Background Image courtesy of Nick Minto, Copyright 2024 Nick Minto; photographed November 6, 2024, Philadelphia, Pennsylvania, USA.

In this episode Paul and Selwyn discuss:

• Why Democrats Lost: Incumbency, Elitism, Class & Alienation, Identity Politics…
• Why Trump Won: Anti-Establishment, Populism, Avatar for the Alienated…
• What to Expect Next: Trump Appointments, Isolationism, Geopolitical Impact & Response…

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Background image: courtesy of and Copyright Nick Minto 2024. Image taken November 6 2024, Philadelphia, Pennsylvania, USA.

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An exhibition from Tara Arts International has been brought to The University of the South Pacific as part of the Pacific International Media Conference next week.

In the first exhibition of its kind, Connecting Diaspora: Pacific Prana provides an alternative narrative to the dominant story of the Indian diaspora to the Pacific.

The epic altar “Pacific Prana” has been assembled in the gallery of USP’s Oceania Centre for Arts, Culture and Pacific Studies by installation artist Tiffany Singh in collaboration with journalistic film artist Mandrika Rupa and dancer and film artist Mandi Rupa Reid.

A colourful exhibit of Indian classical dance costumes are on display in a deconstructed arrangement, to illustrate the evolution of Bharatanatyam for connecting the diaspora.

Presented as a gift to the global diaspora, this is a collaborative, artistic, immersive, installation experience, of altar, flora, ritual, mineral, scent and sound.

It combines documentary film journalism providing political and social commentary, also expressed through ancient dance mudra performance.

The 120-year history of the people of the diaspora is explored, beginning in India and crossing the waters to the South Pacific by way of Fiji, then on to Aotearoa New Zealand and other islands of the Pacific.

This is also the history of the ancestors of the three artists of Tara International who immigrated from India to the Pacific, and identifies their links to Fiji.

expressed through ancient dance mudra performance.

The 120-year history of the people of the diaspora is explored, beginning in India and crossing the waters to the South Pacific by way of Fiji, then on to Aotearoa New Zealand and other islands of the Pacific.

Support partners are Asia Pacific Media Network and The University of the South Pacific.

A journal article on documentary making in the Indian diaspora by Mandrika Rupa is also being published in the 30th anniversary edition of Pacific Journalism Review to be launched at the Pacific Media Conference dinner on July 4.

Exhibition space for Tara Arts International has been provided at the Oceania Centre for Arts, Culture and Pacific Studies at USP.

The exhibition opening is next Tuesday, and will open to the public the next day and remain open until Wednesday, August 28.

The gallery will be open from 10am to 4pm and is free.

Published in collaboration with the USP Oceania Centre for Arts, Culture and Pacific Studies.

Article by AsiaPacificReport.nz

One striking feature of the “freedom convoy” protests in Ottawa, Wellington and elsewhere has been the intense antagonism towards “mainstream media” (MSM).

These antagonisms are expressed not only in now familiar descriptions of MSM journalists as sinister agents of a wider power elite, coupled with pity or scorn for the befuddled “sheeple” who believe everything they hear in the media.

They can also take an uglier, more menacing form. Witness the clip circulating on Twitter of protesters spitting on CTV journalists in Vancouver. Or earlier reports of New Zealand journalists being “punched and belted with umbrellas” or harassed in person and online.

These kinds of encounters are becoming more common. Increased violence against journalists, particularly women journalists, has been a feature of the global rise of far-right politics.

This anti-media rhetoric has a clear “us” versus “them” dynamic. People start to define their own identities in opposition to the “MSM”. The media are framed as enemies (one of a gallery of interchangeable enemies) in ways that destroy the distinctions between journalism and propaganda, journalism and ideology, journalism and politics.

This language is then normalised in far-right media channels, sometimes with considerable success that might leave one wondering about the precise location of the mainstream: a livestream broadcast from one Facebook channel linked to the Wellington protests apparently had more views than the videos broadcast on The New Zealand Herald’s website.

Wellington protesters’ extreme distrust of mainstream media https://t.co/fAGmJmZxl3 pic.twitter.com/BHtqXU4CnO

— 1News (@1NewsNZ) February 26, 2022

Distrust of corporate media
The abuse and harassment of journalists trying to do their jobs are worrying. Journalists are right to suggest these attacks are an attack on democracy and the best democratic ideals of journalism.

At the same time, the cultural politics driving the antagonism to mainstream media and journalism are not as straightforward as is sometimes assumed.

In an official public sphere preoccupied with online disinformation and misinformation, one could be forgiven for thinking the problems could be fixed if people stopped feeding the social media algorithms and affirmed their trust in corporate news media instead.

It’s also not enough for journalists to insist (in good faith) they do nothing more than present balanced and objective news coverage — as if the vast academic literature documenting the problems with these professional rationalisations didn’t exist.

Defining ‘mainstream media’
The increasingly reactionary connotations of contemporary references to the “MSM” need historical context.

Like the “media” itself, the term “mainstream media” is a relatively recent invention. My research suggests academic scholars only started routinely referring to something called “mainstream media” from the 1980s onwards.

The term is nearly always taken for granted, as if it is perfectly obvious what the mainstream media is. But only 20 or 30 years ago, the term was associated primarily with left-wing critiques of capitalist media, and proposals for alternative media models.

We still hear those arguments today, and there are good reasons for critiquing mainstream media. The destructive impact of the market on contemporary journalism is more profound than it was in the 1980s and 1990s.

And there is an ironic dimension to the anti-media rhetoric of the convoy protesters, given that they benefit from the commercial appeal of “wall-to-wall mainstream media coverage”.

Into the rabbit hole
However, the meaning of media critique can become confused in a political context where the people who seem most critical of media and journalism are aligned to the far right.

This, in turn, can alter perceptions of the alternative. The online “rabbit hole” becomes a potential site of empowerment and agency — an archive of resources for mocking the conventions of “left-wing”, “woke” media.

But just because the ideological connotations of “MSM” have shifted, it does not mean the differences between authoritarian and democratic media criticism dissolve.

On the contrary, making such distinctions is more important now than ever. Being able to thoughtfully analyse how various media construct or define the world we live in is vital for our democracy.

Our democracies would be in even more trouble than they already are if anyone voicing suspicion of mainstream media was dismissed as a conspiracy theorist. It would be a world where the far right has successfully monopolised the terms of media criticism.

Anti-media sentiment among protesters cause for concern – experts https://t.co/ufus0Pfdlr

— RNZ News (@rnz_news) February 17, 2022

Ideological confusion
Nonetheless, the politically confused nature of media criticism today is a symptom
of a general ideological confusion that has accelerated during the pandemic and found another expression in the “freedom” convoys.

Talking points that might have once sounded inherently progressive start to float in unpredictable and chaotic ways. (A case in point: listening to one livestream broadcast from inside the Wellington convoy, I heard what sounded like an attempt to link the rhetoric of the sovereign citizen movement to notions of Māori sovereignty and self-determination.)

Anyone committed to a culture of vibrant democracy needs to be alert to this ideological confusion. We need to minimise the chances of our own political and media critiques compounding the problem and be vigilant for reactionary rhetoric that loves to blur left-right boundaries.

Our defence of journalists against “aspirational fascists” should be unambiguous. But our democratic imaginations will be seriously impoverished if the public conversation is reduced to a Manichean alternative of wild, paranoid denunciations of the “MSM” versus unquestioning support of our present media systems.

Dr Sean Phelan is associate professor of communication at Massey University. This article is republished from The Conversation under a Creative Commons license. Read the original article.

Article by AsiaPacificReport.nz