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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]

Media review: Whakapapa/Algorithms. Film, 22 minutes, digital video and sound, 2021. Directed by Jamie Berry; distributed by CIRCUIT Artist Moving Image. Purchasing information available at https://www.circuit.org.nz

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]

Indigenous peoples have been misrepresented and underrepresented in media since the dawn of cinema, but they have never stopped telling their own stories and enacting agency. It is past time to recognize them on their own terms. To facilitate that, academics, activists, and industry partners can fund, hire, teach, and share more Black, Indigenous and people of color (BIPOC) led projects. The uniqueness of 2020 with COVID-19, Black Lives Matter and human rights movements, and the move online by many academics and organizations have deepened conversations about systemic inequities, such as those in media industries. To address the often-heard film industry excuse, “I don’t know anyone of color to hire,” the Nia Tero Foundation has created Kin Theory, an Indigenous media makers database, that is having a dynamic, year-long launch in 2021. Nia Tero is a global nonprofit that uplifts Indigenous peoples in their land stewardship through policy and storytelling. Kin Theory is being developed to be global in scope, celebrating the multiplicity of Indigenous national cinemas and the power of narrative sovereignty. This paper demonstrates ways in which Kin Theory is striving to Indigenize the film industry through collaborations, coalition building, and co-liberation joy. The projected outcome of this study is to highlight how Kin Theory has the potential to increase access to Indigenous media makers, strengthens relationships, makes media works more visible, and increases support for BIPOC-led projects. This paper discusses the impacts of media misrepresentations and erasure, the foundations of Kin Theory, and introduces the potential for Indigenous national cinemas and narrative sovereignty. By reporting on the launch of Kin Theory at the Big Sky Documentary Film Festival, strategies for Indigenizing the film industry are also discussed. Throughout it is argued that decolonization is not a salvage project, it is an act of creation, and diverse industry leaders are offering new systems that support this thriving revitalization.

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]

In this interview, Professor Candis Callison and Professor Mary Lynn Young, along with MEDIA INDIGENA podcast creator Rick Harp, provide a deep and sometimes personal set of insights as to why the field of journalism studies came to function the way it did and why that field so often falls short in its analysis of issues related to race, indigeneity, gender, and colonialism. Both Callison and Young highlight the arguments they make in their recent book, Reckoning: Journalism's Limits and Possibilities, about the role and practice of journalism as it relates to methods, ideals, aspirations, social order, and ethics. They conclude with a discussione of the theoretical and epistemological frameworks that undergird their analyses in the book, and address the tensions between value and values in the news.

During the late 1970s, audio cassette technology became freely available in the Northern Australian Aboriginal reserve of Arnhem Land. Made for easy production and dissemination, magnetic tapes were loaded into mobile decks by clan leaders and distributed across the region. The transfer of clan-based knowledge using tape technologies built a rich collection of cultural records featuring ceremonial activity. The focus of this paper is not the content – what was recorded, but how ceremonial leaders employed hundreds of tapes to produce documentation in specific ways. Media theory is placed in a non-western historical context. I examine how a cassette library built by Indigenous peer to peer networks in Arnhem Land documents the media culture of a ceremonial society. A theory of ceremonial communication systems displays Arnhem Lands continuous and contemporary media history. I argue the circulation of cassettes extends movable media traditions in Indigenous Australia and formats new media practices now occupied by digital devices. [ABSTRACT FROM AUTHOR]

This paper offers a theoretical model to analyse an example of Indigenous media through an Indigenous lens and discusses its potential to increase audiences in other alternative media. Adapted from New Zealand Māori filmmaker and philosopher Barry Barclay's idea of the 'fourth cinema' and a metaphorical 'communications marae', 1 the model has been applied to New Zealand's Indigenous broadcaster, Māori Television. This article discusses the model and suggests that the 'communications marae' has the potential to be used by non-mainstream media providers to, not only address their own audiences, but also to enrol wider communities in alternative perspectives to the 'mainstream'. Research has demonstrated how Indigenous broadcasting can serve its own audience while also attracting wider, non-Indigenous audiences. However, this paper's focus is a case study of migrants engaging with Māori Television because it is migrants who frequently operate outside of established power relationships and represent an often unrecognised niche audience segment in mainstream media. The model demonstrates the potential pedagogical role of the broadcaster and how its content can make a positive difference to migrants' lives and attitudes towards Indigenous people through its ability to counter the, often negative, representations of Indigeneity in mainstream media. Outside of Māori Television, migrants have limited access to an Indigenous perspective on the nation's issues and concerns, which calls into question both democracy and migrants' ability to engage in civic society. Migrants need information to negotiate and weigh up important tensions and polarities, to understand multiple perspectives inherent to democratic living and to evaluate issues of social justice and to solve problems based on the principles of equity. Indigenous media, as in all alternative media, has a role to play in questioning or challenging accepted thinking and to present counter hegemonic discourses to all citizens in participatory democratic societies. [ABSTRACT FROM AUTHOR]

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy 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.)

Using transnational feminist media theories, theories of Fourth Cinema, and Pacific Islander epistemology, this paper argues that the film Vai (2019) builds transnational feminist alliances among the peoples of the Pacific Islands. Made by a collective of nine women from across the Pacific, the film follows the life of Vai, a Pasifika woman who struggles to maintain connections to her family, culture and land. I argue that Indigenous media, particularly media made by Indigenous women, plays a powerful role in battles for Indigenous sovereignty and self-determination. [ABSTRACT FROM AUTHOR]

Indigenous photobomb memes emerged on social networks as a media practice alongside contemporary activist campaigns, where artists insert pop culture content into digitized ethnographic photographs already in use as mainstream meme fodder. This article takes a materialist approach to such memes to explore how the technical processes of digital image editing function ideologically. Meme series by Kiowa-Choctaw artist Steven Paul Judd and others illustrate how compositing methods like cloning and healing tools may disrupt ethnographic photographs' claims to history, interrogating the aesthetic systems that underwrite settler-colonial media. As these algorithmic processes remediate the digitized image and re-situate it relative to other photoshopping practices, they bear a trace of settler digitality that allows such memes to intervene in current cultural debates and aesthetic trends. Circulation via social media generates a web of twice-remediated memes, which always refer back to their prior analog and digital iterations. [ABSTRACT FROM AUTHOR]

This article considers how Indigenous peoples in Central Australia share and keep digital records of events and cultural knowledge in a period of rapid technological change. To date, research has focused upon the development of digital archives and platforms that reflect Indigenous epistemologies and incorporation of protocols governing access to information. Yet there is scant research on how individuals with little access to such media share and hold—or not, as the case may be—digital cultural information. After surveying current enabling infrastructures in Central Australia, we examine how materials are held and shared when people do not have easy access to databases and the Internet. We analyze examples of practices of sharing materials to draw out issues that arise in managing storage and circulation of cultural records via Universal Serial Bus (USB) flash drives, mobile phones, and other devices. We consider how the affordances of various platforms support, extend, and/or challenge Indigenous socialities and ontologies. [ABSTRACT FROM AUTHOR]

The objective of this research is to analyze what the scientific production gathered in the Scopus database tells us about the influence of the "indigenous" in and through social media. For this purpose, the bibliometric analysis of 70 documents and 52 articles was carried out. The results show that the interest of researchers in topics that relate the "indigenous" to the new media ecology has grown from 2013 to date progressively, that Australia has the largest scientific production in this regard, and that the implications of the participation of the "indigenous" people in social media reach the social, health, psychology, technology and engineering, environmental sciences, and so on. In conclusion, the scientific evidence in Scopus tells us that there is a positive evolution of the indigenous issue that lies in more than its visibility; it is also evolving with respect to its ubiquity and its glocality, a manifestation that in this convergent era the indigenous issue is advancing from paternalism towards the empowerment of the "indigenous". [ABSTRACT FROM AUTHOR]

Through the use of the documentary genre, a group of Mexican indigenous women video-makers and their collaborators are depicting contemporary indigenous women. Occupying transformative roles in their communities, indigenous women are pioneers opening new cultural and social spaces to work toward a more equitable society. The main scenarios of their struggle are indigenous marginalization and women's marginalization under patriarchy. The documentaries Voladora/ Flying Woman (Chloé Campero, 2008), La vida de la mujer en resistencia/ We Are Equal (Chiapas Media Project–Promedios, 2004), and La rebelión de las oaxaqueñas /The Oaxaqueña Rebellion (Mal de Ojo TV, 2008) are case studies of female indigenous resistance through the media. Un grupo de creadoras de vídeos indígenas mexicanas y sus colaboradores representan a las mujeres indígenas contemporáneas a través del uso del género documental. Estas mujeres ocupan funciones transformadoras en sus comunidades y son pioneras en la apertura de nuevos espacios culturales y sociales en la búsqueda de una sociedad más equitativa. Sus principales escenarios de lucha son la marginación indígena y la marginación de las mujeres bajo el patriarcado. Los documentales Voladora (Chloé Campero, 2008), La vida de la mujer en resistencia (Chiapas Media Project-Promedios, 2004) y La rebelión de las oaxaqueñas (Mal de Ojo TV, 2008) son estudios de caso de resistencia indígena femenina a través de los medios de comunicación. [ABSTRACT FROM AUTHOR]

Indigenous cultures worldwide have long held distinctive beliefs that ascribed a living soul or anima to biological and non-biological entities including plants, particular inanimate objects and to natural phenomena. To the people who belonged to these traditional social groups, organic matter was vibrant, sentient and existed in dynamic relationship to Humankind. Anthropological studies seek to decode the nuances of tribal rituals and the traditional practices of ‘other’ cultures; however, the underpinning of objectivity is challenged by indigenous research, to question the underlying authority. For these societies, the merit is present in the interconnections and relationships. In India, liminal local perspectives have been largely excluded from mainstream media and this project investigates ethnographic film and animation as participatory media practice by indigenous storytellers in collaborations with the filmmaker. The aim is to also present the contemporary experiences recounted by the participants as we revisit their timeless narratives. In the process this becomes a transformative experience that reconnects us with the social function of the artistic practices that have sustained traditional societies.

This article explores the role of Māori Television's Anzac Day broadcast in reconfiguring languages of memory in New Zealand public war commemoration. An analysis of television, film and documentary content since the launching of the Anzac broadcast in 2004 reveals how Māori experience of war in the 20th century has become a central figuration of remembrance: the structure of the 28th (Māori) Battalion has become a structure of cultural memory. By centring Indigenous orality and ontologies, Māori Television has effected a significant shift in the emphasis of New Zealand Anzac commemoration and constitutional notions of nationhood. In this way, Māori Television offers a case study into some of the ways in which remembrance is shaped by the work of dedicated groups and institutions—in this instance, through Indigenous media producers. [ABSTRACT FROM AUTHOR]

In Napo, Ecuador, many speakers experience the use of the standardized variety Kichwa Unificado in formal education and other forms of institutional language revitalization to be a serious imposition upon their regional varieties of Kichwa. This article explores the assumptions about the nature of language—or what have been called ontologies of language (Hauck and Heurich 2018; Ferguson 2019)—that shape responses to language revitalization in Napo. At stake in debates over language standardization are fundamental assumptions of the nature of language and its connection to personhood. Grassroots Amazonian Kichwa media focused on "listening" and "remembering," reveal the importance of not only ideological clarification (Kroskrity 2009), but also ontological clarification in language revitalization and advocacy. [ABSTRACT FROM AUTHOR]

Gavan Titley's book Racism and Media (2019) is a much needed and compelling intervention on this enduring topic. One of the many significant contributions of the book is to develop an account of racisms as multiple and contextually specific, and to advocate for situated arguments rather than abstract principals. In this response, I attempt to extend Titley's transnational and locally specific approach. In order to resist or complicate the potential for Eurocentrism, I argue for further attention to scholarship and practice on racism and settler colonialism; on intersectionality; and on the crucial decolonial and self-determination work of Indigenous, community and alternative media. Writing from Australia on the anniversary of the Christchurch massacre and against resurgent Sinophobia during the global covid-19 pandemic, Titley's impressive and comprehensive book provides an ideal springboard for further developing the vital themes of racism and media across transnational contexts. [ABSTRACT FROM AUTHOR]

A new cycle of communications commons has become part of the contemporary repertoire of Indigenous first nations in North America. The mobilization of the Standing Rock Sioux is perhaps the best-known example of a continent-wide cycle of resistance in which Indigenous communities have employed a combination of collectively governed land-based encampments and sophisticated trans-media assemblages to challenge the further enclosure of their territories by the state and fossil fuel industries and instead represent their political and media sovereignty, and prefigure a more reciprocal relationship with other humans and with nature. Although their practices of commoning resemble other radical commons projects, the contemporary Indigenous commons begs for a reassessment of the critical framework of the commons. In this article, I discuss the critical commons literature and compare it with the practices of commoning in the anti-extractivist encampments of Standing Rock. [ABSTRACT FROM AUTHOR]

The study focuses on indigenous radio practices in Argentina under the implementation of the 2009 Law 26.522 on Audiovisual Communication Services, currently undergoing reform. This pioneering law recognised indigenous broadcasters, thereby satisfying the call of indigenous organisations, during the legislative process, for their right to 'communication with identity' to be included. Nevertheless, we believe that the application of the law has been weak overall, and that the legal definition of media is questionable. Furthermore, we have hypothesised that indigenous media are caught between de jure public ownership and de facto communal belonging. This hypothesis derives from a comparative analysis of the Argentinian legal framework and similar reforms implemented throughout Latin America, as well as from a dialogue between international studies on community media and the literature on indigenous media. In order to determine whether and in what terms indigenous media can be considered as community media, we carried out semi-structured interviews with key informants from indigenous communities who had been authorised to broadcast under the law's implementation. We explored the genesis and objectives of their communication projects; programming and agendas; external relationships; internal organisation (with a focus on the sustainability strategies adopted); respondents' definitions of 'community communication', 'indigenous communication' and 'communication with identity'; and respondents' opinions on the application of the law and its media definition. We found that many indigenous broadcasters in Argentina act as community media and resemble them ontically – that is to say, in how and why they remain in the (mediatised) public space. Nevertheless, indigenous radio is ontologically different from community media because it is often shaped by its ethnic identity, namely, who the indigenous peoples are and how they represent themselves in the (mediatised) public space. [ABSTRACT FROM AUTHOR]

Copyright of Sociologia & Antropologia is the property of Sociologia & Antropologia 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 media plays a pivotal role in electoral conflict or violence with how it gives prominence to salient issues, frequent reportage, agenda setting, priming, framing events, and preference for particular editorial formats and slants. This study focused on the framing of the 2019 presidential election in Nigeria in Alaroye, an indigenous language newspaper in Nigeria. This study is anchored by the framing theory, and a content analysis of the newspaper's publications in the seven months preceding the polls (July 2018-January 2019). Data was collected on headlines types, frame types, news sources, editorial formats, issues and media functions covered. The findings show that the sensational/screaming and coherent headlines are preferred, thematic frames are preferred to episodic frames, most of the contents were gathered by correspondents, and most of the issues covered were intra-party strife and political conflicts. Alaroye was neutral in its portrayal of politicians, while the media function used most is the information function. This study recommends that policies be put in place for relevant agencies to train indigenous language journalists on election coverage. [ABSTRACT FROM AUTHOR]

This paper extends a lineage of research that reveals appropriative possibilities by which indigenous and ethnic communities have appropriated media technologies to serve their own cultural, political, and social visions. This paper focuses on networked and database-driven “new” media and information systems, and the possibilities and potentialities these hold within cultural scenarios. A case is presented that has focused on Native communities within the United States. Through this presentation, I present a methodology, process, and analysis of the means by which information systems can enable culturally and community-focused goals.

Abstract With the advent and accessibility of the Internet, artistic and indigenous communities are beginning to realize how digital technologies can be used as a means for documenting and preserving their histories and cultures. However, it is not yet clear what knowledge architectures are most appropriate for creating a digital museum in order to facilitate an effective collection, organization, conservation, and experience of cultural and artistic heritage. In this paper, we discuss the concept of ldquofluid ontologies,rdquo a novel, dynamic structure for organizing and browsing knowledge in a digital museum. Fluid ontologies are flexible knowledge structures that evolve and adapt to communitiesrsquo interest based on contextual information articulated by human contributors, curators, and viewers, as well as artificial bots that are able to track interaction histories and infer relationships among knowledge pieces and preferences of viewers. Fluid ontologies allow for a tighter coupling between communitiesrsquo interests and the browsing structure of a digital museum. We present the key ideas behind the use of fluid ontologies within the context of digital museum design and seminal work in metadata/dynamic ontologies, particularly as it pertains to objects of cultural heritage, and discuss these characteristics in three concrete examples: (1) Village Voice, an online agora that ties together the narratives created by a group of Somali refugees using an iteration of community-designed ontologies, (2) Eventspace, a node-based collaborative archive for design activities, and (3) Tribal Peace, an online digital museum still under construction and evaluation that uses proactive agents to tie distributed Kumeyaay, Luiseno, and Cupeno reservations together in their quest to achieve greater political sovereignty .

It is good to see that Pacific Journalism Review is being relaunched at Auckland University of Technology and I congratulate David Robie for spearheading this project. When I was an AUT journalism lecturer, I used to use excerpts from PJR articles in the Public Affairs Reporting course, especially in relation to indigenous and 'ethnic' media. - Jill Ovens

Operating for the past 30 years, New Zealand’s 'iwi radio' stations broadcast a mixture of te reo Māori and English language programming throughout the country. The 21 stations that presently operate were established as a strategy to improve upon the severe decline in the indigenous language. As radio stations, each initiative also affords individual Māori groups some autonomy in the mediated protection and promotion of indigenous identity. Collectively represented by Te Whakaruruhau o Ngā Reo Irirangi Māori, the iwi stations stand apart from the highly-consolidated mainstream commercial and public service sectors, but are now similarly confronted with the challenge of a rapidly changing media landscape. Utilising convergence as a prominent, albeit contentious, descriptor of media transformation, this article analyses the response of the iwi radio sector to convergence processes. Initiatives that include the integration of web and social media and the establishment of a networked switching platform to share iwi content highlight parallel opportunities and challenges for the iwi radio stations as they strive to become ‘more than radio’ on limited resourcing. This discussion highlights the experiences of radio practitioners tasked with the preservation and progress of indigenous voices in an era of convergence, providing further contextual insight into contemporary accounts of media transformation, radio and Māori media.

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS 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.)