"Listening to the World — 100 Years of Radio Art takes the 100 year anniversary of Radio Art in Germany as an opportunity to inquire radio and listening as global phenomena with visible and invisible worldwide connections. On 19 October 2024, the multiformat programme presents perspectives and pra
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ctices from Southern Africa and other geographically, politically, and sonically related areas. In the process of studying the role of radio broadcasting in Southern Africa one is invited to ask existential questions, such as: What can radio broadcasting provide today? How can the medium be used to intervene artistically? And in which areas and from which perspective? Through these questions, attention shifts towards mechanisms of different knowledge production systems that shape and define the interpretations of radio both as technology and cultural entity. In many people’s experience, acts of listening are intertwined with acts of remembering: sound can function as a form of memory. In the aforementioned regions, this manifests as creative rituals that carry a plethora of subjective and political meaning. This programme considers these acts of listening as operating from and within a background of colonial trauma. How can radio both as technology and cultural medium facilitate a reappraisal and amplify its healing effect? The encounters focussing on these questions are hosted in a 12-hour live radiophonic exchange involving communities and radio stations in Cape Town, Harare, and Berlin. This live platform, broadcasted in and from HKW via the experimental radio station Cashmere Radio in Berlin, provides a chance to test collective commitments on listening towards global justice, addressing colonially fractured practices of listening." (Introduction)
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"Consideramos que es importante publicar esta minuciosa investigación básicamente porque no existe mucha literatura que nos permita entender las circunstancias que dieron origen al servicio público de la radio, en particular del IMER, accesible al grueso de sus audiencias, que les permita contar
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con elementos para involucrarse más con los medios públicos. Saber y entender cómo fueron sus diferentes estadios habilita los derechos de participación de la ciudadanía en los medios públicos, los cuales en última instancia pertenecen a la sociedad mexicana en su conjunto." (Introducción, página 7)
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"Tracing the institutional history of the radio allowed scholars in the past to analyse the radio as an instrument of the colonial government in India and to show, for example, how the radio in the Indian subcontinent was deployed as part of the British Empire’s propaganda in the colony. As Gupta
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(1995), Zivin (1998), and Pinkerton (2008) argue, during the 1930s, the colonial government used the radio to address a fractured, local set of audiences so that it did not produce a national audience. Indeed, despite the British government’s efforts and Gandhi’s disagreement, and because of the efforts of Fielden, Nehru, and others, the radio was not only deployed by the Indian National Congress and later the Indian government; but by the 1950s, it became seemingly synonymous with the national project. Stepping away from this concern, we asked what did radio as a new sound technology mean in colonial India? In other words, what imaginaries and practices did it bring into effect? In answer, we have demonstrated that early radio in late colonial India transformed sonic imaginings, that is the imagination of sound itself and imaginations through sound—of spaces, territories, and figures. We further argue that radio effects the above in three ways: (i) by re-structuring the geographies of ‘home’, ‘world’, and ‘empire’; (ii) by allowing for variegated audiences that were learning to listen in different ways and lastly, (iii) by re-configuring standards, taste, and programming, variously for rural and urban audiences. Taken together this transformation has a specificity that produces an Indian sonic modernity that is born of conversations with technologies, capitalism, and colonialism." (Conclusion)
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"Am 29. Oktober 1923 nahm der erste deutsche Radio sender einen regelmäßigen Programmbetrieb auf. Dies gilt vielen als Geburtsstunde des öffentlichen Rundfunks in Deutschland. Das 100-jährige Jubiläum im Jahr 2023 bietet dem Technoseum den Anlass, der Geschichte von Radio und Fernsehen eine eig
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ene Ausstellung zu widmen, die in fünf chronologisch aufeinander folgen den Themenbereichen die Geschichte von Radio und Fernsehen von den Funkanfängen um 1900 bis zu den digitalen Medien der Gegenwart erzählt. Vorangestellt ist ein Prolog zum Jubiläum. Drei „Perspektiven“ ziehen sich durch die gesamte Schau: Die Perspektive der Pro grammproduktion zeichnet Entwicklungslinien der Pro grammgeschichte nach und gibt Einblicke in Methoden und Berufsbilder der Radio- und Fernsehprogramm produktion. Bei der Perspektive der Geräteproduktion stehen die Herstellung von und der Handel mit Radio und Fernsehgeräten im Mittelpunkt. Schließlich fragt die Perspektive der Nutzerinnen und Nutzer danach, wie die Technik das Leben der Menschen prägt und wie sich Nutzungsgewohnheiten verändert haben. Erst mals können in diesem Rahmen zwei Objektbestände in größerem Umfang gezeigt werden, die das Museum im Jahr 2014 übernommen hat: Die Sammlung des ehemaligen Deutschen Rundfunk-Museums in Berlin sowie die historisch-technische Sammlung des Südwestrundfunks (SWR). Die eigenen Objekte werden durch zahlreiche Leihgaben von Museen, Radio- und Fernsehsendern sowie Produktionsfirmen und Privatpersonen ergänzt. Zusammen zeichnen sie ein buntes Bild der Radio- und Fernsehgeschichte von den Anfängen bis heute." (Vorwort)
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"Whereas France owned the second most important empire in the world in 1945, the colonial domination paradoxically leaned very little on radio broadcasting. It was not until 1954 that the French governement, under the impulsion of Pierre Schaeffer, inventor of the “musique concrète,” launched a
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strong effort to build an overseas broadcasting network. However, that lasting endeavor took place while the French African colonies went into a phase of quick evolution toward independence. It immediately challenged the radiophonic project that colonial authorities had designed and forced French and Africans stakeholders to adapt their strategy according to the new context." (Abstract)
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"Zwischen 1975 und 1990 machten tausende Menschen in ganz Westeuropa mit freien Radiosendern auf ihre Kultur, ihre politischen Ansichten und ihre Interessen aufmerksam. Sie erreichten über ihre Rundfunkstationen Millionen Zuhörer. Der Strukturwandel war dabei in der Bundesrepublik Deutschland, den
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Niederlanden und Belgien der Stimulus hinter dieser radiophonen Entwicklung. Wie aber sahen die Klänge des Strukturwandels aus? Wie setzten sie sich in Westeuropa nach dem wirtschaftlichen Boom der 1950er und 1960er Jahre fort? Welche Auswirkungen hatten die freien Radiosender auf die Medienlandschaft? »Der Klang des Strukturwandels« gewährt spannende kulturelle, gesellschaftliche, politische und wirtschaftliche Einblicke in einen Zeitabschnitt bewegter europäischer Geschichte. Ob in Arbeiterstädten, auf dem Land, Jugendliche, öffentlich-rechtliche Rundfunksender oder dynamische Akteure der Medienindustrie - alle interessierten sich für das freie Radio!" (Verlagsbeschreibung)
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"The colonial essence of the Portuguese nation was one of the pillars of Estado Novo (1933–1974). During this period, the media were largely used as a tool for promoting the cohesion of the territories, firstly embodying an Imperial mystique, and after the second World War, arguing for the excepti
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onalism of Portuguese colonialization and fighting enemy propaganda. However, contrary to other European empires, Portugal never had a consistent and articulated policy for using radio for these purposes. This article analyses the case of São Tomé and Príncipe, the smallest Portuguese colony in Africa and argues that the new strategy that was experimented in the archipelago in the late 60’s was characterized by a lack of organization and investment that curtailed any chances of success against competitor broadcasts. Based on archival research and interviews with former radio professionals, the case of São Tomé is presented as an example of a frail global articulation that characterized the Imperial Portuguese broadcasting strategy during this period, while it deepens the knowledge on the development of radio in the former Portuguese colonies." (Abstract)
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"This paper discusses how radio during the last decade of Dutch colonial era had served as an agent of nationalism in Indonesia. This paper applies a literature study using a historical approach that focused on Soloche Radio Vereeniging (SRV) and the Eastern Radio network, which were operational fro
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m the 1930s to the 1940s. The results suggest that SRV and Eastern Radio network during the Dutch colonial period served as tools of cultural resistance against the domination of European culture. Radio broadcasting was an alternative form of cultural diplomacy that promoted the birth of Indonesia, which had become free from colonialism." (Abstract)
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"Este libro se lee con mucha facilidad y nos describe con gran amplitud y rigurosidad investigativa ese paisaje mediático de la ciudad, donde conviven la expresión pública, la comercial y la comunitaria. Es un texto que nos cuenta que la radio sigue vigente y muy presente en la vida de la gente,
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pero igualmente advierte que ella existirá y será más fuerte mientras hable menos y escuche más a su audiencia." (Óscar Pérez, Página 6)
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"Dutch international radio broadcaster Radio Nederland Wereldomroep (RNW) was founded in 1947, during the decolonization war in Indonesia. This paper explores the nature of the broadcasts to Indonesia in the early years of RNW. It is argued that these broadcasts must be seen in the context of the Du
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tch violent military effort to reestablish colonial rule in Southeast Asia. Moreover, this broadcasting strategy, which was mainly aimed at reaching out to white agents of empire in the Indonesian archipelago, can be seen as a continuation of broadcasting practices during the late colonial period in the 1930s, when Dutch were speaking to Dutch." (Abstract)
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‘Feminine Frequencies’: Gender, Radio, and the Auditory Culture of Revolution in 1940s China / 4
Frocks And Powder Puffs / 13
María Luisa Ross: Mexican Educator, Writer and Radio Station Manager / 23
Cathleen Nesbitt: Britain’s First Radio Drama Producer / 32
‘Women on the Air’: A Contrib
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ution to the History of Women in Community Radio in Europe / Birigtte Jallov, 36
Broadcasting History but also Working Lives: Women’s History in the BBC’s Written Archives, 42
The Women Diarists of Early Radio / Emilie Morin, 45
In Profile: Kate Terkanian, 47
[Four Book Reviews: Women in British and US Media]
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"Im Oktober 1923 ging das erste offizielle deutsche Rundfunkprogramm auf Sendung. Auch 100 Jahre später ist das Radio nicht aus der Medienwelt wegzudenken, ob als Informationsquelle, Kulturproduzent oder musikalischer Tagesbegleiter. Stets im Zeichen politischer, gesellschaftlicher und technischer
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Entwicklungen stehend, hat es immer wieder seine Wandlungsfähigkeit und Relevanz unter Beweis stellen können. Dieses Buch wirft Schlaglichter auf die verschiedenen Facetten der deutschen Radiogeschichte und wagt zugleich einen Ausblick in die Zukunft des ebenso langlebigen wie vielseitigen Mediums." (Buchrückseite)
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"The article demonstrates how Portugal lacked a true policy of imperial broadcasting which led it to become dependent on colonial stations for the dissemination of colonialism. The broadcasters established in the Portuguese Empire dedicated significant airtime to the dissemination of Portugal’s co
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lonial mission but also promoted local identities with programming echoing the lifestyle of the colonial elites. Thus, the article argues that while the Portuguese authorities considered the cultural expressions and identities of the white residents in Africa as peripheral, these perceived themselves as part of a new devolved center. This ‘peripheral centre’ gained particular ‘visibility’ on the airwaves." (Abstract)
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"[...] partimos da hipótese de que as produções sonoras contemporâneas (dramas e podcasts de storytelling), que se configuram como produções de aprofundamento e que têm deadlines mais amplos, realizam uma reapropriação estética das estratégias e ferramentas expressivas das radionovelas da
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era de ouro do rádio do país [= Brasil] . Com esta reapropriação, aliada ao que as caracteriza como jornalismo, podem complexificar a narrativa e modificar o perfil do conteúdo apresentado à audiência, além de propiciarem um ambiente de consumo imersivo, mais humanizado e mais envolvente para o público. Expandimos essa hipótese também para as séries de reportagens divulgadas em emissoras hertzianas, principalmente considerando as demandas por rejuvenescimento da audiência e ampliação do público do rádio e o perfil de crescimento do consumo de áudio nos últimos anos." (Introdução, página 12)
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"One of the first books to examine the status of broadcasting on its one hundredth anniversary, Radio's Second Century investigates both vanguard and perennial topics relevant to radio's past, present, and future. As the radio industry enters its second century of existence, it continues to be a dom
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inant mass medium with almost total listenership saturation despite rapid technological advancements that provide alternatives for consumers. Lasting influences such as on-air personalities, audience behavior, fan relationships, and localism are analyzed as well as contemporary issues including social and digital media. Other essays examine the regulatory concerns that continue to exist for public radio, commercial radio, and community radio, and discuss the hindrances and challenges posed by government regulation with an emphasis on both American and international perspectives. Radio's impact on cultural hegemony through creative programming content in the areas of religion, ethnic inclusivity, and gender parity is also explored." (Publisher description)
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"Fue una larga conversación con Gerardo Lombardi, comunicador por vocación y por formación, sobre la historia radiofónica de 'Fe y Alegría'. Lombardi nos habla de los orígenes, del presente y del futuro. Al respecto dice que 'Fe y Alegría' está llamada a hacer puentes. Puentes para unos ente
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ndimientos que todavía están por hacerse. Y desde el punto de vista educativo, en una eventual reconstrucción del país que tendremos que hacer, como dice Gerardo Lombardi, la propuesta en el campo educativo es una propuesta de educación multimodal con esquemas mixtos, donde la educación a distancia y la radiofónica surgen como una gran posibilidad." (Página 217)
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"In this article, we assert and demonstrate a particular and enduring adaptability of radio in tandem with observable temporal shifts in development communication theory and practice in Africa. Specifically, we use the historical research method to explore and explain the ideological discourses, pol
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ity contours and social forces that have overlain the role of radio as both an index and an instrument of development in Ghana. The evidence reveals that radio has transitioned through three key milestones in how the technology has been appropriated and applied to national development efforts: from transplantation, through transmission, to transaction. Each of these phases coincides, incidentally, with paradigm shifts in development communication theorizing: from modernization through diffusion to participation. They also coincide, broadly, with three distinctive epochs of ideological shifts in the historical accounting on radio for development in Ghana: from British imperial hegemony, through post-independence command-and-control, to contemporary liberal pluralism." (Abstract)
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