The majority of the cultures that are seen today are deemed as mediated, an act of the cultural background and personification being portrayed mainly through media. This also means diasporic media is gaining its fair share of attention to those who are interested in learning about different cultural backgrounds. The term diasporic is characterized as the scattering of people , either voluntarily or forced, from their homeland to other parts of the world.(Georgiou 2003)
Diasporic media refers to the media created in relative, as a representation by or for those people.
Diasporic media is an integral tool, especially known to be used in the Australia during 1978, during the integration or change in policies affecting immigration and multiculturalism. When Australia established their status as multicultural, they chose used diasporic media to reduce and minimalize the fears associated with social harmony among those whom were already there. They emphasized the usage of it as a social tool to help settle and integrate the migrants. Soon after, the country took another step forward in this approach by introducing Special Broadcasting Services (SBS) in 1980. The SBS consists of experimental ethnic radio stations, activists counter-programing, and innovative logic of multi-lingual narrowcasting to cater towards a nation of migrants according to Sun et al (2011).
Though Australia’s intentions were positive, there are flaws in the approach of diasporic media. The main flaw that jumps out on me is the fact that these tales are told mostly by someone else looking in, some sort of observer. Yes, there could be interviews and segments would be used to portray the life and wellbeing of the migrants (most of them are portrayed in extremities; as either villains or victims). However, what these media does not take into consideration is the cultural complexity of the refugee experience.
What would be truly appreciable is a new mean of media space for the emerging communities of migrants. This new form of media space needs to provide a platform of which the stories are being told by the exact people that are going through them. In other words, to allow them to speak and tell their own tale rather than having someone else place one upon them. One of the better examples would be digital storytelling. Digital storytelling is time based digital narratives that remix photos, video, animation and drawings, sounds and sometimes music soundtracks and voice-over narration. This is a growing platform that is being utilized to envisage and document the diverse history of refugees. Australia is one of the countries practicing it for their refugees, both fresh of the boat and second generation communities.(Salazar 2012)
References:
Georgiou, M 2003, ‘Mapping diasporic media across the EU: Addressing cultural exclusion’, London school of economics and political science, pp 1-66, accessed 30/5/2014, http://www.lse.ac.uk/media@lse/research/EMTEL/reports/georgiou_2003_emtel.pdf
Salazar, J 2012, ‘Digital stories and emerging citizens, media practices by migrant youth in western Sydney’, 3Cmedia:Journal of community, citizen’s and third sector media and communication, issue 7, pp65-84, accessed 30/5/2014, http://web.a.ebscohost.com.ezproxy.uow.edu.au/ehost/pdfviewer/pdfviewer?sid=5ff484db-7d44-4224-aecf-497114c5b394%40sessionmgr4002&vid=2&hid=4106
Sun, W, Yue, A, Sinclair, J & Gao, J 2011, ‘Diasporic Chinese media in Australia: A post – 2008 overview’, Journal of media & cultural studies, vol 25, no 4, pp 515-527, accessed 30/5/2014, http://www.tandfonline.com.ezproxy.uow.edu.au/doi/pdf/10.1080/10304312.2011.576751