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MEDIA LITERACY AND INTERCULTURAL DIALOGUE Strategies, Debates and Good Practices re- enters the station and Da Endorphine lifts her right finger and her eyes up to the sky singing the last words “It’s Bangkok City”. Only in the very last scene we can see what her finger was pointing at. As in the opening shot, the camera eye captures Bangkok from the sky. The Thaitanium logo appears again dominating the city from above. Four logos are also shown at the bottom of the picture: the State Railway of Thailand, the Tourism Authority of Thailand, Nitasrattanakosin Exhibition Hall and the logo of Bangkok. Learning about who sponsored the music video leads to question whose interests are being forwarded via mediated forms of communication. In his research Eamsa found that despite all television and radio stations belong to the Thai government, corporations of Thai- Chinese business men such as Grammy Entertainment and RS Promotions have the monopoly of 80% of the music market in Thailand and vertically control all aspects of the media production and distribution process. “Although the musicians have autonomy in the creation of their music, expression of their identities through their music is limited because they have to work under the policies of the music companies that they work for. The most important value of pleng string (hybridized thai- western music genre) in capitalistic societies is mass consumption”. (p. 234) Many may argue that with globalization, advertising and the rapid circulation of commodities, individuals are shifting their role from active citizens into active consumers. However, Lawrence Grossberg (2005) argues, “globalization cannot be understood as a simple process of homogenization in which everything becomes the same (whether that means Westernized or Americanized or, perhaps, Japan-ized and Koreanized)” (cit. in Bennet; Grossberg; Morris, p. 149). Negotiations between local and global and “transculturation” (Pratt, 1991, p.34), the “process whereby members of subordinated or marginal groups select and invent from materials transmitted by a dominant or metropolitan culture” to produce their own work, exist and can be accessed through mediated forms of communication. 53
MEDIA LITERACY AND INTERCULTURAL DIALOGUE Strategies, Debates and Good Practices Section 2. Media Literacy, Participatory Culture and Cultural Citizenship In the last section of this paper, we will present two responses to the official music videos previously analyzed. The case studies from Wales and Newark display how youth and adults use pop culture and media to rethink about their environments, identities and cultural citizenship. Learning and pedagogy do not occur only in schools. Here we explore how Production and Spoofing are effective media literacy strategies that bridge curriculum and life and promote peer-to-peer intercultural dialogue and activism. New Port State of Mind and Newark State of Mind are just two of the myriad of examples uploaded on YouTube that use spoofing to appropriate idioms from the dominant consumer culture, play with their conventional codes and destabilize and subvert their meaning to convey new ones. In New Port, the music video opens up displaying photo shoots of places that are meaningful to the singer. The artists are not celebrities, rather common people parodying Jay- Z and Alicia Keys. Statements such as: Yes this is my life; These places are part of me Keep your big apple; We’ll have a tangerine Chips, Cheese and Curry makes you feel brand new Josie d’Arby (actress and television presenter) is from New Port, Yes it’s strange we didn’t know either, Thank you Wikipedia are important responses to the official music videos. The producers appropriate the codes of commercial culture and distort and subvert them to create new meanings that best represent their lived experiences. 54
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