Centre for Social Justice

Indian women face significant harassment and violence in their interactions with men on dating apps forcing them to develop safety strategies to mitigate risks. One key harm prevention strategy involves carefully screening men's profiles for "red flags." This study explores the diverse strategies employed by young Indian women to navigate safety on dating apps and highlights the sociocultural negotiations that inform their safety work. Through a focus group discussion with 13 young Indian women from a private university, the research identifies various screening practices aimed at avoiding specific types of men perceived as threats. These men are categorized into four archetypes: the "Trad" man, the weirdo, the predator, and the deceptive. By examining these categories, this study contributes to the broader understanding of women's online safety work and provides valuable insights into the attributes that are considered red flags in digital dating contexts. This research sheds light on how cultural, structural, and digital factors intersect to shape women's experiences, offering implications for the development of more inclusive and safer digital environments.

The role of copyright in promoting inclusivity within creative industries is a complex issue. Whilst copyright grants exclusive property rights to right-holders, which may seem contradictory to inclusivity, it can also facilitate inclusivity in several ways, for example, by providing the incentives to produce new cultural works, it contributes to a more diverse creative landscape. However, the cultural landscape remains far from inclusive due to expanding copyright protection, excessive restrictions, long contractual terms, and aggressive enforcement. Hence, over time, copyright has been used as a tool for exclusion, strengthening the position of certain groups and limiting opportunities for marginalised communities leading to the domination of cultural industries by certain groups, and resulting in a lack of representation and diversity in cultural products. Gatekeepers operating in the creative sectors further reinforce existing hierarchies and biases, impeding the opportunities for underrepresented communities. The rise of digital platforms, driven by the Internet, has challenged traditional gatekeepers, offering unprecedented opportunities for creators to reach global audiences. Nevertheless, the vast amount of content has led to the emergence of new gatekeepers, impacting the entire ecosystem, and potentially increasing marginalisation. This chapter explores the current digital revolution and its implications for inclusivity in the creative landscape and offers recommendations to utilise copyright for a more diverse and inclusive creative landscape.

This is an accepted article with a DOI pre-assigned that is not yet published.The Make Me Black Music Video is a collaborative project created in 2022 by students of the STEAM for Social Change program to honor Black History Month. The initial idea for the music video was inspired when one of the STEAM for Social Change facilitators first heard the song while listening to a local Minnesota radio station, Purple Current. Also available as an internet stream, the Purple Current radio station focuses on Black music that honors the legacy of the late musician Prince Rogers Nelson. As the facilitator listened to the song Make Me Black, originally performed by Minnesotan Ashley Dubose, they saw it as a medium for teaching students the importance of seeing themselves as beautiful and joyful, while instilling pride in where they come from. Before creating their music video, students engaged in an 8-week session where they learned the history of MTV, including how the channel failed to play any artists of color until Michael Jackson's Thriller became a global phenomenon in 1983. Students also analyzed the song lyrics, created storyboards using Polaroid cameras, and learned about the fundamentals of music video production. The original music was produced by Rich Lee and performed by Ashley DuBose. The students' music video was filmed on location at their school sites and the DIVAS for Social Justice makerspace. It also features the artwork of educator and artist, Adam Johnson.