Dialogues with Identity: An A/r/tographer’s Exploration into Greek Migrant Youth Identities Through New Media
by Melina Mallos
Abstract
My personal experience of migration prompted me to explore how contemporary migrant youths’ use of new media can add a new dimension to the conversation about identity and belonging for Greek migrants in Melbourne, the largest Greek diaspora outside of Greece. This article reflects my a/r/tographic practice and examines the impact that collaborating with Greek migrant youths had on my personal and professional identities. I discuss how a/r/tography and Bakhtin’s concept of heteroglossia enabled me to represent our collective living inquiries. Additionally, I showcase selected artifacts I created using new media to capture our individual and shared experiences, revealing deeper insights about the ways identities are co-constructed in digital spaces.
Introduction
The intersection of migration and new media provides a unique vantage point for examining identities and belonging. As a Greek migrant who arrived in Melbourne in the mid-1980s, I experienced a world before the digital age offered instantaneous connections with my homeland. This contrast with the experiences of contemporary Greek youths, who migrated to Australia between 2010 and 2020, underscores how new media can trigger feelings of loss, self-representation, and seeking belonging through online means. By employing a/r/tography and Bakhtin’s concept of heteroglossia, I explore these dynamics, illustrating how collaborative arts-based research with Greek migrant youths has enriched my contemplations of identity.
My Migration Backstory
Reflecting on my own migration in the mid-1980s, I recognize that new media was not available to ease the transition. At that time, communication relied on Greek television, radio, and occasional films, limiting the ability to connect with my homeland. This lack of digital connectivity led me later as a scholar to consider how contemporary media might alleviate feelings of loss and facilitate a re-evaluation of self and belonging. My 8 participants aged 18–24, comprised of equal number of females and males, migrated to Australia during a more digitally connected era, when over 6,000 individuals from Greece arrived in the state of Victoria between 2009 and 2013 (Greek Australian Welfare Association 2014). Five of the participants were undertaking university studies, one was in his final year of high school, and two were in the workforce. Like my participants, I shared a Greece-born background and had lived in Melbourne since 2010. I found that applying a/r/tography allowed me to explore the interconnectedness of our stories and create a relational research experience.
A/r/tography
A/r/tography, a methodology within arts-based research, integrates the identities of artist, researcher, and teacher. It facilitates a simultaneous exploration of these identities through various artistic expressions—visual, performative, linguistic, or digital (Irwin et al. 2006). The “/” in a/r/tography signifies the relational space where inquiry unfolds, bridging individual experiences with communal narratives. The suffix “-graphy” is grounded in the act of recording or writing to create meaning (Irwin et al. 2019). A/r/tographers produce creative artifacts through renderings that capture the essence of participants’ living inquiries. These renderings act as theoretical spaces that invite engagement through artmaking, offering portals to knowledge and existence. The six key renderings I applied in my research—(1) contiguity; (2) living inquiry; (3) openings; (4) metaphor/metonymy; (5) reverberation; and (6) excess (Irwin et al. 2006)—providing a framework for uncovering meaning from the data collected. For the purposes of this essay, I will focus on the creative artifacts generated through the rendering of living inquiry.
Living Inquiry
Living inquiry emphasizes the interconnectedness of artistic experiences and meaningful understanding, allowing for the exploration of complex questions through emotional, intuitive, and embodied forms of knowledge (Springgay and Irwin 2004). This rendering acknowledges that meaning-making is an ongoing, reflective process that reveals evolving narratives and perspectives. Through living inquiry, a/r/tographers engage with identities and experiences in a dynamic, relational manner, continuously shaping their understanding through artistic and reflective practices (Irwin and Springgay 2008).
New Media
In my role as a/r/tographer, I collaborated with my participants to co-construct a definition of new media: “it relies on an internet connection and digital devices to bring people together based on preference, purpose, and mood. This interactive form of multimodal communication, encompassing social networking, serves purposes of enjoyment, education, and work.” Our research revealed that while new media helps migrants retain and relive memories, it can also distract from living in the present—a duality essential to understanding how digital interactions shape and reflect migrant identities (Kim 2018).
Identity
Identity is inherently complex and multifaceted; it resists singular definition. As I embarked on this study, I grew increasingly interested in the positive role of new media in self-exploration and intersubjective communication. How did interacting online influence my community’s behaviours and responses, if at all? Like a rhizome branching out underground, this a/r/tographic inquiry reveals numerous intersections and entanglements. In digital spaces, participant voices converge and intertwine, generating new expressions of identity and belonging. I align with Kim’s (2018) interpretation of identity work as an active process of constructing, altering, performing, and sustaining the self across various contexts.
Heteroglossia
Bakhtin’s concept of heteroglossia (1986) illustrates language as a polyphonic blend of diverse voices and discourses. Originating from the Greek words for “different” and “language,” heteroglossia helps elucidate how participants’ interactions form a multifaceted understanding of identity in digital realms. Through dialogues and artistic expressions, these voices merge, creating a rich, heteroglossic representation of their experiences (Irvine 2004). This concept was instrumental in analyzing how new media facilitates the expression and negotiation of multiple identities within a shared digital community.
Exploration of Data Through A/r/tographic Renderings
As a/r/tographers, we are dedicated to knowledge creation (Irwin 2010). The renderings reveal possibilities through images, designs, and words that interact to illuminate abundant meanings (Golparian 2012). I invited my co-participants to be the creators and narrators of their stories as recent immigrants to Australia since the 2012–2016 period (Commonwealth of Australia 2018). Here, I will discuss four creative artifacts derived from renderings: (1) digital narrative; (2) portraiture; (3) haiku poetry; and (4) storyboarding.
1. Digital Narrative
The digital narrative video I created about my identities highlights the interplay between personal and collective memories mediated through new media. By incorporating multimedia elements—video messages, voicemails, and social media content—I illustrated the metaphor of my mobile phone as a “trusted sidekick,” navigating the waves of my life: “You are always with me, transporting me to places, people, and treasured memories.” I juxtaposed this with video footage of waves to symbolize various life periods: calm, tumultuous, and unexpected. This metaphor encapsulates my navigation between two countries, as I dodge challenges and glide through peaceful moments. My digital narrative emphasizes how new media facilitates the documentation and reflection of experiences across geographical boundaries.
2. Portraiture
In creating Figure 2, I overlaid participants’ descriptions of their identities on an image of my own face, symbolizing the merging of Greek migrant identities. This approach reflects how personal and shared identities converge, demonstrating the complexity of selfhood within the context of migration and new media. The words were listed, then all translated into English.
|
Words used once |
Repeated sentiments |
Words used once |
|
English |
English or Greek |
Greek |
|
Academic
|
Caring
|
Αθλητισμός (sport)
|
From the list of words, we can see careers, roles, interests and character traits which connect identities beyond cultural values. Therefore, Greek migrant youth identities are not uniform/homogeneous/all-sharing, in other words, the conventional understanding of ethnicity as a cultural whole does not apply. At work here is partial overlappings across these members of the digital community of participants I had facilitated.
Many of the words used by participants resonated with my own identities, illustrating that the foundations of this research—its inspiration and essence—are inherently intertwined with those of my participants. The below portrait is an illustration of the interconnectedness and intersectionality evident amongst us.
3. Haiku Poetry
Drawing from the interview transcripts of participants (in pairs), I composed haiku poems to encapsulate the participants’ experiences of migration and identity. Each haiku, representing a season, reflects themes of transformation, adaptation, and continuity. Key meanings emerged, emphasizing how cultural elements—Greek dance, costumes, music, and language—serve as masks worn in various contexts as they navigate their new lives in Australia.
The spring haiku I crafted, inspired by Costa and Alexandros’s interviews, reflects their experiences of migration as transformative moments that reshape their identities:
Seasons of Life: Spring – The Emergence of a New Self
In my Facebook world
a new me in a new land
noticed by my friends.
For Sophia and Smaragda, I chose autumn to symbolize how migration has led them to shed certain aspects of their past while their core essence remains intact, as they embrace new opportunities in Australia:
Seasons of Life: Autumn—Spirit Unchanged
Base of tree is strong
leaves lost but branches extend
ready to embrace.
The summer haiku, inspired by Anastasia and Nikki, reflects their connections to Greek cultural events—especially song and dance—now expressed in online communities:
Summer: Where Every Day is Sunny
Greek summer freedom
memories of song and dance
now connect online.
Conversely, the winter season reflects Yiorgos and Antonis’s perspective on distance as a barrier to meaningful connection. Despite the ability to interact through new media, they feel that these exchanges often lack depth:
Winter Was Approaching
A choice made to move
at a distance from the cold
sadness still prevails.
These four haiku serve as a succinct means of capturing the emotional nuances of migration, social media, and identity. By distilling key themes through seasonal imagery, I illuminate how participants navigate their identities amidst the complexities of migration and the digital landscape. Reading the haikus together, we can see that some speak of deeper identities as there is of course the unfolding of new layers of identification.
4. Storyboarding
Storyboarding, a technique drawn from my background in children’s literature, allowed me to visually combine and contrast participant voices and experiences. Utilizing color and visual elements, each storyboard represented different participants and themes, particularly regarding the impact of physical and virtual masks on identity. This technique enabled me to locate my own voice amid those of my participants—combining, opposing, and distinguishing our narratives (Stone 1988). Each storyboard revealed facets of identity, mapping shared experiences such as migration, personal challenges, hobbies, language and cultural heritage.
The storyboard presented in this article (see Figure 3) incorporates elements of the Greek language, contrasting modern clothing with traditional dance costumes, illustrating the complexities of identity as experienced by participants.
Translation of the two Greek phrases:
Each person sees what you look like. Few understand who you are.
I missed you Greece!
Furthermore, as this research was undertaken during the global COVID-19 lockdown of 2020, the use of masks symbolize emotional distance and barriers to intimacy. Just as physical masks conceal parts of our faces, virtual masks hide aspects of our identities. Alexandros captured this notion poignantly in his statement (Figure 4):
English translation of the Greek phrase (same as above):
“Each person sees what you look like. Few understand who you are.”
Alexandros: Στη συγκεκριμένη φωτογραφία ένιωθα σαν να μην είμαι ο εαυτός μου, αλλά να έχω φορέσει μια μάσκα. Η συγκεκριμένη φωτογραφία είναι τραβηγμένη στο formal της Β’ λυκείου, όπου ήταν μια πρωτόγνωρη εμπειρία για εμένα. Η αλήθεια είναι πως εγώ ήμουν συνηθισμένος σε (πολύ) πιο απλά πράγματα και μαζώξεις, παρά να πάω σε έναν επίσημο χορό με τόσο επίσημη ενδυμασία. Στον χορό συμμετείχαν όλοι οι συμμαθητές μου από τη Β’ λυκείου στη Μελβούρνη, μαζί με τους καθηγητές μας. Αν και ήταν η πρώτη φορά που έπρεπε να φορέσω τέτοια ενδυμασία, η αλήθεια είναι πως μου άρεσε λίγο κι έχω ξαναφορέσει ανάλογη ενδυμασία από τότε. Η συγκεκριμένη φωτογραφία προβάλλεται και στο προφίλ μου στο Facebook, και δεν την έχω αλλάξει από τότε που την ανέβασα.
[In this particular photo, I felt like I wasn’t myself but rather I’m wearing a mask. This particular photo was taken at my formal which was a first time for me. The truth is I was used to a lot more simpler things and events rather than going to such a formal dance with such formal wear. At the function were all my fellow classmates from Year 11 in Melbourne and our teachers. Although it was the first time I wore such formal wear, the truth is that I liked it and I have worn such attire since then. This same photo is on my Facebook profile, and I haven’t changed it since I uploaded it.]
The metaphor of the mask transports our thinking of identity, particularly, in the digital space. Here, we can become the person we want to be in order to “fit in,” to belong. We control how we want to be seen by others in our online communities. We play a certain role; we perform for an audience.
Conclusion
This a/r/tographic inquiry has illuminated how migration and new media intersect to shape identities. The creative artifacts produced—digital narratives, storyboards, portraiture, and haiku poetry—reveal the nuanced ways in which Greek migrant youths navigate their sense of self and belonging. Reflecting on my roles as an artist, researcher, and teacher, I have gained a deeper appreciation for how participatory and arts-based methods can enhance our understanding of identity in digital spaces. My experience underscores the importance of continuous reflection and adaptation in studying migration and identity, highlighting the transformative potential of the digital space in fostering a sense of belonging.
In reflecting on my three roles as an a/r/tographer, I have learned the following:
• As an artist, I used my craft to connect with the memories and experiences of my participants, telling a collective story about migrant youth and how their use of new media expresses the multiple identities they construct and navigate.
• As a researcher, I found that merging participatory and arts-based inquiry allowed youth to engage in digital activities, generating valuable data for our collective exploration. Digital spaces proved to be effective environments for thinking, learning, and theorizing with the community.
• As a teacher, I recognized that insights from participatory research could inform art education, helping create resources and programs for new migrant youth and non-English-speaking students to foster their sense of belonging in a new country.
My identity has continued to evolve through this research, emphasizing that identity construction is a lifelong process for migrants. Creating collaborative digital spaces for research will be crucial for fellow a/r/tographers, offering migrants opportunities to reconsider their beliefs about identity (Winters et al. 2009).
Through collaborating with Greek migrant youth in this study, I have gained profound insights into the experiences that shape identity. For me, who is largely now considered “Greek Australian” mainly because of my accent, and the fact that I was born in Greece isn’t evident; being Greece-born is a huge part of my origin and identity story. Just because I am considered “more” Australian now, I do feel a distinction even if others don’t see me (or recognise the importance for me) as a Greece-born person.
If I could write a letter to my six-year-old self, I would emphasise the complexities of migrating to Australia as a child. This collaborative research verified for me that child migrants do think about (regularly, and with each trip to Greece) what their life would have been like if they had remained in Greece. This perhaps is the curse and blessing of feeling allegiance to two countries, one that I may never reconcile – yet through creative work like this – I am hopeful:
Dear Melina,
You do not know it now, but this journey to Australia will not just be
exciting; it will change your life in many ways. You will go on to use
your experience of migration to inform your life’s work—developing books
and artistic artifacts inspired by the experiences of others, helping
young people feel at one with themselves and their place in the world.
You do not need to belong everywhere; you decide where you want to
belong and how you choose to see yourself. No one else gets a say on
whether this is right or wrong.
Sincerely,
Your adult self
October 12, 2024
Melina Mallos is a lecturer in visual art education at The University of Melbourne.
Works Cited
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Kim, Sujin. “Migrant Youth Identity Work in Transnational New Mediascape.” Journal of Asian Pacific Communication 28, no. 2 (2018): 281–302.
Mallos, Melina. Storyboard: Living Inquiries, Computer-Generated. The University of Melbourne, 2022. Composition. https://doi.org/10.26188/26793424.v2 .
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Mallos, Melina. “Exploring the Identities of Greek Migrant Young Adults Through Their New Media Use: Combining Public Pedagogy, Participatory Narrative Inquiry, A/r/tography and Heteroglossia.” Journal of Public Pedagogies 5 (2020): 20–30.
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