Glorified Karaoke All Over The World: How to set your Country apart...or make it a part of the Western World.

If indeed the faces of migration are dispersed, and individuals are seeking to find their own identities…can popular culture act as a means of identity creation or promotion? Lets consider the longevity of American Idol (based off Britain’s Pop Idol) and its infiltration (or integration?) into countries around the world. If migrants desire a real national identity specific to the country they left behind…can pop cultural artifacts fill this void if geared toward their homeland in an Americanized way? How can these specific forms of media effect us?

Hall says that we should think of identity as a “….’production’ which is never complete, always in process, and always constituted within, not outside, representation” (Hall 392) Can, then, “oneness” be considered through the eyes of nationally geared format television? If Hall believes that we ought to consider identity as not a rediscovery but a PRODUCTION then surely the 42 nations currently using the Idol format are onto something in terms of identity creation, right? What could be more of a production than lights, camera, action and karaoke? One could easily argue that Hall’s acknowledgment of “critical points of deep and significant difference, which constitute ‘what we really are’…” (Hall 394) can be seen through the different Idol formats. In many of the formats, for example, contestants sing songs culturally specific to their nation (though not always as seen here , here , and here …among others). The Idol format allows anyone to become a star (pending some sort of talent and attractive quality) by putting “average joes” on a stage representing the ideals, practices, and cultural artifacts of the nation.

The format can certainly give different cultures a “chance to speak” as Hall posits, notably seen in the 2003 “World Idol” whereby the winners of South Africa, United States, Belgium, Austrailia, Germany, Norway, Arab World, Netherlands, United Kingdom, Canada and Poland all competed on a global stage for recognition. Kurt Nilsen, of Norway, emerged as the victor which must have certainly created a sense of national pride for Norway. However, the song choices for “World Idol” were U2, Aretha Franklin, Nirvana, Aerosmith, The Doors, Louis Armstrong, “Jesus Christ Superstar,” and Elton John. Only ONE song from the entire program was an original song, “Ensani Ma Bensak” from the Arab State contestant. Interestingly, one judge commented that she was very brave for singing in a different language, to which Simon Cowell says, "Will you Win? No." Why, on a Global Stage with the entire world watching would the vast majority of the contestants choose primarily Americanized song choices? Would this not be a perfect opportunity to assert a strong individual voice and significant difference?

If you Google Image search ANY of the Idol formats around the world, you will notice quite readily that the logo is virtually unchanged among them all. There remains the same oval shape, with the same recognizable neon script thereby establishing the format as a brand moreso than a competition. Is this brand being consumed by non-western countries as a means of strengthening national identity by placing the talent of their citizens in “production” or does the Idol format break down cultural differences by the overwhelming use of American songs found within the programming?