Media, Stereotypes and Indigenous Identity in Contemporary Australia.

Media has never been a neutral storyteller. It selects, frames, and occasionally distorts, often reflecting the values of those who hold the microphone. It curates stories in ways that reflect particular values, assumptions, and power structures. In Australia, representations of Indigenous people have been shaped throughout history within a colonial framework that often favours non-Indigenous perspectives, resulting in narratives that are reductive, stereotypical, and, at times, quietly prejudiced. Indigenous identities and culture are diverse, vibrant, and deeply connected to Country, but they have frequently been minimised into a limited set of familiar images, as though the complexity of Indigenous culture were an inconvenience best edited out. However, this is not the whole story. In recent years, Indigenous creators have increasingly taken control of their own representation, producing media that challenges dominant narratives and offer more authentic, self-determined perspectives. Media texts such as Paint It Blak, created by Emma Garlett, and the music of Jessica Mauboy actively disrupt essentialist portrayals of Indigenous identity while contributing to a broader cultural shift in how Indigenous peoples are represented and understood. While these texts differ in tone, “Paint it Blak” being explicitly political, and Jessica Mauboy, who is embedded within mainstream pop, they share a common purpose to educate, challenge, and ultimately reshape public understanding surrounding Indigenous culture. Importantly, both forms of media play a significant role in influencing young audiences in Australia, demonstrating that Indigenous identity is not only present but powerful, contemporary, and deserving of complex representation.

Over time, mainstream media in Australia has developed a somewhat predictable approach to representing Indigenous people, which might be described, generously, as selective. More critically, it often relies on essentialism, reducing complex and diverse communities into a handful of easily recognisable traits. These portrayals tend to fall into familiar categories and narratives of disadvantage, social dysfunction, or cultural othering. While such stories may reflect certain realities, their repetition creates the impression that these are the only stories worth telling.

This process inevitably increases the likelihood of stereotyping, that functions ”as a process that works through the discursive representation of collective identities, which can be analysed as constituted by the effects of power, embedded in particular social relations and historical contexts” (N. Georgieva-Stankova, 2023). Over time, these stereotypes can solidify into prejudice, shaping public attitudes and perspectives in ways that are both subtle and persistent. After all, the media does not merely reflect the world; it also plays a considerable role in constructing it. When audiences are repeatedly exposed to limited representations, those representations begin to feel authoritative and less like a perspective, more a fact.

These patterns cannot be separated from the wider context of colonisation. Historically, Indigenous voices were excluded from the mainstream media, resulting in narratives that were constructed about Indigenous peoples rather than by them. The repetition of this exclusion continues to influence contemporary media to this day, where Indigenous perspectives are still underrepresented or filtered through non-Indigenous ideologies. In this sense, mainstream media has often functioned as a storyteller with a limited set of sources, being confident in its narrative, but not often well-informed.

This is particularly significant for younger audiences. Media plays a central role in shaping identity and understanding, and exposure to stereotypical representations of Indigenous culture can reinforce biased perspectives from an early age. If young people are repeatedly presented with limited images of Indigenous identity, it becomes increasingly difficult to imagine alternatives and alter their perspectives. This is where the importance of Indigenous-led media becomes clear as a necessary corrective measure.

In contrast to mainstream media’s often second-hand storytelling, “Paint It Blak” Podcast by Emma Garlett offers something refreshingly direct; Indigenous perspectives and stories presented on their own terms. The platform positions itself as a space for reevaluating contemporary issues through an Indigenous perspective, emphasising lived experience, cultural knowledge, and historical context. In many ways, it is an exercise in reclaiming the narrative, taking conversations that have long been dominated by external voices and reinterpreting them within Indigenous frameworks and ideologies.

What makes “Paint It Blak” particularly significant is its commitment of honesty to its consumers. Rather than smoothing over uncomfortable aspects of Australia’s history, the platform discusses them openly, highlighting the continuing impacts of colonisation and systemic inequality within Australian society. This approach aligns with broader discussions around reconciliation, which increasingly highlight the importance of acknowledging historical truths and events rather than avoiding them. While this may occasionally make for less comfortable viewing, it also makes for more accurate media, offering a change that feels both necessary and overdue.

The structure of “Paint It Blak” emphasises its role as a refutation of Indigenous representation within mainstream media. Through interviews, discussions, and open commentary, the platform addresses a range of issues, from policy debates to cultural identity discussions. Crucially, it positions Indigenous people as active and primary contributors to these conversations. This shift from being spoken about to speaking for oneself represents a significant shift from traditional media representations. It is a subtle change, but one with considerable implications.

Garlett’s background as a lawyer and advocate further strengthens the platform’s authority, as her work extends beyond media into broader areas of Indigenous engagement, positioning “Paint It Blak” as part of a larger effort to influence public discourse and promote social change. For Indigenous youth, this representation of leadership is particularly meaningful, challenging self-othering and providing a model of agency, demonstrating that Indigenous voices can occupy spaces of expertise, education and influence. For non-Indigenous audiences, the platform offers an opportunity to engage with perspectives that may not be present in mainstream media and challenge the ideologies that have been previously conveyed, as according to Fforde et al., 2013 “for most non-Indigenous Australians, the dominance of Eurocentric representations about Aboriginal and Torres Strait Islander people has been their sole point of reference and understanding.”

Of course, “Paint It Blak” is not a neutral platform, and existing in a media landscape where neutrality is often claimed but rarely achieved, this transparency is arguably one of its strengths. By acknowledging its perspective, the platform encourages audiences to recognise that all media is shaped by viewpoint and some level of bias; some are simply more honest about it than others.

“Paint It Blak” represents a direct challenge to mainstream narratives, and the music of Jessica Mauboy operates in a different, though equally effective, way. As one of Australia’s most popular Indigenous artists, Mauboy brings her Aboriginal identity into mainstream pop culture, embedding it within a space that is both largelyaccessible and highly visible. Her work in music and activism demonstrates that representation does not always need to be overtly political to have an impact, and that sometimes its significance lies in its normality. In an interview with The Big Issue in 2021, Mauboy states, “I was going to be a teacher. I was going to study a lot of the Indigenous cultures and languages. But it turned out very differently. I ended up picking up music, and that was my pathway. And I think that’s why when I’m not doing music, I’m doing community work: going to remote communities and spending time with the language groups and different clans around Australia.”, sharing her passion for the Indigenous culture through both music and community channels.

Due to the sensitivity surrounding contemporary media, her songs such as “We Got Love” and “The Day Before I Met You” may not explicitly address issues of colonisation or inequality, but they are written with themes of community, belonging, and connection within. These elements are purposeful, reflecting values that are fundamental to many Indigenous cultures. By incorporating these themes into her mainstream music, Mauboy presents Indigenous identity as contemporary, dynamic, and integrated into everyday life.

The visual aspects of her work further reinforce this representation. Music videos that feature her family, community, and connection to her home in Darwin highlight the importance of relationships and place, offering audiences a perspective that contrasts with stereotypical portrayals. Instead of presenting Indigenous identity as vague or unfamiliar, her work utilises a subtle, effective approach that makes it visible and relatable. The outcome of this is beneficial, as “social media provides opportunities for Indigenous people to feel a sense of power and control over their own identities and communities” (Rice et al., 2016). 

However, operating within mainstream media comes with its own set of constraints. The commercial nature of the music industry often favours open appeal over explicit political notions, which may limit the extent to which artists can engage with more controversial issues. Yet, this accessibility is also what allows Mauboy to reach a large audience, including those who may not actively seek out Indigenous perspectives and education. In this sense, her work complements more overtly political platforms like “Paint It Blak”, demonstrating that representation can function across different modes and reach different audiences.

For younger audiences, Mauboy’s visibility is particularly significant, as seeing an Indigenous artist succeed in mainstream spaces challenges stereotypes and expands perceptions of what Indigenous identity can look like. It provides a sense of possibility, reinforcing the idea that cultural identity is not a limitation but an asset. At the same time, it exposes non-Indigenous audiences to representations that differ from those that are traditionally presented in mainstream media, contributing to a gradual shift in understanding.

Media representations of Indigenous people in Australia are shaped by a complex relationship between history, culture, and power. While mainstream media has often relied on essentialism, stereotyping, and prejudice, Indigenous-led platforms such as “Paint It Blak” by Emma Garlett and the music of Jessica Mauboy offer alternative narratives that challenge these limitations. Through both direct criticism and subtle cultural expression, these media representations both expand the possibilities of representation, presenting Indigenous identity and culture as multifaceted, contemporary, and deeply connected to culture, country and community.

Importantly, these representations play a vital role in shaping the perspectives of younger audiences. For Indigenous youth, they provide models of identity that are empowering and authentic, whereas for non-Indigenous youth, they offer opportunities for understanding and engagement. In a media landscape that has not always excelled at nuance, the emergence of these voices represents a significant shift, moving beyond simplistic portrayals towards a more inclusive and accurate understanding of Indigenous identity. Where historical media representations sought to define and limit, contemporary Indigenous media is engaged in the task of expanding the narrative and, in doing so, quietly rewriting it.

Bibliography:

Arendt, Florian. 2023. “Media Stereotypes, Prejudice, and Preference-Based Reinforcement: Toward the Dynamic of Self-Reinforcing Effects by Integrating Audience Selectivity.” Journal of Communication 73 (5): 463–75. https://doi.org/10.1093/joc/jqad019.

Curtin University. 2025. “Reinforcing a Legacy of Resilience and Determination.” Curtin.edu.au. July 8, 2025. https://www.curtin.edu.au/friends/our-community/reinforcing-a-legacy-of-resilience-and-determination/.

Dolby, Leanne. 2025. “Emma Garlett a National Indigenous Times Community Leadership Awards Finalist.” Nit.com.au. National Indigenous Times. June 23, 2025. https://nit.com.au/23-06-2025/18680/emma-garlett.

Fforde, Cressida, Lawrence Bamblett, Ray Lovett, Scott Gorringe, and Bill Fogarty. 2013. “Discourse, Deficit and Identity: Aboriginality, the Race Paradigm and the Language of Representation in Contemporary Australia.” Media International Australia 149 (1): 162–73. https://doi.org/10.1177/1329878x1314900117.

Fulton, Melissa. 2021. “Letter to My Younger Self: Jessica Mauboy.” Thebigissue.org.au. The Big Issue. July 5, 2021. https://thebigissue.org.au/article/from-that-moment-a-conversation-with-jessica-mauboy/.

Georgieva-Stankova, N. 2023. “Constructing Otherness: Socially Embedded Mechanisms of Creating and Sustaining Stereotypes and Prejudices in the Media. Theoretical and Methodological Implications.” Trakia Journal of Sciences 21 (1): 254–61. https://doi.org/10.15547/tjs.2023.s.01.043.

Iseke-Barnes, Judy M. 2010. “Aboriginal and Indigenous People’s Resistance, the Internet, and Education.” Race Ethnicity and Education 5 (2): 171–98. https://doi.org/10.1080/13613320220139617.

Lake, Timothy. 2023. “Jessica Mauboy Biography, Songs, & Facts.” Www.britannica.com. June 14, 2023. https://www.britannica.com/biography/Jessica-Mauboy.

Reconciliation Australia. 2024. “Acknowledgement of Country and Welcome to Country.” Reconciliation.org.au. 2024. https://www.reconciliation.org.au/reconciliation/acknowledgement-of-country-and-welcome-to-country/#AcknowledgementofCountry.

Rice, Emma S., Emma Haynes, Paul Royce, and Sandra C. Thompson. 2016. “Social Media and Digital Technology Use among Indigenous Young People in Australia: A Literature Review.” International Journal for Equity in Health 15 (1). https://doi.org/10.1186/s12939-016-0366-0.

Spotify. 2008. “Jessica Mauboy - Profile.” Spotify.com. 2008. https://open.spotify.com/artist/6rHWAH6F4mr2AViSxMV673.

Youtube. 2022. “Paint It Blak - Channel.” Youtube.com. 2022. https://www.youtube.com/channel/UCgxVOF5PV2ot7kAgnCq-qmg.