Zalipour, ArezouNicholson, James2023-04-122023-04-122/12/2023Journal of Media Practice and Education, ISSN: 2574-1136 (Print); 2574-1144 (Online), Informa UK Limited, ahead-of-print(ahead-of-print), 1-18. doi: 10.1080/25741136.2023.21807112574-11362574-1144https://hdl.handle.net/10292/16075In this article, we analyse and reflect on the complex interweaving of documentary strategies and the five levels of performance that we designed in a small-scale community collaborative documentary project entitled Shama. Shama Ethnic Women’s Trust is one of the first NGOs in New Zealand established and run by ethnic migrant women for ethnic women and their families. Currently, there is an urgent need to deal with screen representational problems in New Zealand. Applying a filmmaking-as-research methodology, the project’s aim was to respond to the scarcity of screen representation of ethnic NGOs. The project’s purpose was not only to convey information about Shama’s activities and services but also to convey a sense of the internal culture of the NGO. The portrayal of minority groups in community production often leads to an outsider-looking-down approach. We felt that providing an insider view and moments of emotional connection was more important than simply conveying the facts efficiently about the organisation. This goal led us to avoid an expository style, characterised by a single authoritative voice, and opt for a mix of performative and observational strategies, in which multiple voices and modes of address are featured. By shifting modes of address, we explored the ways in which a short, no-budget documentary could represent the complexity of this NGO and the lived experiences of ethnic migrant women.http://creativecommons.org/licenses/by-nc-nd/4.0/47 Language, Communication and Culture4702 Cultural Studies44 Human SocietyJournal ArticleOpenAccess10.1080/25741136.2023.2180711