"

!"#$#%&'( *'%+",-.%-"/. 0&/.#(-+ 1+%2++' 3/4% /'5 6+4% %7"#-(7

8+5&/ 9&%+"/,: /'5 !#; <-.%-"+

Sara Cabal, MSc
Cender, Medla and CulLure

=>4%"/,%

1hls paper uses medla llLeracy skllls Lo lnvesLlgaLe how mass culLural forms of Lhe
wesL affecL non- wesLern naLlons and Lhelr relaLlonshlp Lo ldenLlLy, spaces of
belonglng, culLure, sLyle, language and modernlLy. 1he sLarLlng polnL of Lhls pro[ecL
ls Lhe lnLerculLural dlalogue LhaL Lakes place beLween 1hal and Amerlcan youLh
Lhrough medlaLed forms of communlcaLlon. ulalogue wlll be approached as a
relaLlonal pedagoglc sLraLegy Lhrough whlch lndlvlduals communlcaLe and lnLeracL
wlLh each oLher cross- culLurally Lhrough verbal and non-verbal language, symbols
and lmages.

1he case sLudles LhaL wlll be analyzed are Lhe pop muslc vldeos mplte 5tote of MloJ
and ktooq 1bep Moboookboo (8angkok ClLy). Close aLLenLlon wlll be addressed Lo
Lhe role of medla as culLural references for youLh worldwlde and Lhe pedagoglc
value of popular culLure Lo learn abouL Lhe relaLlonshlp beLween culLure and
ldenLlLy, place and space, soclal and pollLlcal dlscourses, and Lhe power relaLlons
embedded ln sysLems of represenLaLlon.

ln Lhe flrsL secLlon of Lhe pro[ecL, Jecoosttoctloo (Lhe lnLerrogaLlon of knowledge)
wlll be used as a medla llLeracy sLraLegy Lo problemaLlze culLural represenLaLlons
and ask how Lhe laLLer are produced, LransmlLLed and perpeLuaLed. 1he muslc vldeos
wlll be lnvesLlgaLed as boLh conLacL zones (raLL, 1991) for lnLerculLural dlalogue
beLween Lhe easL and Lhe wesL and spaces where wesLern- cenLrlc dlscourses brlng
forward forms of culLural lmperlallsm.

A medla llLeraLe person musL be boLh an aLLenLlve and crlLlcal reader/ consumer of
medla messages and a responslble culLural producer. 1he second parL of Lhe pro[ecL
lnvolves Lhe parLlclpaLory youLh culLure of ?ou1ube and lLs role ln promoLlng
lnLerculLural dlalogue ln horlzonLal and non lnsLlLuLlonallzed ways. ltoJoctloo wlll
be used as a medla llLeracy sLraLegy Lo Leach abouL Lhe lmporLance of belng self
reflexlve ln knowledge producLlon, brlnglng ln dlfferenL worldvlews and organlzlng
Lhe learnlng process collecLlvely and ln more personal and meanlngful ways.

?+: 2#"54: ldenLlLy, lnLerculLural dlalogue, medla llLeracy, parLlclpaLory culLure, pop
culLure

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8AnCkCk hLLp://www.youLube.com/waLch?v=0M?ZCWZl9L
new orL hLLp://www.youLube.com/waLch?v=k8qns2xL1?c&feaLure=relaLed
newark hLLp://www.youLube.com/waLch?v=4u7kuqow3gg&feaLure=relaLed


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8efore proceedlng wlLh Lhe analysls of our case sLudles and showlng Lhe poLenLlal of
medla llLeracy Lo fosLer lnLerculLural dlalogue vla Lhe producLs of medla and pop
culLure, lL ls lmporLanL Lo acknowledge Lhe frameworks used for Lhls pro[ecL.
Lankshear and McLaren (1993) deflne crlLlcal medla llLeracy as one dlrecLed aL
undersLandlng Lhe on golng soclal sLruggles over Lhe slgns of culLure and over Lhe
deflnlLlon of soclal reallLy -over whaL ls consldered leglLlmaLe and preferred
meanlng aL any glven hlsLorlcal momenL" (p. 424). 1o speak of dlalogue beLween
culLures one musL flrsL undersLand Lhe meanlng of culLure and of dlalogue and
lnvesLlgaLe Lhe power relaLlonshlps lnvesLed ln lnLer- culLural communlcaLlons. 1hls
paper malnLalns LhaL crlLlcal medla llLeracy ls one sLraLegy Lo learn abouL
lnLerculLural communlcaLlons and undersLand Lhe shared slgns LhaL make up Lhe
meanlng sysLems of our culLure.

We speak of 'meanlng sysLems of culLure' ln LhaL meanlng and culLure are noL
blologlcal and musL noL be recognlzed as flxed seLs of lndlspuLable rules valld
LhroughouL Llme. As SLuarL Pall malnLalns (1997), meanlng does noL lnhere ln
Lhlngs, ln Lhe world. lL ls consLrucLed, produced. lL ls Lhe resulL of a slgnlfylng
pracLlce -a pracLlce LhaL produces meanlng, LhaL makes meanlng mean" (p.24). ln
llne wlLh Pall, culLure ls envlsloned ln Lhls paper as a hybrld space of soclal sLruggles
where mulLlple culLure genres clash and meanlng ls conLlnually negoLlaLed and
creaLed. Slgnlfylng pracLlces and sysLems of represenLaLlons consLrucL Lhe culLures
we llve ln. Sharlng and exchanglng culLural codes across counLrles Lhrough medlaLed
forms of communlcaLlon, approprlaLlng and undersLandlng Lhem collecLlvely ls whaL
allows lnLerculLural communlcaLlon Lo Lake place.

ln Lhls paper we wlll explore Lhe codes exporLed from unlLed SLaLes Lo 1halland and
shared cross-culLurally by 1hal people. As 8lll nlchols suggesLs ln dlscusslng Lhe work
of semloLlclan 8oland 8arLhes, we musL envlslon fllm and medla producLlons as arL
ob[ecLs and lndexes of culLure aL Lhe same Llme" (p.478). 1he sLudy of popular
culLure blends Lhe pleasurable experlence of readlng and maklng arL, and learnlng
abouL Lhe slgns LhaL bulld up our culLures. Applylng medla llLeracy sLraLegles Lo Lhe
process allows us Lo crlLlcally analyse how Lhe narraLlves, sysLems of represenLaLlons
and soundLracks of medla producLlons relLeraLe or shape and Lransform culLural
convenLlons. ulgglng wlLhln and soclally readlng LexLs and lmages, allows for a
pollLlcal, hlsLorlcal and anLhropologlcal lnvesLlgaLlon of Lhe map of meanlngs" ln
culLures.


$
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1he muslc vldeo mplte 5tote of MloJ by !ay- Z and Allcla keys was dlrecLed by
Parold Pype" Wllllams and released on CcLober 30
Lh
2009. 1he song was raLed by
M1v one of Lhe besL songs of 2009 and galned commerclal success worldwlde. ln
Lhls secLlon of Lhe paper we look closely aL Lhe slgns and slgnlfylng pracLlces ln our
case sLudy and Lhe role Lhey play ln lnLerculLural communlcaLlons. 1he purpose for
lnLerrogaLlng whaL ls belng shown by Lhe medla and Lhe enLerLalnmenL lndusLry ls
LhaL ln medla culLure noLhlng ls casual. Careful declslons, scrlpLs and rules leglLlmlze
who ls allowed Lo exerclse power and who ls noL, who may speak and who musL be
sllenced, whlch codes of behavlor are valldaLed or lnvalldaLed. 1o proceed wlLh our
scrupulous lnLerrogaLlon, Lhe quesLlons kepL ln mlnd LhroughouL Lhe medla llLeracy
analysls were Lhe followlng:

! WhaL ls Lhe role of medla messages?
! Who pald for Lhe medla? Whose lnLeresLs are promoLed?
! Whlch sLoryLelllng Lechnlques are used?
! ln whlch conLexL ls Lhe medla message produced?
! ls Lhe medla message LrusLworLhy?
! Are medla represenLaLlons harmful? WhaL are Lhelr soclal effecLs? Pow do
Lhey lnfluence audlence recepLlon?
! Whose sLorles are belng Lold? Who geLs Lo speak?
! Who ls Lhe medla represenLlng? Who ls belng LargeLed? Who ls spoken?


8efore Lraclng Lhe llnks beLween easL and wesL, one musL acknowledge LhaL Lhls
muslc vldeo ls already ln lLself a producL of lnLerculLural communlcaLlon. 1he hlp hop
song merges mulLlple muslc genres, elecLro pop and orchesLral pop, !ay- Z raps ln
Afrlcan Amerlcan vernacular Lngllsh, welcomes people Lo Lhe melLlng poL", refers
Lo Lhe uomlnlcanos" (uomlnlcans), lnLersecLs mulLlple llLerary sLyles and brlngs Lhe
pasL lnLo Lhe presenL by referrlng Lo lcons such as Afrlca 8ambaaLaa (known as Lhe
%
godfaLher of hlp hop and foundlng member of Lhe Musllm- lnfluenced youLh muslc
organlzaLlon Zulu naLlon ln Lhe unlLed SLaLes durlng Lhe 70s), 8ob Marley, lLallan
Amerlcan fllmmaker 8oberL ue nlro, and alludlng Lo lrank SlnaLra's new ?ork, new
?ork" famous verse lf l can make lL here/ l can make lL anywhere" (wlLh Lhe
dlfference LhaL slnce Ioy-2 made lL here/ be can make lL anywhere). 1hls vlsual
auLoblography ls lnLerculLural ln lLs LexL, muslc genre and culLural references, buL
also because of lLs fame, wlde lnLernaLlonal dlsLrlbuLlon and ouLreach. AfLer closely
analyzlng Lhe vldeo ln lLs LoLallLy, we exLracLed culLural codes consldered
problemaLlc and lnvesLlgaLed Lhe lmpllcaLlons of exporLlng and sharlng Lhem cross-
culLurally. Cur analysls has Lhen shlfLed Lo 1hal people's undersLandlng and
approprlaLlon of wesLern culLural codes and Lhelr subverslon and lnLegraLlon of Lhe
laLLer wlLhln easLern culLure.

1he muslc vldeo mplte 5tote of MloJ opens wlLh black and whlLe plcLure shoLs of
lconlc places ln new ?ork LhaL follow Lhe muslc beaL. 1he lllusLraLlons are Lhe
foreground of !ay- Z's llfe and hls experlence of growlng up ln 8rooklyn (eob, lmmo
op ot 8tooklyo") and maklng lL blg ln Lhe clLy where all dreams can come Lrue (oow l
llve oo 8lllbootJ"). Slgns lngralned ln our collecLlve lmaglnarles such as Lhe 8rooklyn
8rldge, Lhe Lmplre SLaLe 8ulldlng, skyscrapers, 8roadway, ManhaLLan, Lhe Memorlal
World 1rade CenLer, Parlem, Lhe SLaLue of LlberLy, Lhe new ?ork ?ankees,
commerclal culLure, Mcuonalds and Coca-Cola adverLlsemenLs brlng us back (desplLe
we are noL Amerlcans) Lo our shared culLural codes of whaL uSA ls" and how Lhe
Amerlcan dream has been assembled, packed and exporLed worldwlde.

Medla culLure and celebrlLles are powerful ambassadors of naLlons' culLures and
values. ln Lhls case, !ay- Z Lransforms new ?ork lnLo Lhe symbol for unlLed SLaLes,
modernlLy, wesLern clvlllzaLlon and progress. 1he emoLlonal Lransfers used, Lhe
glamour and hype of Lhe clLy, celebrlLles, belng macho, Lough, hyper- mascullne,
rlch, cool", sexy, sLyllsh and so on, musL noL be Laken for granLed, raLher, as
relevanL culLural references, Lhey musL be analyzed Lo undersLand Lhelr lmpacL on
people and Lhe wlder soclal order.

lL ls noL Lhe purpose of Lhls paper Lo lnvesLlgaLe ln depLh Lhe pollLlcs of gender,
sexuallLy, raclsm and ldenLlLy ln hlp-hop culLure, however, Lhe work of aLrlcla Plll
Colllns (2004), !ason kraLz, SuL !hally, 8yron PurL (2008) and Lhose who lnvesLlgaLed
Lhe relaLlonshlp beLween gender, medla, culLure and ldenLlLy were relevanL Lo our
analysls. As Llalne 8lchardson (2007) malnLalns,

Commerclal rap vldeos provlde a dlssemlnaLlon of hegemonlc lmages of black
youLh culLure LhroughouL Lhe world. 1hese lmages are deconLexLuallzed from
Lhelr rooLs ln slavery and lLs legacy of raclal rule, and are repackaged by mass
medla and pop culLure, helplng Lo reproduce Lhe hegemonlc ldeologles and
repllcaLe soclal lnequallLy. (p.790)

ln Lhls medla llLeracy pro[ecL we lnvesLlgaLed Lhe exLenL Lo whlch 1hal rappers wear
Lhe brand of black mascullnlLy and adapL lmages, sLyles and poses of black youLh
culLure ln 1halland Lhrough hlp hop muslc vldeos. We acknowledge LhaL such
&
performances shape culLure and ldenLlLy and supporL a whlLe caplLallsL paLrlarchal
order LhaL fosLers soclal lnequallLles and ls lndeed problemaLlc cross- culLurally.

As a prerogaLlve of hlp hop, ln mplte 5tote of MloJ, !ay-Z seems Lo address hls song
more llkely Lo young males even lf Lhe dueL wlLh pop slnger Allcla keys makes Lhe
vldeo also appeallng Lo glrls. 1hrough a crlLlcal analysls of Lhe lyrlcs and Lhe
lnLerpreLaLlon of Lhe meLaphors used by Lhe slnger, we are exposed Lo Lhe recurrenL
Lhemes ln hlp-hop culLure. 8eferences are made Lo Jtoqs ("MuMA goL you feellng
llke a champlon"), mooey (now l'm down ln 1rlbeca/ rlghL nexL Lo ue nlro"), fome
(now l llve on blllboards"), stotos (lf !eezy's payln Le8ron, l'm paylng uwayne
Wade"
1
), mlsoqyoy (good glrls gone bad, Lhe clLles fllled wlLh Lhem, Maml Look a
bus Lrlp and now she goL her busL ouL, everybody rlde her [usL llke a bus rouLe") and
ptofoolty (!esus can'L save you, llfe sLarLs when Lhe church ends"). lL ls lmporLanL Lo
be crlLlcal and Lhrough medla llLeracy eradlcaLe from pop culLure Lhese Lhemes ln
LhaL Lhey are Lhe values and codes of behavlor LhaL are belng promoLed as
glamorous by Lhe enLerLalnmenL lndusLrles, exporLed worldwlde and Lransformed
lnLo culLural norms and common sense. 1hese are Lhe codes LhaL Lhe youLh
approprlaLe, share and undersLand, Lhls ls Lhe conLenL of lnLerculLural
communlcaLlons ln Lhe LwenLy flrsL cenLury.

FCE G"#$ H+2 I#"J %# !"#$% '()* +,(,$,-(.$ K1/'(J#J <&%:L


ln Lhls secLlon of Lhe paper we wlll analyze Lhe muslc vldeo ktooq 1bep Moboookboo
(8angkok ClLy) by 1halLanlum fL. ua Lndorphlne (2010). 1he alm ls Lo puL Lhe easL
and Lhe wesL ln conversaLlon and undersLand Lo whaL exLenL Lhe exchange and

"
1hls meLaphor alludes Lo ?oung !eezy's song kobe, Lebron". Pere Lhe rapper uses
players' [ersey numbers as Lhe money pald for drugs. Whlle !eezy pays $23,000 (23),
!ay- Z pays $3,000 (3) for a kllo of cocalne.
'
sharlng of culLural codes may be consldered lnLerculLural dlalogue or a form of
culLural lmperlallsm. vlncenL 8occhlo (1999) malnLalns LhaL clnemaLlc and medla
represenLaLlons have ldeologlcal funcLlons LhaL can be deLermlned by mapplng ouL
Lhe lnLeracLlon beLween a scene, lLs' narraLlve operaLlons and Lhe codlng of Lhose
narraLlve operaLlons. As medla llLeracy acLors, lL ls our responslblllLy Lo crlLlcally
analyse Lhe lnLeracLlons beLween mlse en scene (everyLhlng LhaL appears ln Lhe
camera frame -acLors, props, llghLenlng, cosLumes), camera movemenLs and angles,
edlLlng, lmage consLrucLlon, sound, scrlpLs and Lhelr arrangemenL ln such a way Lo
convey parLlcular meanlngs.

Whlle ln mplte 5tote of MloJ Lhe muslc vldeo sLarLs wlLh black and whlLe shoLs of
lconlc places ln new ?ork, ln Lhls vldeo's openlng scene Lhe camera eye looks from
Lhe sky down aL 8angkok whlle Lhe 1halLanlum logo sLands aL Lhe cenLre of Lhe
frame. As Lhe logo fades ln Lhe sky, noLorlous areas of Lhe clLy sLarL belng capLured
by Lhe camera. 1he famous sky Lraln runnlng Lhrough Lhe SukhumvlL 8oad,
skyscrapers, malls and founLalns, Lhe Chaopraya 8lver LhaL Lraverses Lhe clLy and a
colour plcLure of Lhe ClanL Swlng are ln Lhe foreground accompanled by an
orchesLral rhyLhm. 1hlrLy seconds laLer, Lhe Lhree slngers enLer ln row one afLer Lhe
oLher from Lhe rlghL slde of Lhe frame. 1hey are sLandlng on Lhe cross walk aL Lhe
cenLre of an empLy 8roadway- llke" sLreeL. lf we deconLexLuallze Lhls scene from
Lhe vldeo, lL would be hard Lo Lell LhaL Lhe shooLlng Look place ln 8angkok.

ln Lhese only LhlrLy seconds, several codes from Lhe wesL may be Lracked Lhrough a
medla llLeracy lens. llrsL of all, lL ls clear LhaL 1halLanlum approprlaLe Lhe sLyllsLlc
formaL and orchesLral muslc genre used ln mplte 5tote of MloJ. Secondly, one musL
quesLlon Lhe cholce of prlorlLlzlng culLural references such as skyscrapers, malls and
Lhe sky Lraln runnlng on Lhe SukhumvlL 8oad over symbols LhaL are beLLer
represenLaLlves of 8angkok and 1halland. 1hlrdly, 1halLanlum's enLrance ln Lhe muslc
vldeo remlnds us of Lhe 8eaLles' world famous Abbey 8oad album cover (1969).
1hese codes appeal Lo people's collecLlve lmaglnarles and are commonly undersLood
by ooe pott of Lhe world's populaLlon as shared language. As 8apporL and uawson
puL lL (1988), Lhe mlgraLlon of lnformaLlon, myLhs, languages, and people brlngs
even Lhe mosL lsolaLed areas lnLo a cosmopollLan global framework of lnLeracLlon"
(p.10). May we conslder Lhls easLern- wesLern lnLeracLlon as lnLerculLural dlalogue?
ls 8ooqkok clty a response Lo Lhe lnLernaLlonal communlLy LhaL 1be xtteme Otleot
ls noL LhaL far afLer all? ln seLLlng Lhe scene, we lmmedlaLely undersLand LhaL Lhe
LargeL audlence of Lhls vldeo ls noL merely 1hal people, also forelgners and
wesLerners.

ln Lhe flrsL shoL afLer Lhe slngers' appearance, Lhe camera looks up aL Lhe sky, Lhe
muslc slows down and Lhe nexL lconlc plcLure LhaL appears ls Lhe 8oyal alace. 1hls ls
Lhe beglnnlng of a serles of camera movemenLs and angles LhaL are worLh analyslng
when pulllng ouL meanlng from 8ooqkok clty. ln Lhe nexL shoL Lhe slngers are all
dressed ln whlLe walklng one behlnd Lhe oLher on Lhe roofLop of a skyscraper. 1he
leadlng slnger ralses hls flnger up Lo Lhe sky (as !ay- Z also does ln Lmplre SLaLe of
Mlnd) and Lhen opens hls arms Lo Lhe clLy. Cround and sky, earLh and heaven
alLernaLe as Lhe camera eye shlfLs dlrecLlon. 1halLanlum, 'angel- llke' flgures dressed
(
ln whlLe and sLandlng on Lhe roofLop of Lhe skyscraper overlook Lhe clLy and brlng
homage Lo 8angkok - 1be clty of Aoqels.

ua Lndorphlne (Lhe 1hal Allcla keys") appears ln Lhe nexL scene. She ls dressed
almosL as Lhe Amerlcan pop slnger ln mplte 5tote of MloJ, has shorL brown dyed
halr and approprlaLes Lhe wesLern new ?orker looks and sLyle. 1he slnger sLands
durlng all Lhe vldeo aL Lhe cenLer of 8angkok's Lraln sLaLlon. 1he locaLlon ls noL
casual, raLher sLraLeglc. As a meeLlng place where Lhe flow of people enLer and
deparL from 8angkok, Lhls locaLlon may be coded as a space of lo- betweeooess"
(Poml k. 8habha, 1994) where local (1hal) and global (forelgn), encounLered
(physlcal) and lmaglned (vlrLual) communlLles lnLersecL.




1he flrsL words of Lhe song are ln 1hal, ua Lndorphlne lmmedlaLely sLaLes, 1bete
lsot ooy otbet ploce tbot ls llke oot bome, 1bete ls oo otbet coootty and as Lhe
muslc beaL lncreases, she swlLches Lo Lngllsh and slngs lts 8ooqkok clty. 1he
cholce of uslng Lngllsh ls noL casual and one musL quesLlon Lo whom Lhe message ls
addressed and whaL culLural codes are belng used. 8ooqkok ls LranslaLed ln 1hal as
'vlllage of wlld plums' and ls wldely mlsundersLood by forelgners as meanlng 1he
ClLy of Angels". 1hal people use lnsLead Lhe name ktooq 1bep Moboookboo, whlch
llLerally LranslaLes from 1hal as Lhe ClLy of Angels". lL seems LhaL aL Lhls polnL of Lhe
analysls, Lhe lnLerculLural dlalogue beLween Lhe easL and Lhe wesL ls noL Laklng place
slnce culLural codes are recelved dlfferenLly by Lhe Lwo culLures. lor non-1hal
language speakers, lL would noL have been posslble Lo access Lhe lnlLlal message of
Lhe slnger lf lL were noL LranslaLed ln Lngllsh subLlLles, 1hal people who are Lold LhaL
Lhere lsn'L any oLher place llke Lhelr home and counLry musL cope wlLh a name for
Lhelr clLy LhaL ls noL even Lhe orlglnal one Lhey use.

)
As Lhe vldeo unfolds, lmages of 8angkok conLlnue Lo appear boLh on full screen and
spllL screen. 1halLanlum rap ln Lngllsh and sLarL Lhelr ode Lo 8angkok by clapplng and
slnglng 8ooqkok clty, 1bls ls fot yoo. lrom Lhe nexL scene, Lhe muslc vldeo glves
Lhe lmpresslon Lo be a Lrlp advlsor for forelgners. 1halLanlum slng ln Lngllsh LhaL Lhls
ls 1be ooly clty wbete yoo coo tlJe oo tbe bock of tbe elepboot, slp cbompolqo, look
ot oll tbe skysctopets, o koow wbot l om tolkloq oboot? no, we are noL sure of
whaL Lhey are Lalklng abouL! Who ls dolng Lhls ln 8angkok? 1he llfesLyle promoLed by
Lhe rappers remlnds lnsLead of Lhe Pollywood fllm 1he Pangover ll" (2011), raLed
by 8angkok osL fllm revlewer kong 8lLhee as one of Lhe worsL sequels he has ever
seen, yeL celebraLed because seL ln 1halland ls drawlng blg crowds. AfLer Lhe release
of Lhe Pollywood movle, Lhe lnLerneL was lnundaLed wlLh LourlsL promoLlonal
webslLes of 8angkok and 1halland. 1tovel noppy.lofo ls an lnLeresLlng example Lo
refer Lo because lL boLh ldenLlfles Lhe places represenLed ln Lhe movle, and crlLlcally
acknowledges how Lhe medla and Pollywood lndusLry manufacLure and dlsLorL
reallLy. Many of Lhe places represenLed ln Pangover ll do noL exlsL ln reallLy, raLher
were bullL ln Los Angeles as lnLerlor seLs. 1hls noLe brlngs us back Lo Lhe funcLlonlng
of sysLems of represenLaLlon and Lhe soclal consLrucLlon of meanlng. SLuarL Pall
(1997) deflnes represenLaLlon as Lhe way ln whlch meanlng ls glven Lo Lhe Lhlngs
deplcLed (.) ?our work of represenLaLlon ls your measurlng of Lhe gap beLween
whaL you Lhlnk ls Lhe Lrue meanlng of an evenL or ob[ecL and how lL ls presenLed ln
Lhe medla" (p.6). Medla llLeracy ls key ln measurlng Lhls gap and lnvesLlgaLlng
represenLaLlons crlLlcally from wlLhln.

1he 8ooqkok clty muslc vldeo alLernaLes ouLdoor and lndoor shoLs. ua Lndorphlne,
who ls never ouLdoor and who ls always dressed ln black, llfLs her flnger up Lo Lhe
sky (as lL also happens ln Lmplre SLaLe of Mlnd) and lnvlLes 1hal people Lo Aoooooce
fot tbe wotlJ to koow tbot tbls ls 8ooqkok clty, xplolo lt so tbey ooJetstooJ, 1bot
tbls ls tbe clty of tbe 1bol people". WhaL we see aL Lhls polnL ln Lhe vldeo (and ln laLer
scenes) ls on one hand Lhe sLrong sense of belonglng Lo Lhe cbot 1bol (Lhe 1hal
naLlon) and kwom peo 1bol (1halness), on Lhe oLher hand, Lhe promoLlon of Lhese
values Lhrough Lhe re-approprlaLlon of Lhe domlnanL codes and sysLems of
represenLaLlon (looks, rapper sLyle, Lngllsh language, glamorous llfe, money, ldeas of
modernlLy, Lechnology and so on) LhaL are besL undersLood by Lhe wesL.

1hls nexus of local and global allows us Lo conflgure Lhe 1hal communlLy as
LransnaLlonal. verLovec and Cohen (1999) malnLaln, people who embody
LransnaLlonallsm weave Lhelr collecLlve ldenLlLles ouL of mulLlple afflllaLlons and
poslLlonlngs and llnk Lhelr cross- cuLLlng belonglngness wlLh complex aLLachmenLs
and mulLlple alleglances Lo lssues, peoples, places and LradlLlons beyond Lhe
boundarles of Lhelr resldenL naLlon- sLaLes" (p.189). 1hls vldeo becomes a hybrld
space where sLrong prlde and alleglance Lo Lhe naLlon ls manlfesLed, yeL mulLlple
afflllaLlons beyond Lhe naLlon- sLaLe are also esLabllshed. 1he lnLerculLural dlalogue
LhaL Lakes place beLween 1hal and non- 1hal people and Lhe physlcal or medlaLed
moblllLy of lndlvlduals ln soclal spaces (easL and wesL) play an lmporLanL role ln Lhe
conflguraLlon of new ldenLlLles.

*
1he concepLs of culLure and ldenLlLy are lnseparable and co- consLlLuLe each oLher.
SLuarL Pall envlslons culLural ldenLlLles as symbollc arLlculaLlons LhaL are a maLLer of
'becomlng' as well as 'belng', havlng hlsLorles, yeL undergolng consLanL
LransformaLlon. lar from belng exLernally flxed ln some essenLlallsed pasL, Lhey are
sub[ecL Lo Lhe conLlnuous 'play' of hlsLory, culLure and power" (clL. ln k. Woodward,
1997, p.34). 1he symbols LhaL are ln Lhe LexLure of culLures operaLe Lo form
ldenLlLles and bulld socleLles. Cne may argue LhaL Lhe sLrong wesLern- cenLrlc
dlscourses LhaL permeaLe everywhere ln 8angkok (omnlpresenL adverLlsemenLs from
Lhe wesL, obsesslon wlLh whlLenlng beauLy producLs, mlsundersLandlng of Lhe
concepL of developmenL wlLh exLreme consumerlsm, urbanlzaLlon and explolLaLlon
of naLural resources and so on) are Lransformlng 1hals' naLlonal ldenLlLy lnLo a more
1hal- wesLernlzed one. ln hls research on 1hal op Muslc, ur. Lamnao Lamsa (2006)
malnLalns LhaL borrowlng from Lhe wesL has symbollzed for 1halland lLs movemenL
lnLo modernlLy, a sLraLegy Lo asslmllaLe wlLh Lhe lmperlal culLures. lor a people who
have always been proud of malnLalnlng lLs lndependence from wesLern colonlzaLlon,
lL ls of lnLeresL Lo explore why 1hals are now allowlng Lhe wesL Lo exerclse ln Lhe
name of 'modernlLy and developmenL' forms of lmperlallsm Lhrough mass medla
and consumer culLure.

ln boLh mplte 5tote of MloJ and 8ooqkok clty, Lhere ls a dlscrepancy beLween whaL
ls promoLed by Lhe enLerLalnmenL lndusLry and Lhe llfe of real people llvlng ln boLh
Lhe wesL and easL. 1wo members of Lhe ?ou1ube communlLy commenLed under Lhe
8angkok ClLy muslc vldeo:

1bls sooq ls oot oboot teol 1bol style.... tboy jost tolJ o oboot "8ooqkok" ..... o coolJ
see ls ootbloq oboot oootbet clty occept booqkok.... Ooe tblok tbot l bope tboy wlll
wotk oot olce moslc to sbow wbot o teol 1bol ote too...
(Sapunna1)
lt's qooJ poollty ptoJoctloo...bot tbete's ootbloq lo bete tbot ttoly tepteseots '1bol
style' .... l woolJ llke to see 1bol sopetstots stott to loteqtote mote 1bol ootbeotlclty
ooJ poy ttlbote to tbelt teol toots...oot jost tbelt westeto lofloeoces
(slamerlcan)
new ?ork ls noL Lhe unlLed SLaLed of Amerlca as 8angkok ls noL 1halland. 1he
Amerlcan dream LhaL ls packed and sold worldwlde ls promoLlng a llfe sLyle LhaL [usL
a mlnorlLy of Lhe world's populaLlon can afford and usually LhaL mlnorlLy ls Lhe one
LhaL manufacLures culLure and produces meanlng. Lamsa afflrms, 8angkok ls noL
only Lhe caplLal clLy of 1halland, buL also Lhe cenLer of Lhe 1hal culLural lndusLrles.
1haL ls whaL ldenLlfles 8angkok as Lhe cenLer of naLlonal culLure" (p.248). 1hls
analysls leads Lo Lhe quesLlon of who ls LhaL counLs as 1hal or Amerlcan? WhaL ls our
conslderaLlon of Lhe people llvlng ln Lhe perlpherles of Lhe world? 1he need for
embraclng medla llLeracy educaLlon worldwlde and aL all levels of socleLy ls due Lo
Lhe necesslLy of ralslng Lhese quesLlons and provldlng crlLlcal answers.

"+
Less Lhan half way Lhrough Lhe muslc vldeo, one of Lhe slngers from 1halLanlum
sLarLs Lo rap ln 1hal abouL hls llfe ln 8angkok, hls SaLurday evenlng prayers brlnglng
respecL Lo 8uddha, hls faLher who sLudled ln mlllLary school, and hlm becomlng an
arLlsL. Pls auLoblography varles greaLly from !ay-Z's. 1here ls no use of sLrong
language and assaulLs Lo lnsLlLuLlons, on Lhe oLher hand, Lhe slnger sLresses Lhe
lmporLance of famlly values, 8uddhlsm, compasslon and loyalLy Lo hls klng and
naLlon. ua Lndorphlne puLs her rlghL hand on Lhe hearL and remlnds 1hal people Lo
be ptooJ to bove beeo boto oo tbls looJ, to be tlqbt bete, beoeotb nls koyol
Mojesty".



1halLanlum brlng homage Lo Lhelr klng and are all dressed ln whlLe, sLandlng on Lhe
roofLop wlLh Lhelr hands [olned LogeLher as a slgn of prayer, Lhank you and respecL.
Ooe llfe, Ooe love, Ooe kloq ls sung ln Lngllsh whlle Lhe screen ls spllL lnLo Lwo
frames and Lhe slngers appear below Lhe plcLure of Lhe 8oyal alace. As ln Lmplre
SLaLe of Mlnd, 8angkok ls porLrayed as Lhe clLy of paradlse and dreams, clLy of
angels, gold, and maglc. lL ls also mlsundersLood as Laklng Lhe place of whole
1halland, Lhe Land of Smlles. 1hls poslLlve aura exlsLlng around 8angkok ls lndeed
pleasurable and appeallng, however, lL ls lmporLanL Lo quesLlon once agaln where do
Lhe real people sLand ln Lhls plcLure. Where are Lhose who suffer, who do noL llve ln
new ?ork and 8angkok, who are vlcLlms of human Lrafflcklng, sexual Lourlsm,
vlolence, explolLaLlon, who work day and nlghL and are low pald, where are Lhose
who do noL smlle?

1owards Lhe end of Lhe muslc vldeo, Lhe chorus repeaLs agaln welcome evetyboJy
to 8ooqkok clty". CLher remarkable culLural references LhaL codlfy 8angkok
worldwlde are represenLed. 1he 1hal flag ls shown on Lhe rlghL spllL screen nexL Lo
one of Lhe 1halLanlum slngers who ls dressed ln whlLe, has hls arms open, sLands on
Lhe skyscraper, and ls blessed by a brlghL dlvlne" llghL comlng down from Lhe sky.
""
1he pop slnger explalns LhaL aL 8 am and 6 pm everyLhlng stops. 1hls ls Lhe Llme
when Lhe 1hal naLlonal AnLhem ls broadcasLed on every local and naLlonal 1v and
8adlo channel, a momenL where Lhe people ln Lhe clLy brlng respecL Lo Pls Ma[esLy
Lhe klng. As Lhe vldeo conLlnues, Lhe slngers exalL Lhe pollLeness of 1hal people, Lhelr
klndness Lo Lhe forelgn communlLy, Lhe mosL excluslve nlghLllfe areas ln 8angkok,
Lhe famous varleLy of 1hal food and Lhe noLorlous 1hal boxlng. 1tovel lo 1bollooJ,
bove foo ooJ telox" ls one of Lhe conveyed messages.

ln Lhe lasL mlnuLe of Lhe vldeo, Lhe chorus re-emphaslzes Lhe slngers' prlde for
8angkok, a clLy LhaL has clearly become Lhe symbol for all 1halland and 1hal people.
1halLanlum welcome ladles and genLlemen" Lo Lhe clLy unLll Lhe camera re- enLers
Lhe sLaLlon and ua Lndorphlne llfLs her rlghL flnger and her eyes up Lo Lhe sky slnglng
Lhe lasL words lts 8ooqkok clty". Cnly ln Lhe very lasL scene we can see whaL her
flnger was polnLlng aL. As ln Lhe openlng shoL, Lhe camera eye capLures 8angkok
from Lhe sky. 1he 1halLanlum logo appears agaln domlnaLlng Lhe clLy from above.
lour logos are also shown aL Lhe boLLom of Lhe plcLure: Lhe SLaLe 8allway of
1halland, Lhe 1ourlsm AuLhorlLy of 1halland, nlLasraLLanakosln LxhlblLlon Pall and
Lhe logo of 8angkok. Learnlng abouL who sponsored Lhe muslc vldeo leads Lo
quesLlon whose lnLeresLs are belng forwarded vla medlaLed forms of
communlcaLlon. ln hls research Lamsa found LhaL desplLe all Lelevlslon and radlo
sLaLlons belong Lo Lhe 1hal governmenL, corporaLlons of 1hal- Chlnese buslness men
such as Ctommy otettolomeot and k5 ltomotloos have Lhe monopoly of 80 of Lhe
muslc markeL ln 1halland and verLlcally conLrol all aspecLs of Lhe medla producLlon
and dlsLrlbuLlon process. AlLhough Lhe muslclans have auLonomy ln Lhe creaLlon of
Lhelr muslc, expresslon of Lhelr ldenLlLles Lhrough Lhelr muslc ls llmlLed because Lhey
have Lo work under Lhe pollcles of Lhe muslc companles LhaL Lhey work for. 1he mosL
lmporLanL value of pleng sLrlng (hybrldlzed Lhal- wesLern muslc genre) ln caplLallsLlc
socleLles ls mass consumpLlon". (p. 234)

Many may argue LhaL wlLh globallzaLlon, adverLlslng and Lhe rapld clrculaLlon of
commodlLles, lndlvlduals are shlfLlng Lhelr role from acLlve clLlzens lnLo acLlve
consumers. Powever, Lawrence Crossberg (2003) argues, globallzaLlon cannoL be
undersLood as a slmple process of homogenlzaLlon ln whlch everyLhlng becomes Lhe
same (wheLher LhaL means WesLernlzed or Amerlcanlzed or, perhaps, !apan-lzed and
koreanlzed)" (clL. ln 8enneL, Crossberg, Morrls, p. 149). negoLlaLlons beLween local
and global and LransculLuraLlon" (raLL, 1991, p.34), Lhe process whereby
members of subordlnaLed or marglnal groups selecL and lnvenL from maLerlals
LransmlLLed by a domlnanL or meLropollLan culLure" Lo produce Lhelr own work, exlsL
and can be accessed Lhrough medlaLed forms of communlcaLlon.





B+,%&#' MC 8+5&/ 9&%+"/,:N !/"%&,&;/%#": <-.%-"+ /'5 <-.%-"/. <&%&O+'47&;

"#



ln Lhe lasL secLlon of Lhls paper, we wlll presenL Lwo responses Lo Lhe offlclal muslc
vldeos prevlously analyzed. 1he case sLudles from Wales and newark dlsplay how
youLh and adulLs use pop culLure and medla Lo reLhlnk abouL Lhelr envlronmenLs,
ldenLlLles and culLural clLlzenshlp. Learnlng and pedagogy do noL occur only ln
schools. Pere we explore how ltoJoctloo and 5poofloq are effecLlve medla llLeracy
sLraLegles LhaL brldge currlculum and llfe and promoLe peer-Lo-peer lnLerculLural
dlalogue and acLlvlsm. New lott 5tote of MloJ and Newotk 5tote of MloJ are [usL
Lwo of Lhe myrlad of examples uploaded on ?ou1ube LhaL use spooflng Lo
approprlaLe ldloms from Lhe domlnanL consumer culLure, play wlLh Lhelr
convenLlonal codes and desLablllze and subverL Lhelr meanlng Lo convey new ones.

ln new orL, Lhe muslc vldeo opens up dlsplaylng phoLo shooLs of places LhaL are
meanlngful Lo Lhe slnger. 1he arLlsLs are noL celebrlLles, raLher common people
parodylng !ay- Z and Allcla keys. SLaLemenLs such as:

es tbls ls my llfe, 1bese ploces ote pott of me
keep yoot blq opple, well bove o tooqetloe
cblps, cbeese ooJ cotty mokes yoo feel btooJ oew
Iosle JAtby (acLress and Lelevlslon presenLer) ls ftom New lott, es lts
sttooqe we JlJot koow eltbet, 1book yoo wlklpeJlo

are lmporLanL responses Lo Lhe offlclal muslc vldeos. 1he producers approprlaLe Lhe
codes of commerclal culLure and dlsLorL and subverL Lhem Lo creaLe new meanlngs
LhaL besL represenL Lhelr llved experlences.
1he second example Lakes place ln newark, Lhe largesL clLy ln new !ersey (uSA) LhaL
dlsLances approxlmaLely 9 mlles (13km) from ManhaLLan. Accordlng Lo Lhe l.8.l.
ranklngs of Crlme ln Lhe unlLed SLaLes (2009), newark was raLed Lhe 23
rd
mosL
"$
dangerous clLy ln Lhe counLry ln Lerms of murder, rape, robbery, aggravaLed assaulLs,
burglary, and moLor vehlcle LhefL. As ln Lhe prevlous muslc vldeo, Lhe slngers
approprlaLe Lhe formaL of mplte 5tote of MloJ Lo presenL Lo Lhe world whaL
happens [usL behlnd Lhe corner of new ?ork. 1he openlng shoLs are lmages of
desLrucLlon, sufferance, polluLlon, prosLlLuLlon, garbage dumps, poverLy and
unemploymenL. 1he slnger raps,

l oseJ to llve lo 8tooklyo, wotkloq ot o tecb fltm,
8ot tbeo l lost tbe job, tbooks to tbe tecessloo,
Now l coot poy fot teot bete, l coot poy fot teot ooywbete,
1bey evlct me evetywbete.

Words of despalr and fear, noL belng able Lo choose where Lo llve because of no
flxed salary, Lhe dream of flndlng a new [ob and escaplng from newark consLlLuLe
Lhe sLoryllne of Lhls vldeo. 1he slnger presenLs Lhe dangers of llvlng ln LhaL clLy and
Lhe reasons why one would wanL Lo geL ouL from Lhere. Pe raps,

8 mlllloo teosoos to qet op oot tbls ttosb beop,
loooy ls tbe mooey tbot qets people ttoppeJ bete,
wotst pott of lt ls tbot Ioy- 2, Allclo keys wlll oevet wtlte o sooq oboot tbe
peeps llvloq lo Newotk.

Slnce !ay- Z and Allcla keys, or Lhe corporaLlons LhaL have Lhe monopoly over Lhe
culLure lndusLrles wlll never wrlLe songs abouL Lhe 'peeps' llvlng ouL of new ?ork,
Lhls vldeo ls ln lLs naLure denunclaLory and a form of culLural clLlzenshlp.

8oLh vldeos are Lhe expresslon of whaL Penry !enklns calls pottlclpototy coltote, one
wlLh relaLlvely low barrlers Lo arLlsLlc expresslon and clvlc engagemenL, sLrong
supporL for creaLlng and sharlng creaLlons wlLh oLhers, and one LhaL shlfLs Lhe focus
of llLeracy from lndlvldual expresslon Lo communlLy lnvolvemenL" (2006, p.7). ln
Lhese Lwo examples common people re-approprlaLe Lhe formaL of mplte 5tote of
MloJ Lo Lell Lo Lhe world Lhelr own sLory abouL Lhe clLles Lhey llve ln. We move away
from whaL Lawrence Lesslg calls a teoJ- ooly culLure and engage lnsLead ln a
teoJloq- wtltloq cootlooom" LhaL ls lnLerculLural ln lLs naLure. 1he read- only culLure
ls llmlLlng because lL does noL allow people Lo respond. Cn Lhe oLher hand, a
readlng- wrlLlng conLlnuum embodles Lhe essence of commoolcotloos, lLs
relaLlonshlp Lo communlLy, communlon and dlaloglc sharlng of experlences wlLh
oLhers. We can say LhaL lnLerculLural dlalogue Lakes place beLween members of Lhe
parLlclpaLory culLure. ln order Lo spoof" -approprlaLe, remlx, re- use, dlsrupL and
subverL domlnanL dlscourses embedded ln pop culLure and produce alLernaLlve or
opposlLlonal meanlngs, one musL be aware of and share Lhe codes LhaL bulld up
Lhose dlscourses. Medla llLeracy plays a cruclal role ln Lhls process boLh ln Lhe phases
of deconsLrucLlon (lnLerrogaLlon of knowledge) and producLlon (creaLlon of a culLure
of one's own).
Medla llLeracy ls abouL galnlng Lhe compeLencles on how Lo access, read, analyze
and lnLerpreL Lhe dlscourses LhaL consLlLuLe and poslLlon us as sub[ecLs, and
produclng new meanlngs LhaL shape our culLures and socleLles. As Sarup malnLalns
"%
(1993), we cannoL separaLe lndlvlduals and Lhelr llLeracy pracLlces from socleLy, buL
raLher we can proceed from Lhe ldea LhaL 'socleLy lnhablLs each lndlvldual'" (p.6).
Pere lles Lhe lmporLance of Leachlng Lhrough pop culLure, connecLlng Lheory and
pracLlce and Lhe world of Lhe classroom wlLh sLudenLs' experlences and llfesLyles.
Penry Clroux and 8oger Slmon (1998) malnLaln, lL ls preclsely ln Lhe relaLlonshlp
beLween pedagogy and popular culLure LhaL Lhe lmporLanL undersLandlng arlses of
maklng Lhe pedagoglcal more pollLlcal and Lhe pollLlcal more pedagoglcal (clL. ln
Clroux, McLaren, 1989, p.238). undersLandlng Lhe pollLlcs of how meanlng ls
produced and LransmlLLed Lhrough pop culLure colncldes wlLh a pro[ecL of clvlc
educaLlon where sLudenLs may Lhlnk abouL Lhelr roles as clLlzens and parLlclpanLs ln
Lhelr pollLlcal and culLural spaces.

ln pollLlcal Lheory, Lhe concepL of clLlzenshlp ls relaLed Lo membershlp, rlghLs and
responslblllLles ln a parLlcular pollLlcal communlLy. ln medlaLed communlLles made
avallable Lhrough Lhe lnLerneL, culLural clLlzenshlp ls relaLed Lo membershlp Lo boLh
deLerrlLorlallzed and physlcal spaces, rlghLs of freedom of expresslon and
lnformaLlon, shared cross- culLural pracLlces and Lhe responslblllLy of belng self-
reflexlve ln knowledge producLlon. Permes (2003) deflnes culLural clLlzenshlp as Lhe
process of bondlng and communlLy bulldlng, and reflecLlon on LhaL bondlng, LhaL ls
lmplled ln parLaklng of Lhe LexL- relaLed pracLlces of readlng, consumlng, celebraLlng
and crlLlclzlng offered ln Lhe realm of (popular) culLure" (p.10). 1he vldeos presenLed
embody Lhe noLlon of culLural clLlzenshlp ln boLh Lhe ways Lhey were produced and
shared and Lhe responses Lhey recelved by Lhe world. As a maLLer of facL, ?ou1ube
ofLen allows people Lo boLh upload and share Lhelr culLural arLlfacLs on Lhe lnLerneL
and respond Lo whaL ls belng shown Lo Lhem. newark SLaLe of Mlnd, for lnsLance,
has been vlewed unLll Loday by 437.089 people and has recelved 1.384 commenLs.
8eadlng Lhe commenLs and crlLlcally analyzlng whaL people (clLlzens of newark,
vlslLors or members of Lhe parLlclpaLory culLure) have sald abouL Lhls clLy allows us
Lo parLlclpaLe and reflecL on LhaL process of bondlng and communlLy bulldlng LhaL
Permes locaLes as Lhe basls of culLural clLlzenshlp. 1hrough ?ou1ube, people
worldwlde and from dlfferenL culLural and soclal backgrounds respond and commenL
wlLhouL resLralnLs of Llme and space. 1helr dlalogues, sharlng of ldeas and
experlences are an acL of culLural reslsLance and may moblllze collecLlve acLlons Lo
speak dlfferenLly and creaLlvely abouL lssues ln Lhe world and flnd soluLlons Lo Lhem.

AbowlLz's (2000) deflnlLlon of 'teslstooce os commoolcotloo ls ln llne wlLh our noLlon
of culLural reslsLance. As an lmpeLus of soclal and pollLlcal LransformaLlon,
reslsLance communlcaLes, LhaL ls, lL ls a means of slgnallng, generaLlng, and bulldlng
dlalogue around parLlcular power lmbalances and lnequallLles" (p. 878). LffecLlve
medla llLeracy sLraLegles musL promoLe dlalogue and crlLlcal engagemenL wlLh
learners. We acknowledge LhaL dlglLal dlvlslons, soclal sLruggles, ln[usLlces,
dlscrlmlnaLlon and excluslons exlsL boLh ln offllne and onllne spaces. We are also
aware LhaL valorlzlng lndlvlduals' llved experlences, brlnglng Lhem lnLo Lhe classroom
and learnlng Lo engage wlLh dlfference ln a producLlve way wlll encourage people Lo
bulld dlalogue around lnequallLles and power lmbalances. As bell hooks (1994)
malnLalns, lf experlence ls already lnvoked ln Lhe classroom as a way of knowlng
LhaL coexlsLs ln a non- hlerarchlcal way wlLh oLher ways of knowlng, Lhen lL lessens
"&
Lhe posslblllLy LhaL lL can be used Lo sllence" (p. 84). 1he purpose for promoLlng
lnLerculLural dlalogue Lhrough medla llLeracy and pop culLure ls Lo embrace dlfferenL
perspecLlves and worldvlews, convey Lhe real volce of people and re- bulld our
culLural and soclal envlronmenLs ln a more susLalnable way.




1&>.&#("/;7:
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