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194 <strong>AEMI</strong> JOURNAL 2015 2016<br />

which is neither straightforward nor<br />

unanimous and whose definition is<br />

often dependent on a given country’s<br />

social context and immigration history.<br />

In this article we prefer to define<br />

ethnic media as that, ‘produced by and<br />

for a) immigrants, b) racial, ethnic and<br />

linguistic minorities as well as c) indigenous<br />

populations living across different<br />

countries,’ (Matsaganis, Katz and Ball-<br />

Rockeach, 2011). Ethnic media can help<br />

to understand a minority’s or community’s<br />

social, economic and cultural background<br />

(Matsaganis et al., 2011) as well<br />

as act as countervailing representation<br />

to the potentially negative depictions in<br />

mainstream media (Titley, 2008); they<br />

also create a self representation and fulfill<br />

the dual role of providing a space for<br />

the expression of language and culture<br />

and act as a resource to facilitate settling<br />

in a new country. Other potential<br />

strengths of ethnic media are the way in<br />

which they can support various forms<br />

of engagement with the host society,<br />

through actions that we will be seeing<br />

bellow, and its capacity for mediating<br />

and empowering a group’s participation<br />

in the public sphere (Georgiou, 2006;<br />

Cascão, 2013).<br />

The range of Portuguese language<br />

ethnic media in Luxembourg includes<br />

radio stations like Radio Latina, with<br />

a programme mainly aimed at the Portuguese<br />

speaking community, websites<br />

such as bomdia.lu, and in print the two<br />

newspapers Contacto (founded in 1970)<br />

and Correio (founded in 1999). All of<br />

the above media are addressed not only<br />

at the Portuguese nationals but also immigrants<br />

from former Portuguese colonies<br />

in Africa such as Cape Verde and<br />

Guinea Bissau as well as Brazilians.<br />

Contacto was founded in 1970 by a<br />

Luxembourger, Lucien Huss, and a Portuguese,<br />

Carlos Pina, both working then<br />

at the Catholic Mission, an association<br />

that provided guidance and assistance<br />

upon the arrival of immigrants to Luxembourg.<br />

Their first co-signed editorial<br />

left no doubt about the newspaper’s<br />

goals: it was there to ‘build bridges’ 4 .<br />

In its first years, informing its readers<br />

about the political situation in Portugal<br />

was at the core of its editorial mission,<br />

understandable in light of the political<br />

turmoil Portugal was undergoing at the<br />

time. This tendency to focus on Portugal’s<br />

daily affairs changed in the 1980’s,<br />

when Luxembourgish affairs began to<br />

be given equal coverage, making the<br />

newspaper become more transnational.<br />

However, the core focus of Contacto<br />

continued to be primarily and essentially<br />

anything affecting the interests of<br />

the local Portuguese speaking community.<br />

It is currently the preferred media<br />

outlet for Portuguese in Luxembourg,<br />

with audience levels reaching 55,400<br />

readers per week, i.e. 12 per cent of the<br />

total Luxembourg population. 5<br />

Theoretical Framework: Interculturalism,<br />

Integration and Intercultural<br />

Media Integration<br />

Before introducing the key concept of<br />

intercultural media integration (Geiβler<br />

and Weber-Menges, 2009), it is useful<br />

to first examine the political concept<br />

of interculturalism and the ways it approaches<br />

cultural diversity in contemporary<br />

societies. Interculturalism directs us<br />

to particular national contexts and different<br />

stands taken politically on immigration<br />

issues and assumptions on what<br />

integration should entail. In Europe,

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