This article discusses three films that focus on migrants who departed from the Senegalese Cape Verde peninsula, braving the Atlantic in dugout boats (pirogues), in order to reach the Canary Islands. The year 2006 saw a phenomenal rise in migrants arriving undocumented at this key point of entry to Europe. Directors Idrissa Guiro, Moussa Sène Absa and Moussa Touré saw it as their mission to respond to this urgent humanitarian crisis by humanizing the all-too-common reality of failed migration. They use testimonies and autofictional narratives in order to give a voice to migrants and, in so doing, to influence public and political opinion. Guiro’s documentary film Barça ou Barzakh (2007) appears to be intended for a western audience and focuses especially on the socio-economic conditions that drive migration. Absa’s docufiction Yoolé (The Sacrifice) (2010), referring to Senegalese youth, is overtly political and targets Senegalese people as its primary audience. Touré’s fictional film La Pirogue (2012) tries to appeal to a wider national and international audience by compiling testimonies of would-be migrants and staging their attempted sea crossing. Detailed analyses of certain sequences reveal how words, images and music combine to convey the directors’ political and aesthetic goals.
{"title":"Braving the Atlantic waves","authors":"Thérèse De Raedt","doi":"10.1386/cjmc_00034_1","DOIUrl":"https://doi.org/10.1386/cjmc_00034_1","url":null,"abstract":"This article discusses three films that focus on migrants who departed from the Senegalese Cape Verde peninsula, braving the Atlantic in dugout boats (pirogues), in order to reach the Canary Islands. The year 2006 saw a phenomenal rise in migrants arriving undocumented at this key point of entry to Europe. Directors Idrissa Guiro, Moussa Sène Absa and Moussa Touré saw it as their mission to respond to this urgent humanitarian crisis by humanizing the all-too-common reality of failed migration. They use testimonies and autofictional narratives in order to give a voice to migrants and, in so doing, to influence public and political opinion. Guiro’s documentary film Barça ou Barzakh (2007) appears to be intended for a western audience and focuses especially on the socio-economic conditions that drive migration. Absa’s docufiction Yoolé (The Sacrifice) (2010), referring to Senegalese youth, is overtly political and targets Senegalese people as its primary audience. Touré’s fictional film La Pirogue (2012) tries to appeal to a wider national and international audience by compiling testimonies of would-be migrants and staging their attempted sea crossing. Detailed analyses of certain sequences reveal how words, images and music combine to convey the directors’ political and aesthetic goals.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46455382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Literature and art in a time of migration","authors":"Jennifer Boum Make, J. Walsh","doi":"10.1386/cjmc_00032_2","DOIUrl":"https://doi.org/10.1386/cjmc_00032_2","url":null,"abstract":"","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46211074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A migrant camp is a ‘non-place’ where personal identity is put at risk. Music is a means of personal adaptation in camps, even if it means allowing little place for the real reasons for displacement of the very people shaping these new hybridizations of music. The present power of music in such a place is to create strong relationships, ‘shortcutting’ both narration and the longer time needed in order to create relationships. The kind of personal advantage it is for someone to be a musician is a topic surprisingly forgotten, obscured by theoretical habits of seeing music essentially as an expressive activity directed to an audience, or as being a communicative activity. Music has a performative power different from language, as a non-verbal art having a strong and direct relationship to the body. Musical interactions on the field give migrants the ability to balance their problematic situation of refugees, shaping a real present.
{"title":"Music in migrant camps as a medium creating non-narrative human relationships","authors":"J. Labia","doi":"10.1386/cjmc_00036_1","DOIUrl":"https://doi.org/10.1386/cjmc_00036_1","url":null,"abstract":"A migrant camp is a ‘non-place’ where personal identity is put at risk. Music is a means of personal adaptation in camps, even if it means allowing little place for the real reasons for displacement of the very people shaping these new hybridizations of music. The present power of music in such a place is to create strong relationships, ‘shortcutting’ both narration and the longer time needed in order to create relationships. The kind of personal advantage it is for someone to be a musician is a topic surprisingly forgotten, obscured by theoretical habits of seeing music essentially as an expressive activity directed to an audience, or as being a communicative activity. Music has a performative power different from language, as a non-verbal art having a strong and direct relationship to the body. Musical interactions on the field give migrants the ability to balance their problematic situation of refugees, shaping a real present.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41278903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This afterword reflects on the tension between art, politics and philosophy at the thematic core of this Special Issue, ‘Migrants and Refugees Between Aesthetics and Politics’. Brugère calls attention to a recent art exhibition – one that came out of her book with Guillaume Le Blanc, The End of Hospitality – at the Museum of the History of Immigration, in Paris, as a way to frame a conflict between two ideas of hospitality, or the broad ethical gesture to welcome others and the political right that more and more governments are unable to uphold as borders tighten around the globe. The afterword elaborates on the aims of the exhibition, namely, to show ‘a correspondence between art and philosophy on the question of hospitality’. Rather than a mere representation of discourse around migration, the artwork displays a praxis of the imagination, one in which cultural production by and about refugees brings spectators to recognize a shared sense of vulnerability and to question received ideas on migration. In this manner, contemporary art forms become an essential link in the ongoing struggle between ethics and politics.
{"title":"Afterword: An exhibition about hospitality. A more sensitive perception of vulnerability","authors":"Fabienne Brugère","doi":"10.1386/cjmc_00038_1","DOIUrl":"https://doi.org/10.1386/cjmc_00038_1","url":null,"abstract":"This afterword reflects on the tension between art, politics and philosophy at the thematic core of this Special Issue, ‘Migrants and Refugees Between Aesthetics and Politics’. Brugère calls attention to a recent art exhibition – one that came out of her book with Guillaume Le Blanc, The End of Hospitality – at the Museum of the History of Immigration, in Paris, as a way to frame a conflict between two ideas of hospitality, or the broad ethical gesture to welcome others and the political right that more and more governments are unable to uphold as borders tighten around the globe. The afterword elaborates on the aims of the exhibition, namely, to show ‘a correspondence between art and philosophy on the question of hospitality’. Rather than a mere representation of discourse around migration, the artwork displays a praxis of the imagination, one in which cultural production by and about refugees brings spectators to recognize a shared sense of vulnerability and to question received ideas on migration. In this manner, contemporary art forms become an essential link in the ongoing struggle between ethics and politics.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42103071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La Mer à l’envers, Marie Darrieussecq (2019)","authors":"Annabel L. Kim","doi":"10.1386/cjmc_00040_5","DOIUrl":"https://doi.org/10.1386/cjmc_00040_5","url":null,"abstract":"Review of: La Mer à l’envers, Marie Darrieussecq (2019)\u0000Paris: POL Éditeur, 250 pp.,\u0000ISBN 978-2-81804-806-1, p/bk, €18.50","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43407980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the marvellous realism of two Haitian writers, past and present. Building on earlier schools of literary and socio-ethnographic thought, including Haitian indigenism, French surrealism and the Cuban writer Alejo Carpentier’s ‘marvellous real’, Jacques Stephen Alexis theorized marvellous realism at the first Congress of Black Writers and Artists in 1956. Some 60 years later, James Noël published Belle merveille, a novel that depicts a refugee who survives the earthquake of 2010 and embarks on a journey to understand his place among international aid groups that proliferate in the aftermath. The article suggests that Noël’s novel is both a tribute to and a creative rethinking of Alexis’s ideological commitment to the intersection of literary and social realism. It argues that by filtering events through the imaginary of the refugee, Noël interrogates the very categories of the marvellous and the real undergirding Alexis’s aesthetic and political project. After providing theoretical and historical context for Noël’s work, the article carries out close readings of Belle merveille to illuminate the ways in which its redeployment of marvellous realism delivers a critique of humanitarian aid.
{"title":"The marvellous life of a Haitian refugee: James Noël’s Belle merveille","authors":"J. Walsh","doi":"10.1386/cjmc_00037_1","DOIUrl":"https://doi.org/10.1386/cjmc_00037_1","url":null,"abstract":"This article examines the marvellous realism of two Haitian writers, past and present. Building on earlier schools of literary and socio-ethnographic thought, including Haitian indigenism, French surrealism and the Cuban writer Alejo Carpentier’s ‘marvellous real’, Jacques Stephen Alexis theorized marvellous realism at the first Congress of Black Writers and Artists in 1956. Some 60 years later, James Noël published Belle merveille, a novel that depicts a refugee who survives the earthquake of 2010 and embarks on a journey to understand his place among international aid groups that proliferate in the aftermath. The article suggests that Noël’s novel is both a tribute to and a creative rethinking of Alexis’s ideological commitment to the intersection of literary and social realism. It argues that by filtering events through the imaginary of the refugee, Noël interrogates the very categories of the marvellous and the real undergirding Alexis’s aesthetic and political project. After providing theoretical and historical context for Noël’s work, the article carries out close readings of Belle merveille to illuminate the ways in which its redeployment of marvellous realism delivers a critique of humanitarian aid.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43941258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines how contemporary authors writing about migration turn to fantastic, spectral and mythical elements when writing about passages of transit. I turn to narratives written by Yuri Herrera and Mohsin Hamid and explore how these authors use mythology and magic to resist telling a ‘true’ story, creating what I call a stowaway aesthetic that hides away other stories in its narrative. By stowing away information and misrepresentation through magic, these authors create impossible stories that attend to archival silences. They enact a resistance against the ways in which the state extracts and polices narrative in the process of asylum-seeking. I argue that in the moments in which authors eschew realism, they direct the reader’s attention to the unknowable aspects of migrant lives that constitute an absent presence in the process of migration.
{"title":"Stowaway stories and mythological realism in Yuri Herrera’s Signs Preceding the End of the World and Mohsin Hamid’s Exit West","authors":"E. Fielder","doi":"10.1386/cjmc_00035_1","DOIUrl":"https://doi.org/10.1386/cjmc_00035_1","url":null,"abstract":"This article examines how contemporary authors writing about migration turn to fantastic, spectral and mythical elements when writing about passages of transit. I turn to narratives written by Yuri Herrera and Mohsin Hamid and explore how these authors use mythology and magic to resist telling a ‘true’ story, creating what I call a stowaway aesthetic that hides away other stories in its narrative. By stowing away information and misrepresentation through magic, these authors create impossible stories that attend to archival silences. They enact a resistance against the ways in which the state extracts and polices narrative in the process of asylum-seeking. I argue that in the moments in which authors eschew realism, they direct the reader’s attention to the unknowable aspects of migrant lives that constitute an absent presence in the process of migration.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46168867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Following the increase in migratory flows since 2015, in the Euro-Mediterranean region, bandes dessinées are mobilized to stir up compassion and prompt engagement with marginalized biographies. It begins with the premise that aesthetic approaches of bandes dessinées reveal a testing zone to juxtapose modalities of representation and expression of refugees and ways to interact with otherness. To interrogate the relationship between aesthetic devices and the formation of solidarity, this article considers the first volume of Fabien Toulmé’s trilogy, L’Odyssée d’Hakim: De la Syrie à la Turquie (2018). How does Toulmé’s use of aesthetic devices make space for the other, in acts of dialogue and exchange? What are the ethical implications for the exercise of bearing witness to migrant and refugee narratives, especially in the transcription and translation in words and drawing of their biographies? This article argues that visual narratives can provide for the creation of a hospitable testimonial space for migrants and refugees’ voices. The article outlines the aesthetic methodology deployed in graphic storytelling, reflects on what it means for the perception of refugees, and questions the use and ethical appeal of visual narratives as a form to curate hospitality.
{"title":"Telling refugees’ stories: Testimony and hospitality in graphic novel L’Odyssée d’Hakim by Fabien Toulmé","authors":"Jennifer Boum Make","doi":"10.1386/cjmc_00033_1","DOIUrl":"https://doi.org/10.1386/cjmc_00033_1","url":null,"abstract":"Following the increase in migratory flows since 2015, in the Euro-Mediterranean region, bandes dessinées are mobilized to stir up compassion and prompt engagement with marginalized biographies. It begins with the premise that aesthetic approaches of bandes dessinées reveal a testing zone to juxtapose modalities of representation and expression of refugees and ways to interact with otherness. To interrogate the relationship between aesthetic devices and the formation of solidarity, this article considers the first volume of Fabien Toulmé’s trilogy, L’Odyssée d’Hakim: De la Syrie à la Turquie (2018). How does Toulmé’s use of aesthetic devices make space for the other, in acts of dialogue and exchange? What are the ethical implications for the exercise of bearing witness to migrant and refugee narratives, especially in the transcription and translation in words and drawing of their biographies? This article argues that visual narratives can provide for the creation of a hospitable testimonial space for migrants and refugees’ voices. The article outlines the aesthetic methodology deployed in graphic storytelling, reflects on what it means for the perception of refugees, and questions the use and ethical appeal of visual narratives as a form to curate hospitality.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46931655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When the Covid-19 pandemic hit the United States and Mexico in March 2020, both the pandemic itself and the measures taken to contain its spread produced potentially devastating effects on the lives of migrants in Tijuana Qualitative data from interviews with eight Honduran migrants sheltering in place in Tijuana reveal the fragility of the city’s network of migrant service providers in the context of a border closed to non-essential movement, and ensuing repercussions for the migrants that they serve However, beyond questions of access to basic necessities such as food, shelter and health services;protection from criminal violence;or complications to legal processes and visa status, the data provided by these eight migrants offer insights regarding migrant autonomy: aside from the undeniable frustration evoked by the pandemic and the measures taken to control it, migrants also exhibit a persistence and inventiveness seen in their willingness to wait, their resolve to maintain their projects of migration, a shift in their attention from the future to the present, their general resourcefulness in problem solving, and a hidden agenda of humour that functions as a subtle form of resistance Together our observations show that in spite of appearing to be trapped, with hopes thwarted, migrants continue to be social agents, and continue to represent a wilful social force in Tijuana
{"title":"Migrant autonomy and wilfulness amidst the onslaught of the Covid-19 pandemic at the Tijuana border","authors":"R. Irwin, J. D. Del Monte","doi":"10.1386/CJMC_00022_1","DOIUrl":"https://doi.org/10.1386/CJMC_00022_1","url":null,"abstract":"When the Covid-19 pandemic hit the United States and Mexico in March 2020, both the pandemic itself and the measures taken to contain its spread produced potentially devastating effects on the lives of migrants in Tijuana Qualitative data from interviews with eight Honduran migrants sheltering in place in Tijuana reveal the fragility of the city’s network of migrant service providers in the context of a border closed to non-essential movement, and ensuing repercussions for the migrants that they serve However, beyond questions of access to basic necessities such as food, shelter and health services;protection from criminal violence;or complications to legal processes and visa status, the data provided by these eight migrants offer insights regarding migrant autonomy: aside from the undeniable frustration evoked by the pandemic and the measures taken to control it, migrants also exhibit a persistence and inventiveness seen in their willingness to wait, their resolve to maintain their projects of migration, a shift in their attention from the future to the present, their general resourcefulness in problem solving, and a hidden agenda of humour that functions as a subtle form of resistance Together our observations show that in spite of appearing to be trapped, with hopes thwarted, migrants continue to be social agents, and continue to represent a wilful social force in Tijuana","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73598336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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