Academic literature on the topic 'Irish adult educational guidance initiative'

This article draws on the findings from a qualitatively-led sequential mixed methods doctorate study which was located within the Irish Adult Educational Guidance Services (AEGS) and focused on the guidance counselling needs of adults with dyslexia. Honneth's (2003) conceptions of recognition, equality and social justice, and the interactionist and non-reductionist biopsychosocial (BPS) model of disability (WHO 2011) provided an opportunity to examine and interpret the findings as matters of social justice. The wider application of Honneth's theory and the BPS model to career counselling practice are also considered.

Abstract The pandemic has revealed a multitude of challenges disproportionately impacting older adults, including older adult learners. Institutions of higher education are uniquely positioned to respond to various challenges using the guiding framework of the Age-Friendly University global initiative. This presentation highlights how preexisting university student support practices and services were adapted to provide older adult learners with guidance for navigating their educational needs during the pandemic. Specifically, it expands on strategies utilized by Adult Learner Programs and Services to effectively pivot to virtual services to support the advising and programming needs of older adult learners. Survey data identifying areas of interest for virtual programming for older adult students will be explored. Recommendations will be discussed for promoting effective transitioning to virtual support systems, preserving student engagement and intergenerational learning, and advocating for aging to remain central to university diversity and inclusion initiatives.

The development of leadership abilities among senior preschool children is an important component of the general, fundamental task solved within the educational field of social and communicative personality development at the early stages of education. The basic concepts related to the nature of children's leadership are leadership as a type of special giftedness, a wide range of personality traits and a quality of any child that manifests itself under certain conditions. The qualities of preschool children with a pronounced leadership potential are: the desire for dominance, initiative, a high level of mental development, speech and behavioral activity, emotionality (impressionability, impulsivity, lability), adequate self-esteem, independence, the ability to invent and organize different games. Based on an analytical review of scientific sources on the issue of child leadership we define leadership abilities in the senior preschool age as an integral dynamic personal education developing in the joint activity of a child with peers under the guidance of an adult, whose structure is formed by the unity of cognitive, emotional-volitional, activity-creative and evaluative-reflective components. A structural model of leadership abilities of a preschooler is presented. The main conditions for the development of leadership abilities in senior preschoolers are the inclusion of children in various types of joint activities and the guidance of a teacher. Developed leadership abilities are an important indicator of positive socialization of a child’s personality.

100 Background: Accrual of Black participants to cancer clinical trials remains a major challenge across the country. Here, we report the outcomes of a five-year initiative of community outreach and engagement to improve enrollment of adult Black participants to clinical trials at the Abramson Cancer Center (ACC) at the University of Pennsylvania. Methods: Primary metrics were the percentage of Black patients among all cancer cases in our catchment area, the percentage of adult Black patients cared for at the ACC, and the percentage of adult Black participants enrolled on the three types of NCI-defined clinical trials. Results: In 2014, at baseline, Black residents comprised 19% of the population and 16.5% of cancer cases in our catchment area surrounding Philadelphia, but only 11.1% of ACC patients were Black. The percentages of Black participants accrued onto treatment, non-therapeutic interventional, and non-interventional trials were 12.2%, 8.3%, and 13.0%, respectively. We then established a center-wide program with community guidance to address these gaps. Key elements of the program included: 1) culturally tailored marketing strategies for cancer clinical trials; 2) plans for each protocol to facilitate Black participant enrollment; 3) new partnerships with faith-based organizations serving Black communities to conduct educational events about clinical trials; 4) pilot programs with Lyft and Ride Health to address transportation barriers; 5) patient education by nurse navigators regarding cancer and clinical trials; and 6) an improved informed consent process. These efforts reached more than 10,000 individuals in venues including churches, neighborhoods, community parks and centers, and health centers with formats ranging from educational forums to wellness fairs. Reassessing metrics in 2018, we found that the percentage of Black patients seen at ACC had increased to 16.2%, matching the percentage of Black cancer patients among all cancer cases in our catchment area (16.5%). Total cancer clinical trial accrual had increased from 9,308 participants in 2014 to 13,170 in 2018 (41.5% increase). The percentages of Black participants accrued onto treatment, non-therapeutic interventional, and non-interventional trials were 23.9%, 33.1%, and 22.5%, respectively – a 1.7- to 4.0-fold increase in five years and higher than the percentage of Black patients seen at the ACC. Conclusions: Our multifaceted, community-based engagement initiative to encourage clinical trial enrollment was associated with improved accrual of Black participants to cancer clinical trials. These findings also suggest that gaps in access to cancer centers are a key factor driving access to clinical trials. Medicaid expansion occurred concurrently in all states in our catchment area and its impact on accrual merits further research.

Abstract Background: Diagnosis of Gaucher disease (GD) can be difficult and diagnostic delays are common in both adult and paediatric patients. This may in part be attributable to the heterogeneous nature of early presenting signs and symptoms in GD, which may result in patients consulting various specialists before a diagnosis is reached. As part of this global Gaucher earlier diagnosis consensus (GED-C) initiative, a panel of expert physicians was asked to determine the most important barriers to diagnosis of GD. The panel was also asked about the impact of the initiative if its primary objective of facilitating earlier diagnosis was realized. Methods: In round 1 of an anonymous, multi-stage, iterative Delphi process, the panel provided free-text answers to a series of open questions, including: "In your experience, what are the greatest barriers to diagnosis in patients with early GD?" and "Assuming that this initiative achieves its goal, what difference could it make to clinical practice?" An independent facilitator grouped the responses to these questions by theme, and these were checked and consolidated as summary statements by the two non-voting co-chairs of the GED-C initiative. In round 2, panel members independently rated the importance of each statement using a 5-point Likert scale (1 = not important, 5 = extremely important). Statements awarded an importance score of at least 3 by more than 75% of respondents were reissued in round 3, in which panel members rated their level of agreement with each statement using a 5-point pivoted Likert scale (1 = strongly disagree; 3 = neither agree nor disagree; 5 = strongly agree). Consensus was defined as more than 67% of respondents agreeing or strongly agreeing (a score of ≥ 4) with a statement. Results: In total, 22 experts from 16 countries were recruited to the GED-C panel. Round 1 (100% response, n = 22) yielded 47 phrases relating to barriers to diagnosis, and 30 relating to the impact of the initiative on clinical practice, which were consolidated as 9 statements describing barriers to diagnosis, and 8 summarizing the initiative's impact. In round 2 (100% response, n = 22) and round 3 (100% response, n = 22), 6 barrier statements and all 8 impact statements met the stipulated importance criteria, and consensus was then reached for all 6 barrier statements and for 7 impact statements (Table). Discussion: This initiative highlights that, as well as the heterogeneous nature of GD, clinicians' lack of awareness of GD and poor knowledge of important presenting signs probably contribute to incorrect or delayed diagnoses. The GED-C initiative aims to resolve this by providing clinicians with simple guidance regarding important factors in GD, thereby improving disease awareness and facilitating early diagnosis. This may improve understanding of the natural history of GD, patient management, and potentially patients' long-term outcomes. Acknowledgment: Submitted on behalf of the GED-C panel members and the European Hematology Association Scientific Working Group 'Quality of Life and Symptoms'. Administration of the GED-C initiative was funded by an unrestricted educational grant from Shire. Table Table. Disclosures Kuter: Bristol-Myers Squibb: Research Funding; ONO: Consultancy; Protalex: Research Funding; Eisai: Consultancy; Shionogi: Consultancy; 3SBios: Consultancy; Syntimmune: Consultancy; MedImmune: Consultancy; CRICO: Other: Paid expert testimony; Amgen: Consultancy, Paid expert testimony; Pfizer: Consultancy; Rigel: Consultancy, Research Funding; GlaxoSmithKline: Consultancy; Shire: Consultancy; Genzyme: Consultancy. Salek:Novartis: Research Funding; Bristol-Myers Squibb: Research Funding; Shire: Consultancy; Servier: Consultancy; Sanofi: Research Funding; Agios: Consultancy. Mehta:Protalix/Pfizer: Honoraria, Other: travel grant, Research Funding; Genzyme: Honoraria, Other: travel grant, Research Funding; Actelion: Honoraria, Other: travel grant, Research Funding; Shire: Honoraria, Other: travel grant, Research Funding.

Abstract The COVID-19 pandemic presented extraordinary challenges for professionals in the aging field across campuses and communities, calling for rethinking and redesigning how their work was structured, their programs were delivered, and their connections were sustained. The pandemic also made clear the value of being an age-friendly institution of higher education, especially as we experience historic changes in age demographics. This symposium features campus leaders representing institutional partners of the Age-Friendly University (AFU) global initiative (endorsed by GSA’s Academy for Gerontology in Higher Education) who will discuss how their age-friendly programs were adapted during the pandemic to continue to advance age inclusivity. These diverse responses exemplify the vast potential of age-friendly opportunities. June and Andreoletti (Central Connecticut State University) will discuss how the Scholars for Life! program supported the engagement of older learners in the neighboring community through the engagement of faculty. Elfenbein (University of North Georgia) will describe how learning experiences for older learners and intergenerational exchange were created beyond the classroom through the Personal Enrichment, Action and Knowledge (PEAK) program. Terhune (Northern Kentucky University) will describe how student support practices and services were adapted to provide working adult students with guidance for navigating their educational needs during the pandemic. Kheirbek (University of Maryland, Baltimore) will describe how age-friendly collaborations with the institution’s medical school leveraged intergenerational connections and technology to foster social connection for hospitalized older adults. Gautam and Melillo (UMass Lowell) discuss how a campus partnership with the Learning in Retirement Association (LIRA) adapted efforts around healthy aging.

Diaspora This article looks at diaspora through the transformations of an established public service broadcaster, the BBC World Service, by considering some of the findings of the AHRC-funded Tuning In: Contact Zones at the BBC World Service, which is part of the Diasporas, Migration and Identities program. Tuning In has six themes, each of which focuses upon the role of the BBC WS: The Politics of Translation, Diasporic Nationhood, Religious Transnationalism, Sport across Diasporas, Migrating Music and Drama for Development. The World Service, which was until 2011 funded by the Foreign Office, was set up to cater for the British diaspora and had the specific remit of transmitting ideas about Britishness to its audiences overseas. Tuning In demonstrates interrelationships between the global and the local in the diasporic contact zone of the BBC World Service, which has provided a mediated home for the worldwide British diaspora since its inception in 1932. The local and the global have merged, elided, and separated at different times and in different spaces in the changing story of the BBC (Briggs). The BBC WS is both local and global with activities that present Britishness both at home and abroad. The service has, however, come a long way since its early days as the Empire Service. Audiences for the World Service’s 31 foreign language services, radio, television, and Internet facilities include substantive non-British/English-speaking constituencies, rendering it a contact zone for the exploration of ideas and political opportunities on a truly transnational scale. This heterogeneous body of exilic, refugee intellectuals, writers, and artists now operates alongside an ongoing expression of Britishness in all its diverse reconfiguration. This includes the residual voice of empire and its patriarchal paternalism, the embrace of more recent expressions of neoliberalism as well as traditional values of impartiality and objectivism and, in the case of the arts, elements of bohemianism and creative innovation. The World Service might have begun as a communication system for the British ex-pat diaspora, but its role has changed along with the changing relationship between Britain and its colonial past. In the terrain of sport, for example, cricket, the “game of empire,” has shifted from Britain to the Indian subcontinent (Guha) with the rise of “Twenty 20” and the Indian Premier League (IPL); summed up in Ashis Nandy’s claim that “cricket is an Indian game accidentally discovered by the English” (Nandy viii). English county cricket dominated the airways of the World Service well into the latter half of the twentieth century, but the audiences of the service have demanded a response to social and cultural change and the service has responded. Sport can thus be seen to have offered a democratic space in which new diasporic relations can be forged as well as one in which colonial and patriarchal values are maintained. The BBC WS today is part of a network through which non-British diasporic peoples can reconnect with their home countries via the service, as well as an online forum for debate across the globe. In many regions of the world, it continues to be the single most trusted source of information at times of crisis and disaster because of its traditions of impartiality and objectivity, even though (as noted in the article on Al-Jazeera in this special issue) this view is hotly contested. The principles of objectivity and impartiality are central to the BBC WS, which may seem paradoxical since it is funded by the Commonwealth and Foreign office, and its origins lie in empire and colonial discourse. Archive material researched by our project demonstrates the specifically ideological role of what was first called the Empire Service. The language of empire was deployed in this early programming, and there is an explicit expression of an ideological purpose (Hill). For example, at the Imperial Conference in 1930, the service was supported in terms of its political powers of “strengthening ties” between parts of the empire. This view comes from a speech by John Reith, the BBC’s first Director General, which was broadcast when the service opened. In this speech, broadcasting is identified as having come to involve a “connecting and co-ordinating link between the scattered parts of the British Empire” (Reith). Local British values are transmitted across the globe. Through the service, empire and nation are reinstated through the routine broadcasting of cyclical events, the importance of which Scannell and Cardiff describe as follows: Nothing so well illustrates the noiseless manner in which the BBC became perhaps the central agent of national culture as its cyclical role; the cyclical production year in year out, of an orderly, regular progression of festivities, rituals and celebrations—major and minor, civic and sacred—that mark the unfolding of the broadcast year. (278; italics in the original) State occasions and big moments, including those directly concerned with governance and affairs of state, and those which focused upon sport and religion, were a big part in these “noiseless” cycles, and became key elements in the making of Britishness across the globe. The BBC is “noiseless” because the timetable is assumed and taken for granted as not only what is but what should be. However, the BBC WS has been and has had to be responsive to major shifts in global and local—and, indeed, glocal—power geometries that have led to spatial transformations, notably in the reconfiguration of the service in the era of postcolonialism. Some of these massive changes have involved the large-scale movement of people and a concomitant rethinking of diaspora as a concept. Empire, like nation, operates as an “imagined community,” too big to be grasped by individuals (Anderson), as well as a material actuality. The dynamics of identification are rarely linear and there are inconsistencies and disruptions: even when the voice is officially that of empire, the practice of the World Service is much more diverse, nuanced, and dialogical. The BBC WS challenges boundaries through the connectivities of communication and through different ways of belonging and, similarly, through a problematisation of concepts like attachment and detachment; this is most notable in the way in which programming has adapted to new diasporic audiences and in the reworkings of spatiality in the shift from empire to diversity via multiculturalism. There are tensions between diaspora and multiculturalism that are apparent in a discussion of broadcasting and communication networks. Diaspora has been distinguished by mobility and hybridity (Clifford, Hall, Bhaba, Gilroy) and it has been argued that the adjectival use of diasporic offers more opportunity for fluidity and transformation (Clifford). The concept of diaspora, as it has been used to explain the fluidity and mobility of diasporic identifications, can challenge more stabilised, “classic” understandings of diaspora (Chivallon). A hybrid version of diaspora might sit uneasily with a strong sense of belonging and with the idea that the broadcast media offer a multicultural space in which each voice can be heard and a wide range of cultures are present. Tuning In engaged with ways of rethinking the BBC’s relationship to diaspora in the twenty-first century in a number of ways: for example, in the intersection of discursive regimes of representation; in the status of public service broadcasting; vis-à-vis the consequences of diverse diasporic audiences; through the role of cultural intermediaries such as journalists and writers; and via global economic and political materialities (Gillespie, Webb and Baumann). Tuning In thus provided a multi-themed and methodologically diverse exploration of how the BBC WS is itself a series of spaces which are constitutive of the transformation of diasporic identifications. Exploring the part played by the BBC WS in changing and continuing social flows and networks involves, first, reconfiguring what is understood by transnationalism, diaspora, and postcolonial relationalities: in particular, attending to how these transform as well as sometimes reinstate colonial and patriarchal discourses and practices, thus bringing together different dimensions of the local and the global. Tuning In ranges across different fields, embracing cultural, social, and political areas of experience as represented in broadcasting coverage. These fields illustrate the educative role of the BBC and the World Service that is also linked to its particular version of impartiality; just as The Archers was set up to provide information and guidance through a narrative of everyday life to rural communities and farmers after the Second World War, so the Afghan version plays an “edutainment” role (Skuse) where entertainment also serves an educational, public service information role. Indeed, the use of soap opera genre such as The Archers as a vehicle for humanitarian and health information has been very successful over the past decade, with the “edutainment” genre becoming a feature of the World Service’s broadcasting in places such as Rwanda, Somalia, Nigeria, India, Nepal, Burma, Afghanistan, and Cambodia. In a genre that has been promoted by the World Service Trust, the charitable arm of the BBC WS uses drama formats to build transnational production relationships with media professionals and to strengthen creative capacities to undertake behaviour change through communication work. Such programming, which is in the tradition of the BBC WS, draws upon the service’s expertise and exhibits both an ideological commitment to progressive social intervention and a paternalist approach drawing upon colonialist legacies. Nowadays, however, the BBC WS can be considered a diasporic contact zone, providing sites of transnational intra-diasporic contact as well as cross-cultural encounters, spaces for cross-diasporic creativity and representation, and a forum for cross-cultural dialogue and potentially cosmopolitan translations (Pratt, Clifford). These activities are, however, still marked by historically forged asymmetric power relations, notably of colonialism, imperialism, and globalisation, as well as still being dominated by hegemonic masculinity in many parts of the service, which thus represent sites of contestation, conflict, and transgression. Conversely, diasporic identities are themselves co-shaped by media representations (Sreberny). The diasporic contact zone is a relational space in which diasporic identities are made and remade and contested. Tuning In employed a diverse range of methods to analyse the part played by the BBC WS in changing and continuing social and cultural flows, networks, and reconfigurations of transnationalisms and diaspora, as well as reinstating colonial, patriarchal practices. The research deconstructed some assumptions and conditions of class-based elitism, colonialism, and patriarchy through a range of strategies. Texts are, of course, central to this work, with the BBC Archives at Caversham (near Reading) representing the starting point for many researchers. The archive is a rich source of material for researchers which carries a vast range of data including fragile memos written on scraps of paper: a very local source of global communications. Other textual material occupies the less locatable cyberspace, for example in the case of Have Your Say exchanges on the Web. People also featured in the project, through the media, in cyberspace, and physical encounters, all of which demonstrate the diverse modes of connection that have been established. Researchers worked with the BBC WS in a variety of ways, not only through interviews and ethnographic approaches, such as participant observation and witness seminars, but also through exchanges between the service, its practitioners, and the researchers (for example, through broadcasts where the project provided the content and the ideas and researchers have been part of programs that have gone out on the BBC WS (Goldblatt, Webb), bringing together people who work for the BBC and Tuning In researchers). On this point, it should be remembered that Bush House is, itself, a diasporic space which, from its geographical location in the Strand in London, has brought together diasporic people from around the globe to establish international communication networks, and has thus become the focus and locus of some of our research. What we have understood by the term “diasporic space” in this context includes both the materialities of architecture and cyberspace which is the site of digital diasporas (Anderssen) and, indeed, the virtual exchanges featured on “Have Your Say,” the online feedback site (Tuning In). Living the Glocal The BBC WS offers a mode of communication and a series of networks that are spatially located both in the UK, through the material presence of Bush House, and abroad, through the diasporic communities constituting contemporary audiences. The service may have been set up to provide news and entertainment for the British diaspora abroad, but the transformation of the UK into a multi-ethnic society “at home,” alongside its commitment to, and the servicing of, no less than 32 countries abroad, demonstrates a new mission and a new balance of power. Different diasporic communities, such as multi-ethnic Londoners, and local and British Muslims in the north of England, demonstrate the dynamics and ambivalences of what is meant by “diaspora” today. For example, the BBC and the WS play an ambiguous role in the lives of UK Muslim communities with Pakistani connections, where consumers of the international news can feel that the BBC is complicit in the conflation of Muslims with terrorists. Engaging Diaspora Audiences demonstrated the diversity of audience reception in a climate of marginalisation, often bordering on moral panic, and showed how diasporic audiences often use Al-Jazeera or Pakistani and Urdu channels, which are seen to take up more sympathetic political positions. It seems, however, that more egalitarian conversations are becoming possible through the channels of the WS. The participation of local people in the BBC WS global project is seen, for example, as in the popular “Witness Seminars” that have both a current focus and one that is projected into the future, as in the case of the “2012 Generation” (that is, the young people who come of age in 2012, the year of the London Olympics). The Witness Seminars demonstrate the recuperation of past political and social events such as “Bangladesh in 1971” (Tuning In), “The Cold War seminar” (Tuning In) and “Diasporic Nationhood” (the cultural movements reiterated and recovered in the “Literary Lives” project (Gillespie, Baumann and Zinik). Indeed, the WS’s current focus on the “2012 Generation,” including an event in which 27 young people (each of whom speaks one of the WS languages) were invited to an open day at Bush House in 2009, vividly illustrates how things have changed. Whereas in 1948 (the last occasion when the Olympic Games were held in London), the world came to London, it is arguable that, in 2012, in contemporary multi-ethnic Britain, the world is already here (Webb). This enterprise has the advantage of giving voice to the present rather than filtering the present through the legacies of colonialism that remain a problem for the Witness Seminars more generally. The democratising possibilities of sport, as well as the restrictions of its globalising elements, are well represented by Tuning In (Woodward). Sport has, of course become more globalised, especially through the development of Internet and satellite technologies (Giulianotti) but it retains powerful local affiliations and identifications. At all levels and in diverse places, there are strong attachments to local and national teams that are constitutive of communities, including diasporic and multi-ethnic communities. Sport is both typical and distinctive of the BBC World Service; something that is part of a wider picture but also an area of experience with a life of its own. Our “Sport across Diasporas” project has thus explored some of the routes the World Service has travelled in its engagement with sport in order to provide some understanding of the legacy of empire and patriarchy, as well as engaging with the multiplicities of change in the reconstruction of Britishness. Here, it is important to recognise that what began as “BBC Sport” evolved into “World Service Sport.” Coverage of the world’s biggest sporting events was established through the 1930s to the 1960s in the development of the BBC WS. However, it is not only the global dimensions of sporting events that have been assumed; so too are national identifications. There is no question that the superiority of British/English sport is naturalised through its dominance of the BBC WS airways, but the possibilities of reinterpretation and re-accommodation have also been made possible. There has, indeed, been a changing place of sport in the BBC WS, which can only be understood with reference to wider changes in the relationship between broadcasting and sport, and demonstrates the powerful synchronies between social, political, technological, economic, and cultural factors, notably those that make up the media–sport–commerce nexus that drives so much of the trajectory of contemporary sport. Diasporic audiences shape the schedule as much as what is broadcast. There is no single voice of the BBC in sport. The BBC archive demonstrates a variety of narratives through the development and transformation of the World Service’s sports broadcasting. There are, however, silences: notably those involving women. Sport is still a patriarchal field. However, the imperial genealogies of sport are inextricably entwined with the social, political, and cultural changes taking place in the wider world. There is no detectable linear narrative but rather a series of tensions and contradictions that are reflected and reconfigured in the texts in which deliberations are made. In sport broadcasting, the relationship of the BBC WS with its listeners is, in many instances, genuinely dialogic: for example, through “Have Your Say” websites and internet forums, and some of the actors in these dialogic exchanges are the broadcasters themselves. The history of the BBC and the World Service is one which manifests a degree of autonomy and some spontaneity on the part of journalists and broadcasters. For example, in the case of the BBC WS African sports program, Fast Track (2009), many of the broadcasters interviewed report being able to cover material not technically within their brief; news journalists are able to engage with sporting events and sports journalists have covered social and political news (Woodward). Sometimes this is a matter of taking the initiative or simply of being in the right place at the right time, although this affords an agency to journalists which is increasingly unlikely in the twenty-first century. The Politics of Translation: Words and Music The World Service has played a key role as a cultural broker in the political arena through what could be construed as “educational broadcasting” via the wider terrain of the arts: for example, literature, drama, poetry, and music. Over the years, Bush House has been a home-from-home for poets: internationalists, translators from classical and modern languages, and bohemians; a constituency that, for all its cosmopolitanism, was predominantly white and male in the early days. For example, in the 1930s and 1940s, Louis MacNeice was commissioning editor and surrounded by a friendship network of salaried poets, such as W. H. Auden, Dylan Thomas, C. Day Lewis, and Stephen Spender, who wrote and performed their work for the WS. The foreign language departments of the BBC WS, meanwhile, hired émigrés and exiles from their countries’ educated elites to do similar work. The biannual, book-format journal Modern Poetry in Translation (MPT), which was founded in 1965 by Daniel Weissbort and Ted Hughes, included a dedication in Weissbort’s final issue (MPT 22, 2003) to “Poets at Bush House.” This volume amounts to a celebration of the BBC WS and its creative culture, which extended beyond the confines of broadcasting spaces. The reminiscences in “Poets at Bush House” suggest an institutional culture of informal connections and a fluidity of local exchanges that is resonant of the fluidity of the flows and networks of diaspora (Cheesman). Music, too, has distinctive characteristics that mark out this terrain on the broadcast schedule and in the culture of the BBC WS. Music is differentiated from language-centred genres, making it a particularly powerful medium of cross-cultural exchange. Music is portable and yet is marked by a cultural rootedness that may impede translation and interpretation. Music also carries ambiguities as a marker of status across borders, and it combines aesthetic intensity and diffuseness. The Migrating Music project demonstrated BBC WS mediation of music and identity flows (Toynbee). In the production and scheduling notes, issues of migration and diaspora are often addressed directly in the programming of music, while the movement of peoples is a leitmotif in all programs in which music is played and discussed. Music genres are mobile, diasporic, and can be constitutive of Paul Gilroy’s “Black Atlantic” (Gilroy), which foregrounds the itinerary of West African music to the Caribbean via the Middle Passage, cross-fertilising with European traditions in the Americas to produce blues and other hybrid forms, and the journey of these forms to Europe. The Migrating Music project focused upon the role of the BBC WS as narrator of the Black Atlantic story and of South Asian cross-over music, from bhangra to filmi, which can be situated among the South Asian diaspora in east and south Africa as well as the Caribbean where they now interact with reggae, calypso, Rapso, and Popso. The transversal flows of music and lyrics encompasses the lived experience of the different diasporas that are accommodated in the BBC WS schedules: for example, they keep alive the connection between the Irish “at home” and in the diaspora through programs featuring traditional music, further demonstrating the interconnections between local and global attachments as well as points of disconnection and contradiction. Textual analysis—including discourse analysis of presenters’ speech, program trailers and dialogue and the BBC’s own construction of “world music”—has revealed that the BBC WS itself performs a constitutive role in keeping alive these traditions. Music, too, has a range of emotional affects which are manifest in the semiotic analyses that have been conducted of recordings and performances. Further, the creative personnel who are involved in music programming, including musicians, play their own role in this ongoing process of musical migration. Once again, the networks of people involved as practitioners become central to the processes and systems through which diasporic audiences are re-produced and engaged. Conclusion The BBC WS can claim to be a global and local cultural intermediary not only because the service was set up to engage with the British diaspora in an international context but because the service, today, is demonstrably a voice that is continually negotiating multi-ethnic audiences both in the UK and across the world. At best, the World Service is a dynamic facilitator of conversations within and across diasporas: ideas are relocated, translated, and travel in different directions. The “local” of a British broadcasting service, established to promote British values across the globe, has been transformed, both through its engagements with an increasingly diverse set of diasporic audiences and through the transformations in how diasporas themselves self-define and operate. On the BBC WS, demographic, social, and cultural changes mean that the global is now to be found in the local of the UK and any simplistic separation of local and global is no longer tenable. The educative role once adopted by the BBC, and then the World Service, nevertheless still persists in other contexts (“from Ambridge to Afghanistan”), and clearly the WS still treads a dangerous path between the paternalism and patriarchy of its colonial past and its responsiveness to change. In spite of competition from television, satellite, and Internet technologies which challenge the BBC’s former hegemony, the BBC World Service continues to be a dynamic space for (re)creating and (re)instating diasporic audiences: audiences, texts, and broadcasters intersect with social, economic, political, and cultural forces. The monologic “voice of empire” has been countered and translated into the language of diversity and while, at times, the relationship between continuity and change may be seen to exist in awkward tension, it is clear that the Corporation is adapting to the needs of its twenty-first century audience. ReferencesAnderson, Benedict. Imagined Communities, Reflections of the Origin and Spread of Nationalism. London: Verso, 1983. Anderssen, Matilda. “Digital Diasporas.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/cross-research/digital-diasporas›. Bhabha, Homi. The Location of Culture. London: Routledge, 1994. Briggs, Asa. A History of Broadcasting in the United Kingdom, Volume II: The Golden Age of Wireless. Oxford: Oxford UP, 1995. Cheesman, Tom. “Poetries On and Off Air.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/cross-research/bush-house-cultures›. Chivallon, Christine. “Beyond Gilroy’s Black Atlantic: The Experience of the African Diaspora.” Diaspora 11.3 (2002): 359–82. Clifford, James. Routes: Travel and Translation in the Late Twentieth Century. Cambridge: Cambridge UP, 1997. Fast Track. BBC, 2009. 30 Nov. 2010 ‹http://www.bbc.co.uk/worldservice/sport/2009/03/000000_fast_track.shtml›. Gillespie, Marie, Alban Webb, and Gerd Baumann (eds.). “The BBC World Service 1932–2007: Broadcasting Britishness Abroad.” Special Issue. The Historical Journal of Film, Radio and Television 28.4 (Oct. 2008). Gillespie, Marie, Gerd Baumann, and Zinovy Zinik. “Poets at Bush House.” 2010. 30 Nov. 2010 ‹http://www8.open.ac.uk/researchprojects/diasporas/about›. Gilroy, Paul. Black Atlantic. 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