The research of indigenous media and the international indigenous movement in the process of globalization develop in parallel. In the second half of the 20th century, United Nations agencies, including the United Nations Working Group on Indigenous Populations (WGIP), led the movement. And the United Nations General Assembly adopted a declaration aimed at protecting the rights of indigenous peoples in 2007. The theoretical development of indigenous media research first occurred in anthropology in 1980. It was accompanied by a critical research method different from post-colonialism and post-structuralism. This method tried to minimize the difference of power between the researcher and the researched. Prior to this, ethnographic films related to anthropology that gave photography to locals can even be traced back to the Navajo Project in 1960. This project can be attributed to the pioneering work of Sol Worth and John Adair, which created a new visual language and style . But the authentic  indigenous media movement only started in the 1980s. The recognized symbol is a new method applied in the collaboration between American anthropologist Eric Michaels and Australia’s Warlpiri Aboriginal Broadcasting.Michaels, E. (1984). Ask a foolish question: On the methodologies of cross cultural media. Australian Journal for Cultural Studies, 3(2), 49–59.Michaels, E. (1986). The Aboriginal invention of television in Central Australia, 1982–1986: Report of the fellowship to assess the impact of television in remote Aboriginal communities. Canberra: Australian Institute of Aboriginal Studies.Michaels, E. (1994). Bad Aboriginal art: Tradition, media, and technological horizons. Minneapolis: University of Minnesota Press. Which signifies a change from the simple observation of the life of the indigenous people to the cultural record of the indigenous people themselves. Since then , the Brazilian Kayapo village project of Vincent CarelliCarelli, V. (1988). Video in the villages: Utilization of video tapes as an instrument of ethnic affirmation among Brazilian Indian groups. Commission on Visual Anthropology Bulletin, 4, 10–15. and Terence Turner,Turner, T. (Fall 1990). The Kayapó video project: A progress report. Revue de la Commission d’Anthropologie Visuelle (CVA). 7–10. URL Accessed 13 Sep 2013.Turner, T. (1992). Defiant images: The Kayapó appropriation of video. Anthropology Today, 8(6), 5–16. and the indigenous series of Māori  producer Barry BarclayBarclay, B. (1990). Our own image. Auckland: Longman Paul.Barclay, B. (2000). Mana Tuturu: Māori treasures and intellectual property rights. Honolulu: University of Hawaii Press, 2006. in New Zealand have become very important milestones . But  it was Faye Ginsburg, an American anthropologist  who laid the theoretical foundation for the study of indigenous media. Her research in 1991 expounded the Faustian dilemma between technology and tribal life and inspired later indigenous media researchers.Ginsburg, F. D. (1991). Indigenous media: Faustian contract or global village? Cultural Anthropology, 6(1), 92–112. Sami family Finland 1936 The important theories of recent indigenous media studies have highlighted the dynamic relationship between local indigenous communities and their countries and globalization. Lorna Roth's research on the discourse rights of Canadian indigenous groups in 2005,Roth, L. (2005). Something new in the air: The story of first peoples television broadcasting in Canada. Montreal: McGill-Queen’s University Press. Jennifer Deger's exploration of the media technology movement in the Australian Yolngu community in 2006,Deger, J. (2006). Shimmering screens: Making media in an Aboriginal community. Minneapolis: University of Minnesota Press. and Michael Robert Evans's ethnographic research on the Canadian Inuit community Igloolik in 2008,Evans, M. R. (2008). Isuma: Inuit video art. Montreal/Kingston: McGill-Queen’s University Press. etc. are all development of high reference value since the 21st century. Wilson, P. (2015). Indigenous Media: Linking the Local, Translocal, Global and Virtual. In Mains S., Cupples J., & Lukinbeal C. (Eds.), Mediated Geographies and Geographies of Media (pp. 367–384). Dordrecht: Springer. The idea that the media is a foreign power that affects the indigenous people is no longer accurate, now that indigenous people are working in media within all creative industries as an individual, collective or nationally which impacts the media as we know it. John Adair (1913–1997), American anthropologist, known for his 1972 book, Through Navajo Eyes: An Exploration in Film Communication and Anthropology, in collaboration with Sol Worth Barry Barclay Marian Bredin Debbie Brisebois Vincent Carelli Corinn Columpar, Canadian academic; Director of the Cinema Studies Institute at University of Toronto; author, Unsettling Sights: The Fourth World on Film (2010) Jennifer Deger Michael Robert Evans Daniel Fisher, Australian cultural anthropologist; academic, University of California, Berkeley; author, 2016 book, The Voice and Its Doubles: Media and Music in Northern Australia Faye Ginsburg Kevin Glynn New Zealand media and cultural studies academic; known for analyses of media and cultural views of Māori activism, including that of Tame Iti Sigurjón Baldur Hafsteinsson (Ziggy Hafsteinsson), Icelandic anthropologist of media John Hartley, British-Australian academic ; cultural science researcher ; researcher at Curtin University's Indigenous Culture and Digital Technologies program Kate Hennessy, Canadian anthropologist; video artist Jeff Himpele Candace Hopkins Zacharias Kunuk Peter Limbrick Eric Michaels Mario Murillo Sari Pietikäinen Michelle Raheja Lorna Roth Freya Schiwy Beverly Singer Katarina Soukoup Terence Turner (1935–2015), anthropologist and ethnographer; activist with Kayapo community from central Brazil Richard Wilson, Canadian and Hwlitsum First Nation artist Houston Wood Sol Worth (1922 – 1977), American painter; scholar of visual communication and visual anthropology; co-author with John Adair
The research of indigenous media and the international indigenous movement in the process of globalization develop in parallel. In the second half of the 20th century, United Nations agencies, including the United Nations Working Group on Indigenous Populations (WGIP), led the movement. The United Nations General Assembly adopted a declaration aimed at protecting the rights of indigenous peoples in 2007. The theoretical development of indigenous media research first occurred in anthropology in 1980. It was accompanied by a critical research method that diverged from post-colonialism and post-structuralism. The newer method attempted to minimize the power imbalance between the researcher and the researched. Leading up to this, ethnographic films that gave photographic techniques to locals can be traced back as far as the Navajo Project in 1960. The project was the pioneering work of Sol Worth and John Adair, to which the origin of a new anthropological language and style of ethnography can be attributed. However, the indigenous media movement was not a significant phenomenon for another decade. The widely recognized start of the new media movement was a collaboration between American anthropologist Eric Michaels and Australia’s Warlpiri Aboriginal Broadcasting.Michaels, E. (1984). Ask a foolish question: On the methodologies of cross cultural media. Australian Journal for Cultural Studies, 3(2), 49–59.Michaels, E. (1986). The Aboriginal invention of television in Central Australia, 1982–1986: Report of the fellowship to assess the impact of television in remote Aboriginal communities. Canberra: Australian Institute of Aboriginal Studies.Michaels, E. (1994). Bad Aboriginal art: Tradition, media, and technological horizons. Minneapolis: University of Minnesota Press. This new type of collaborative anthropological project exemplified a change from a simple observation of the life of the indigenous people to a cultural record by the indigenous people themselves. Following the Warlpiri project , the Brazilian Kayapo village project of Vincent CarelliCarelli, V. (1988). Video in the villages: Utilization of video tapes as an instrument of ethnic affirmation among Brazilian Indian groups. Commission on Visual Anthropology Bulletin, 4, 10–15. and Terence Turner,Turner, T. (Fall 1990). The Kayapó video project: A progress report. Revue de la Commission d’Anthropologie Visuelle (CVA). 7–10. URL Accessed 13 Sep 2013.Turner, T. (1992). Defiant images: The Kayapó appropriation of video. Anthropology Today, 8(6), 5–16. and the indigenous series by Māori and producer Barry BarclayBarclay, B. (1990). Our own image. Auckland: Longman Paul.Barclay, B. (2000). Mana Tuturu: Māori treasures and intellectual property rights. Honolulu: University of Hawaii Press, 2006. in New Zealand , have been important milestones in the development of indigenous media. However, it was Faye Ginsburg, an American anthropologist , who laid the theoretical foundation for the study of indigenous media. Her research in 1991 expounded the Faustian dilemma between technology and tribal life and inspired later indigenous media researchers.Ginsburg, F. D. (1991). Indigenous media: Faustian contract or global village? Cultural Anthropology, 6(1), 92–112. Sami family Finland 1936 The important theories of recent indigenous media studies have highlighted the dynamic relationship between local indigenous communities and their countries and globalization. Lorna Roth's research on the discourse rights of Canadian indigenous groups in 2005,Roth, L. (2005). Something new in the air: The story of first peoples television broadcasting in Canada. Montreal: McGill-Queen’s University Press. Jennifer Deger's exploration of the media technology movement in the Australian Yolngu community in 2006,Deger, J. (2006). Shimmering screens: Making media in an Aboriginal community. Minneapolis: University of Minnesota Press. and Michael Robert Evans's ethnographic research on the Canadian Inuit community Igloolik in 2008,Evans, M. R. (2008). Isuma: Inuit video art. Montreal/Kingston: McGill-Queen’s University Press. etc. are all development of high reference value since the 21st century. Wilson, P. (2015). Indigenous Media: Linking the Local, Translocal, Global and Virtual. In Mains S., Cupples J., & Lukinbeal C. (Eds.), Mediated Geographies and Geographies of Media (pp. 367–384). Dordrecht: Springer. The idea that the media is a foreign power that affects the indigenous people is no longer accurate, now that indigenous people are working in media within all creative industries as an individual, collective or nationally which impacts the media as we know it. John Adair (1913–1997), American anthropologist, known for his 1972 book, Through Navajo Eyes: An Exploration in Film Communication and Anthropology, in collaboration with Sol Worth Barry Barclay Marian Bredin Debbie Brisebois Vincent Carelli Corinn Columpar, Canadian academic; Director of the Cinema Studies Institute at University of Toronto; author, Unsettling Sights: The Fourth World on Film (2010) Jennifer Deger Michael Robert Evans Daniel Fisher, Australian cultural anthropologist; academic, University of California, Berkeley; author, 2016 book, The Voice and Its Doubles: Media and Music in Northern Australia Faye Ginsburg Kevin Glynn New Zealand media and cultural studies academic; known for analyses of media and cultural views of Māori activism, including that of Tame Iti Sigurjón Baldur Hafsteinsson (Ziggy Hafsteinsson), Icelandic anthropologist of media John Hartley, British-Australian academic and researcher in cultural studies; anthropologist of media ; researcher at Curtin University's Indigenous Culture and Digital Technologies program Kate Hennessy, Canadian anthropologist; video artist Jeff Himpele Candace Hopkins Zacharias Kunuk Peter Limbrick Eric Michaels Mario Murillo Sari Pietikäinen Michelle Raheja Lorna Roth Freya Schiwy Beverly Singer Katarina Soukoup Terence Turner (1935–2015), anthropologist and ethnographer; activist with Kayapo community from central Brazil Richard Wilson, Canadian and Hwlitsum First Nation artist Houston Wood Sol Worth (1922 – 1977), American painter; scholar of visual communication and visual anthropology; co-author with John Adair
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