without anyone else) the demonstration”, a security which is controlled by a succession of “discourse acts”.All the more particularly, securitization is the way amid which an ordinary or average political issue, is changed by the discourse demonstration, and makes new security dangers. That is, the moving of an issue from the domain of run of the mill legislative issues to the domain of special case (e.g. the new relocation strategy of the US because of 9/11), to make conditions for “honest to goodness” or/and “non-authentic” activity, keeping away from along these lines the bureaucratic guidelines that typically apply. This procedure includes three essential stages, the securitization of the performing artist, alluding to the question, and its acknowledgment by the gathering of people. The securitization procedure starts with a verbal proclamation or a reference to a particular on-screen character as a potential danger. In this manner, the potential is determined as a genuine risk that requires quick countermeasures, lastly the effective developed of dread and/or acknowledgment by the crowd, in both the presence of the danger and the need to react.