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The six research articles in this issue range from an exploration of early German radio research labs and drama, to perception of politicians in audio vs. video, Indigenous participatory podcasting in Canada, Turkey's music streaming app continuing cultural policies, and Japan's first hospital radio initiative. Also included are book reviews of key texts, on the radio love affair described in Radiophilia and student/campus radio cultures. The editors' introduction concludes by welcoming the new international editorial board members joining from twelve countries across five continents. [ABSTRACT FROM AUTHOR]

Shaping digital inclusion policy and practice to meet community-defined goals requires more than access to digital devices and connectivity; it must also enable their effective design and use in situated local settings. For the Nation of Hawai’i, a Kānaka Maoli (Hawai’ian) sovereignty organization with a land base in Pu‘uhonua o Waimānalo on the island of Oahu, these activities are closely associated with broader goals of Nation-building and sovereignty. Recognizing there are many different approaches to sovereignty among diverse Kānaka Maoli, in this paper we document how the Nation of Hawai’i is conceptualizing the ongoing evolution of their community networking project. We suggest that the Pu‘uhonua o Waimānalo initiative reflects one Indigenous organization’s efforts to frame community networks as a means to generate a “sovereignty mindset” among members of the Nation, as well as share resources and experience among local community members and with other communities in Hawai’i and beyond.

This article points to the "funny business" that invariably accompanies the practice of land acknowledgments. By highlighting the idea of "funny business," we illuminate its double entrendre – its humor as well as the smoke and mirrors of what The Care Collective ([2020]. The care manifesto: The politics of interdependence. Verso.) describes as "carewashing," communication strategies designed to proffer a sense of concern, while all the while continuing exploitative practices that deny and obstruct these very concerns. We meld humor with seriousness to interrogate land acknowledgments, expose the perplexing dilemmas of Indigenous and colonial contexts, and push past to work towards responsible relationality between Indigenous communities and settler institutions. [ABSTRACT FROM AUTHOR]

Copyright of Revista Razón Crítica is the property of La Fundacion Universidad de Bogota Jorge Tadeo Lozano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article argues that multimodal semiotics can provide an analytical lens to critically understand recent film and media production by Indigenous people and communities in southern and central Abya Yala (or Latin America). It suggests precise ways to analyse this film and media production as the emergence of alternative public or 'counter-public' spaces that allow for the expression of 'emergent' forms of Indigeneity that contest dominant modes of representation. The argument focuses not only on these Indigenous texts' semiotic contents (their design and production) but also on their discursive features, distribution and reception. The article ends up revealing that a multimodal semiotic approach provides a very useful toolbox to make sense of the complex and multi-layered nature of the various emerging cinemas of Abya Yala. The article argues that this approach allows for a better appreciation of the diversity of Indigenous film production, while also facilitating a critical engagement with the issues this media production raises in terms of authorship and modes of representation, among other issues. [ABSTRACT FROM AUTHOR]

Shaping digital inclusion policy and practice to meet community‐defined goals requires more than access to digital devices and connectivity; it must also enable their effective design and use in local settings. For the Nation of Hawaiʻi, a Kānaka Maoli (Native Hawaiian) organization with a land base on the island of Oahu, these activities are closely associated with broader goals of nation‐building and sovereignty. In this article, we document how the Nation of Hawaiʻi is conceptualiz‐ ing its community networking project as an example of an Indigenous organization’s efforts to frame community networks as a means to generate a “sovereignty mindset” among its members, as well as share resources and experience among community members and with other communities in Hawaiʻi and beyond. [ABSTRACT FROM AUTHOR]

The following dialogue—with Indigenous filmmakers and anthropologists Dr. Angelo Baca (Diné/Hopi), Teresa Martinez‐Chavez (Zapotec), Dr. Teresa Montoya (Diné), and Dr. Ikaika Ramones (Kanaka ʻŌiwi)—charts the ethical protocols and decisions undertaken in the production of documentary films with and within Indigenous communities. These films underscore the significance of prioritizing culturally specific protocols about knowledge production and its attendant impacts on media circulation. Each filmmaker considers the broader colonial legacies that have shaped various representations of Indigenous life and what refusing certain media conventions, such as digital distribution, might mean for theorizing Indigenous media practices in broader anticolonial frameworks. [ABSTRACT FROM AUTHOR]

The article focuses on the national crisis of missing and murdered Indigenous women and girls in Canada, with grassroots and state-led organizations leading efforts to address femicide through initiatives like The National Inquiry into Missing and Murdered Indigenous Women and Girls. It highlights the disproportionate vulnerability of Indigenous women to violence, systemic failures by authorities.

In this article, I discuss how the logic of Shipibo ancestral healing or Onanyabo, is internal to Shipibo culture, and that such a logic is explicated in the creation and curation of Shipibo art across transnational boundaries. Moving from the term 'network' to 'meshwork', I explore how Shipibo Onanyabo operates across ontological difference, bringing together diverse mediums and perspectives. I consider how we might come to envisage the Shipibo community through the perspective of a meshwork, through recourse to the curation of Shipibo art in New York contemporary gallery spaces. [ABSTRACT FROM AUTHOR]

Mainstream news outlets continue to ignore Indigenous people or cover them inadequately, resulting in mistrust and alienation by the former towards the latter. Yet, ways to meet Indigenous peoples' needs for accurate media representation is understudied and undertheorized. Based on 16 in-depth interviews with Native and Indigenous citizens, we develop a conceptual framework of situated multidimensional representation to elucidate the agentic processes for citizen journalists to empower members of various tribal affiliations. Findings reveal that citizen journalists' situated knowledge and expertise encourages humanizing Indigenous people, engenders media trust through evoking feelings of relatability and belonging, and strengthens Indigenous identity by foregrounding the focus on complex personhood. Our analysis highlights a need for transforming conventional journalistic values and relationship building practices to incorporate marginalized Indigenous perspectives. Theoretical and practical implications are discussed. [ABSTRACT FROM AUTHOR]

Storytelling is ordinarily trivialised as an antiquated oramedia genre, and of less significance in Zimbabwean mainstream media and communication studies, hence it is understudied. Recent studies largely take a literary gaze on storytelling, and do not theorise it from an indigenous media viewpoint or appreciate its convergence with social media. Drawing on concepts of media convergence and the digital public sphere, this netnographic study examines the adaptation of storytelling on Twitter, SoundCloud and YouTube, focusing on patterns of production, delivery, participation, language forms, reception and audiences. The article shows inventive re-embodiment and adaptation of storytelling on online spaces, that is, the endurance and remaking of indigenous media in the context of new media and communication technologies. The manifestation of the folktale narrative style on social media exhibits the rise of a secondary form of orality recreated, reproduced and applied in the digital form and on social media. While digital and social media are perceived as threatening the continued existence of indigenous media, this article attests social media as breathing spaces for indigenous media. [ABSTRACT FROM AUTHOR]

As COVID-19 surged in 2020, non-Indigenous media had a chronic disease of its own: sparse pandemic news from Indian Country. Within this inadequate coverage, there was an erasure of sources: Indigenous women were missing. This study evaluates the role of gender in U.S. Indigenous news coverage during the early stage of the COVID-19 pandemic. In a qualitative thematic textual analysis, 161 Indigenous media news articles were analyzed to examine gendered news coverage themes from the time the United States instituted a nationwide quarantine until the autumn of 2020. U.S. Indigenous media amplified voices of the Indigenous women on the COVID-19 frontlines. This study focuses on Indigenous media as the benchmark for telling ethical diverse Indigenous community-focused stories, illustrating how women's voices led media coverage and amplified issues. U.S. tribes are often matriarchal. As Europeans wielded disease and genocide as extermination tactics on these communities, women's voices served as medicine to guide narratives to community solutions and healing. As such, this study seeks to add to current theoretical understanding of how Indigenous women's roles were portrayed in COVID-19 coverage. [ABSTRACT FROM AUTHOR]

Copyright of Annuario di Antropologia is the property of Ledizioni-LediPublishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The impact of crowdsourced data visualization in the Missing and Murdered Indigenous Women (#MMIW) movement over the last decade reveals how institutional systems of organizing and representing space present a key obstacle to the cause. Activists' digital crowdmaps express an ethos of Indigenous data sovereignty, or self-determination in data collection and application, that interrogates settler data procedures relative to gender violence. These tactical maps resonate with the circulation of location-tagged photographs via social media campaigns like #ImNotNext and #RedDressProject to similarly critique the datasets of government agencies. This article conceptualizes both media forms as informatic images that intervene in settler cartographic practice as part of an ongoing decolonization of digital mapping tools. Informatic images precondition the ways that users interact with data through hypermediated visual systems. Here, digital mapping and locative media practices focalize a relationship between violence, biased data and space, through various methods of layering, compositing and linking. Settler computational structures undergird these affordances, yet in a tactical context mapped images are reconstituted by user interaction with an oppositional dataset to intervene in that framework. Users' emergent data of presence and absence plot a distributed landscape of settler violence in accordance, instead, with relational Indigenous knowledges. [ABSTRACT FROM AUTHOR]