Free Media is an essential part of democracy, a goal Sveriges Radio’s Development Program is aiming for. Existing since 1996 based on tax-financing, it offers its long experiences of public broadcasting and its ideal of serving democracy to other countries. The partaking Sveriges Radio journalists provide the countries with assistance for training in management, journalism and technical issues in both broadcasting, print and online media. The present research investigates based on the interviewees’ perceptions to what extent Swedish democracy and Swedish journalistic identity is transmitted during their media (radio) development projects, using post-colonial theory as a guiding theoretical approach. The study is based on interviews with Swedish and foreign journalists who have been involved in radio development projects. The study shows that despite common understandings of democracy and professional aims, differences occur based on the perception of the participants. These cannot be separated from the context and progress outcome of the projects. The study furthermore shows that there exists an ambivalence between the post-colonial awareness among participants.

In this study the researcher explored what participation was like for Kenyan women involved in an international curriculum development project, considering important aspects of international curriculum development projects that have been neglected in the research literature. The main research purpose was to understand the womens experiences in a Canadian-sponsored post-secondary education curriculum development project titled "Supporting Environmental Education in Kenya". In addition the research investigated the conflicts, tensions, and contradictions the women experienced between their previous ways of learning and their workshop experiences. Finally, the researcher addresses what could be done to mitigate contradictions generated by the project implementation.<p> The study documented power relationships, issues of control and issues of role functionality; the researcher also identified the ways in which, in a patriarchal country women, especially married women, are closely monitored by their husbands or other significant males. In fact the women needed permission from their husbands to participate, to educate, to visit, and to consort with others such as the researcher. The study shares the womens stories about the experiences that they had during and after the workshop situations, and how they interpreted these experiences.<p> Additionally, the study identified differences in the teaching methods and learning styles experienced by the women. All the participants had experienced the Kenyan education system; the Kenyan curriculum was based on the English, post-colonial system that treated the learner as an empty vessel into which knowledge was poured; within classroom sessions this system did not encourage learner engagement that might be evidenced through questioning the teacher or discussing the topic at hand. Indeed, it was observed that all of the women participating in the project required encouragement to voice their thoughts.<p> By honouring the experiences of the women and including their voices, the researcher generated information for proposal writers and project leaders to make appropriate decisions for programming that includes cultural and indigenous ways of knowing, learning and dissemination of knowledge.

Indigeneity plays a central role in planning for diversity and creating inclusive cities in Canada. In the public domain, racism remains prominent in cities and presents challenges to the realization by urban Aboriginal peoples and Newcomers of their aspirations in urban society. In Winnipeg, an Aboriginal-led organisation has initiated partnerships with Newcomer settlement organisations to bring both groups together to build intercultural relationships. A case study of the United Against Racism/Aboriginal Youth Circle component of Ka Ni Kanichihk (KNK) provides the opportunity to examine the effects of its partnerships on the following matters: promoting cross-cultural understanding and friendships, changing negative perceptions and building confidence among Aboriginal peoples and Newcomers vis-a-vis each other, and help indirectly to facilitate Newcomer integration into neighbourhoods predominantly occupied by Aboriginal peoples in Winnipeg. An analysis of the data gathered on the partnership programs revealed that prior to participating in these programs there were negative preconceptions about one another based on false impressions. The programming has facilitated the sharing of cultures and ideas. This has also helped members of both groups to value their cultural differences and similar history of colonialism where they exist, develop a shared understanding of the racism that confronts Aboriginal peoples and racialized Newcomers, break down stereotypes, and build friendships. This thesis reveals that in the short term, the programs and partnerships of KNK are contributing to better cross-cultural understanding and relations within a multiculturalism framework, and that in the long term they have the potential to contribute to better cross-cultural understanding and relations within an intercultural framework. The cross-cultural networks being developed bode well for the potential of developing instrumental policy and advocacy partnerships in addressing common issues faced by Aboriginals and Newcomers through progressive urban policy in Canadian cities.

This ‘practice-informed’ doctorate research is the beginning of a creative investigation, integration and unification of theory and practice as a method of analysis of ideas about my performances, and the context it emerged from: my experiences of the postcolonial and intercultural relationship between Angola and Britain. It focuses on the trajectories of the self that are ‘re-invented’ as a process of evolution and as a result of migration and dislocation in the British diaspora. It looks deeply at the complex interplay of my practice of body painting, as a symbolic ritual and dance in relation to notions of “origin” and “identity” and other sources of influences. The roots of Angolan cultural traditions and the veneration of the Angolan ancestral spirit when I perform play an important part in my work and this research strives to simplify my ideas of body and spirit, material and aesthetic. However, this research analyses, investigates and interrogates Angolan contemporary arts and artists and the progress of their practice in the Britain postcolonial and intercultural setting. At the core of this research is a comparative interrogation of contemporary art practices, artists and their influences on my work in order to contextualise my own practice and its implications and generative potential. I describe the main artists that influenced my practice (Pablo Picasso, ean- ichael as uiat and ela ansome ni ulapo-Kuti compare my or ith the or s of other non- estern artists oco usco, uillermo me - e a and ani-Kayode) who work with reference to ancient traditions as a fictional and racial identity. Furthermore, it is suggested by Gen Doy that artists working with ancient traditions and producing these types of works in the west are stereotyped and their works are considered backward and unsophisticated; their or s suffered and continue to suffer “discrimination on the grounds of race…” Doy, 2000: 15 n other words, this takes place when these artists attempt to present their works in mainstream western galleries, shows and festivals. I argue that much ancient Angolan tradition has lost its voices through the process of modernisation, civilisation, colonialism and capitalism. The key issue I am addressing is that my performances and the or s of these artists use the body to explore notions of ‘primitivism’ and ‘ethnicity’ and ritual to address personal and cultural concerns. In this light, through the dialectics of practice and theory, this thesis is searching for more attention to be paid to or s derived from concepts of ‘primitivism’ and ‘tribalism’ that are considered inferior ithin the estern parameters of modern art. At the very core of this thesis, propose that the practice of body painting and ‘primitivism’ and ‘tribalism’ are under recognised in the west because of western ideas of racial superiority, civilisation and colonialism (Darwinism).

This is an analysis of Goan identity issues in the twentieth and twenty-first centuries using unconventional sources such as novels, short stories, plays, pamphlets, periodical articles,and internet newspapers. The importance of using literature in this analysis is to present how Goans perceive themselves rather than how the government, the tourist industry, or tourists perceive them. Also included is a discussion of post-colonial issues and how they define Goan identity. Chapters include “Goan Identity: A Concept in Transition,” “Goan Identity: Defined by Language,” and “Goan Identity: The Ancestral Home and Expatriates.” The conclusion is that by making Konkani the official state language, Goans have developed a dual Goan/Indian identity. In addition, as the Goan Diaspora becomes more widespread, Goans continue to define themselves with the concept of building or returning to the ancestral home.

Bangladeshi Bengali migration to Canada is a response to globalization processes, and a strategy to face the post-independent social, political and economic insecurities in the homeland. Canadian immigration policy and the Multicultural Act that were adjusted to meet labour demands in local job markets encouraged the building of a new and growing Bangladeshi Bengali immigrant community in Canada. The general objective of this research is to explore how Bangladeshi immigrants’ national, ethnic, cultural, religious, gender, and class identities that were shaped within historical and political contexts in Bangladesh are negotiated in new immigrant and multicultural contexts in Toronto. By looking at various identity negotiation processes, this research aims to critically examine globalization theories in social science, and multicultural policies in Canada. More specifically, the objective is to determine whether transnational migration to Canada as a global process creates homogeneity, disjuncture, hybridity, or inequality in Bangladeshi immigrants’ lives in Toronto, and how Bangladeshi Bengalis as an ethnic and cultural group relocate their identity within Canadian multiculturalism. In order to address these objectives and issues, one year of in-depth anthropological research was conducted among the Bangladeshi immigrants in Toronto between 2007 and 2008. The core research location was the Danforth and Victoria Park area, but in order to address class diversity, respondents from Dufferin and Bloor Streets, Regent Park, and Mississauga areas were incorporated. Applying snowball and purposive sampling techniques, and identifying key informants, 75 Bangladeshi immigrant families were selected from three religious groups – Muslim, Hindu, and Christian. In-depth personal interviews, case studies and focus group discussions were conducted among these Bangladeshi immigrants. This research underscores that, on one hand, Bangladeshi Bengali immigrants negotiate and re-define their “proper” ethnic, cultural, nationalist, and religious identities by imagining, memorizing, simulating, and celebrating local traditions. On the other hand, immigrants define “authentic” identity by creating “separations” and “differences” based on colonial and nationalist histories. Religious differences, the ideology of “majority and minority”, and social classes play major roles in shaping identity. This study finds that multicultural diasporic immigrant space is neither a disjointed, nor an in-between space, nor a place where ethnic cultures are only “consumed”, but it is a battleground to resist and challenge religious and gender inequalities in a globalized location. Bangladeshi Bengali identity is both fixed and contextually variable; identity is shaped in response to political contexts of both global and local.

The purpose of this thesis is to find out whether theatre translation into Mauritian Creole can contribute to the formation of a national identity in post-colonial, multi-ethnic and multilingual Mauritius. There are currently fourteen languages spoken, many of which, as carriers of symbolic value, are often used as markers of ethnic identity. Moreover, the fact that they do not all carry the same socio-economic and political status has created a linguistic hierarchy which positions English at the top, closely followed by French, in turn followed by Asian languages and finally by Mauritian Creole, even though the latter is the most widely spoken language on the island. I argue that translation into Mauritian Creole is largely an ideological endeavour, designed to challenge the existing asymmetrical linguistic power relations, and to highlight the language’s existence as a shared cultural capital and as a potential force for national unity. I show how such an endeavour is closely linked to the political and socio-cultural aspects of the target society. This is done by using complementary theoretical perspectives, such as Itamar Even-Zohar’s polysystem theory (1979, 2000), André Lefevere’s systemic concept (2004) and post-colonial approaches to translation, and by drawing upon the case study research method, with its emphasis on multiple sources for data collection. The thesis examines Mauritian Creole translations of six plays by Shakespeare and two by Molière. I suggest that the reasons for choosing Shakespeare and Molière for translation are highly symbolic in the Mauritian context, where the educational system, a British colonial legacy, has continued to assign a privileged position to canonized British and French literatures; a system which contributes towards the perpetuation of colonial values. The translation of canonized texts is therefore intended to highlight the persistence of hegemonic socio-cultural values. Equally, it is designed to promote cultural decolonization and to point to the emergence of new creolized practices that offer areas of shared meaning for the Mauritian population as a whole. I also argue that since translation is an ideological undertaking, it is essential to understand the purposes of those actively involved in its production and dissemination. Because theatre texts can function as literary artefacts and as performance scripts, I look at the role played not only by translators and publishers, but also by theatre practitioners (producers, directors and actors). I explain their beliefs and their political agendas, showing why neither translation, nor stage production can constitute a neutral activity. In the process, my examination reveals the opposing forces at work which disagree over the way Mauritian Creole should be used in the discourse of nation-building. I then look at the intended target audiences with a view to finding out if the translations and the stage productions have had any obvious impact upon Mauritian society. My findings show that neither readers nor spectators are likely to have represented a large proportion of the population. Although this seems to indicate that theatre translation has had little direct impact so far upon the construction of a national identity, I suggest that in fact, its contribution to the Mauritian Creole literary and cultural capital should not be underestimated, as the language is very slowly emerging as an important symbol of the island. I conclude that should theatre translation be combined with other societal efforts in the future, it could still have a part to play in the formation of a national identity based upon Mauritian Creole.

Bangladeshi Bengali migration to Canada is a response to globalization processes, and a strategy to face the post-independent social, political and economic insecurities in the homeland. Canadian immigration policy and the Multicultural Act that were adjusted to meet labour demands in local job markets encouraged the building of a new and growing Bangladeshi Bengali immigrant community in Canada. The general objective of this research is to explore how Bangladeshi immigrants’ national, ethnic, cultural, religious, gender, and class identities that were shaped within historical and political contexts in Bangladesh are negotiated in new immigrant and multicultural contexts in Toronto. By looking at various identity negotiation processes, this research aims to critically examine globalization theories in social science, and multicultural policies in Canada. More specifically, the objective is to determine whether transnational migration to Canada as a global process creates homogeneity, disjuncture, hybridity, or inequality in Bangladeshi immigrants’ lives in Toronto, and how Bangladeshi Bengalis as an ethnic and cultural group relocate their identity within Canadian multiculturalism. In order to address these objectives and issues, one year of in-depth anthropological research was conducted among the Bangladeshi immigrants in Toronto between 2007 and 2008. The core research location was the Danforth and Victoria Park area, but in order to address class diversity, respondents from Dufferin and Bloor Streets, Regent Park, and Mississauga areas were incorporated. Applying snowball and purposive sampling techniques, and identifying key informants, 75 Bangladeshi immigrant families were selected from three religious groups – Muslim, Hindu, and Christian. In-depth personal interviews, case studies and focus group discussions were conducted among these Bangladeshi immigrants. This research underscores that, on one hand, Bangladeshi Bengali immigrants negotiate and re-define their “proper” ethnic, cultural, nationalist, and religious identities by imagining, memorizing, simulating, and celebrating local traditions. On the other hand, immigrants define “authentic” identity by creating “separations” and “differences” based on colonial and nationalist histories. Religious differences, the ideology of “majority and minority”, and social classes play major roles in shaping identity. This study finds that multicultural diasporic immigrant space is neither a disjointed, nor an in-between space, nor a place where ethnic cultures are only “consumed”, but it is a battleground to resist and challenge religious and gender inequalities in a globalized location. Bangladeshi Bengali identity is both fixed and contextually variable; identity is shaped in response to political contexts of both global and local.

This thesis examines the emergence of Olympic sport aid policy in the early phase of its establishment in 1961 with the founding of the Commission For International Olympic Aid (CIOA) and the Olympic Solidarity (OS) in the early 1970s. The study aims to explore the global process of cultural flows of Olympism and modern sport, and the international relations involved in constructing, modifying or resisting the Olympic 'message'. A tentative conceptualisation of 'aid donors' (core and semi-periphery) and the 'aid recipients' (peripheral states) is outlined in relation to the global sport interaction between nation states. At the macro level, it is clear that the bi-political order of the Cold War, the decolonisation process, and the development aid projects provided to the newly independent countries in Africa and Asia influenced agents' approaches in forming the sport aid policy and the promotion of Olympic institutions. At the meso level, the IOC relations with UNESCO, IFs, regional games and National Olympic Committees and the emergence of hyper nationalism, commercialism and professionalism impinge on the creation of the global sport aid programme that emphasises the hegemony of the Olympic movement. The research subscribes to critical realism as its ontological and epistemological base and the principal method employed to investigate is a form of qualitative content analysis using a protocol drawn from ethnographic content analysis. Inductive and deductive techniques were utilised to analyse 355 official documents and agents' correspondence in English, French and German gathered from Olympic Museum archives and facilitated by the application of QSR NUD*IST software for qualitative data analysis. A socio-economic and political account of the postcolonial era is provided as viewed through 'prism' of modernisation, cultural imperialism, dependency and figuration theories. The thesis provides an approach to the evaluation of the global diffusion of sport and Olympism through the aid programmes revealing complex responses and engagement with global processes, contextualised by (in some ways) homogenous and (in others) heterogeneous nature of the global sport.

The purpose of this essay is to analyze the media coverage of the case with Martin Schibbye and Johan Persson in the four biggest newspapers in Sweden in order to see how social constructions is created through the use of language. It is also of interest to see how nationality is represented in the material.  The theory is based on Edward Said’s theory of post colonialism and the prejudices that has developed from the western way of viewing ”The orient”. It is also based on Richard Dyers theory on whiteness and binary oppositions, which shows how ”whiteness” is viewed as the norm and is also never questioned. The method is critical linguistics and based on Norman Fairclough and Michael Halliday. The results from the method in critical linguistics shows how power is used in the media coverage of Martin Schibbye and Johan Persson. It shows how Schibbye and Persson are presented as human beings and as individuals and the other parts as foreign and unknown parts in the conflict.