The theme of migration is not new for Ecuadorians. In the visual arts and literature, artists have traditionally found the theme of migration to be useful when interpreting the personal and existential experiences of individuals living outside of Ecuador. Initially, the topic was not understood as a collective phenomenon capable of putting at risk an elusive national identity. Over time, however, the personal drama became a collective tragedy, which defines and conditions in no small measure the cultural, psychological and geographic boundaries of a pluri-national Ecuador struggling to re-signify the new cartographies that place and displace a nation in constant migratory movement, both internally and externally. This complex social, migratory and cartographic process of becoming is found in works of literature and the visual arts, which often oscillate between testimonial representations and representational testimonies. My analysis focuses on five works and highlights some of the identity transformations that Ecuador, a country located at the centre of the world, continues experiencing while seemingly adrift, yet fully engaged in re-inventing its multiple moving borders.
{"title":"Ecuador and the ebb and flow of migration: A retrospective reading1","authors":"Michael H. Handelsman","doi":"10.1386/cjmc_00018_1","DOIUrl":"https://doi.org/10.1386/cjmc_00018_1","url":null,"abstract":"The theme of migration is not new for Ecuadorians. In the visual arts and literature, artists have traditionally found the theme of migration to be useful when interpreting the personal and existential experiences of individuals living outside of Ecuador. Initially, the topic was not\u0000 understood as a collective phenomenon capable of putting at risk an elusive national identity. Over time, however, the personal drama became a collective tragedy, which defines and conditions in no small measure the cultural, psychological and geographic boundaries of a pluri-national Ecuador\u0000 struggling to re-signify the new cartographies that place and displace a nation in constant migratory movement, both internally and externally. This complex social, migratory and cartographic process of becoming is found in works of literature and the visual arts, which often oscillate between\u0000 testimonial representations and representational testimonies. My analysis focuses on five works and highlights some of the identity transformations that Ecuador, a country located at the centre of the world, continues experiencing while seemingly adrift, yet fully engaged in re-inventing its\u0000 multiple moving borders.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45318574","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 explores how Rwandan diaspora living in North America and Europe use social media platforms to establish networked connections and express a range of identity narratives related to their forced displacement and resettlement experiences. Facebook posts (and cross-posted tweets), including status updates and linked artefacts, posted by members of the Rwandan diaspora were analysed using thematic analysis, borrowing concepts from virtual ethnography. Results reveal that Rwandan diaspora active on social media used Facebook and Twitter extensively to connect with homeland compatriots and to express a range of identity narratives with strong historic and cultural connections. Trauma related to their displacement and resettlement experiences was prevalent throughout the data and was strongly integrated into diaspora members’ collective identity. Contributions to migration policy and service providers working with trauma-exposed migrants are explored.
{"title":"Rwandan diaspora online: Social connections and identity narratives","authors":"Michelle E. Martin","doi":"10.1386/cjmc_00004_1","DOIUrl":"https://doi.org/10.1386/cjmc_00004_1","url":null,"abstract":"This article explores how Rwandan diaspora living in North America and Europe use social media platforms to establish networked connections and express a range of identity narratives related to their forced displacement and resettlement experiences. Facebook posts (and cross-posted\u0000 tweets), including status updates and linked artefacts, posted by members of the Rwandan diaspora were analysed using thematic analysis, borrowing concepts from virtual ethnography. Results reveal that Rwandan diaspora active on social media used Facebook and Twitter extensively to connect\u0000 with homeland compatriots and to express a range of identity narratives with strong historic and cultural connections. Trauma related to their displacement and resettlement experiences was prevalent throughout the data and was strongly integrated into diaspora members’ collective identity.\u0000 Contributions to migration policy and service providers working with trauma-exposed migrants are explored.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44001395","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}
Postmigrant conditions do not translate into easy access for migrants who arrive outside of the parameters of orderly migration. While European nations acknowledge the principle of asylum, massive efforts are made to prevent refugees from reaching the territory of the state where they could receive its protection. Even as their physical proximity to Europe increases, their legal proximity typically decreases. The novel Gehen, ging, gegangen (Go, Went, Gone) by German writer Jenny Erpenbeck depicts the experiences of non-privileged migrants whose tales of exile and displacement indicate that most of them will not be recognized as refugees. The play Die Schutzbefohlenen (Charges [The Supplicants]) by Austrian writer Elfriede Jelinek contrasts the treatment of asylum seekers with real-life cases of two ‘VIP foreigners’ who were granted naturalization by the Austrian government. Both texts convey a blunt message: The narratives of those who do (and those who do not) arrive in Europe’s ‘postmigrant societies’ without legal status confirm that the gap between privileged and non-privileged migration is almost impossible to bridge.
{"title":"(Im)Mobilities in a postmigrant age: Narratives of forced migration in Jenny Erpenbeck’s Go, Went, Gone and Elfriede Jelinek’s Charges (The Supplicants)","authors":"Sabine Zimmermann","doi":"10.1386/cjmc_00009_1","DOIUrl":"https://doi.org/10.1386/cjmc_00009_1","url":null,"abstract":"Postmigrant conditions do not translate into easy access for migrants who arrive outside of the parameters of orderly migration. While European nations acknowledge the principle of asylum, massive efforts are made to prevent refugees from reaching the territory of the state where they\u0000 could receive its protection. Even as their physical proximity to Europe increases, their legal proximity typically decreases. The novel Gehen, ging, gegangen (Go, Went, Gone) by German writer Jenny Erpenbeck depicts the experiences of non-privileged migrants whose tales of exile\u0000 and displacement indicate that most of them will not be recognized as refugees. The play Die Schutzbefohlenen (Charges [The Supplicants]) by Austrian writer Elfriede Jelinek contrasts the treatment of asylum seekers with real-life cases of two ‘VIP foreigners’ who\u0000 were granted naturalization by the Austrian government. Both texts convey a blunt message: The narratives of those who do (and those who do not) arrive in Europe’s ‘postmigrant societies’ without legal status confirm that the gap between privileged and non-privileged migration\u0000 is almost impossible to bridge.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42135254","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}
Despite the statist imagination of the ‘nomad’ pitted against an overtly instrumental understanding of space, ‘modern’ techniques of statist demographic control, and increasing surveillance on mobility, the trope of nomadology in the context of India often characterizes ‘the return of the repressed’. The Buddhists in the Ancient, the Bhakti‐Sufi practitioners in the Medieval, and certain anti-imperialist ideologues in the Modern have perpetually latched on to the trope to articulate political dissidence. Thinking in these terms, the invocation of nomadology in Critical Theory ‐ by Deleuze and Guattari, Rosi Braidotti, Michel de Certeau and Edward Said, among others ‐ alluding to non-conformity, non-linearity and political subversion, has an intellectual history that is often purportedly grounded onto ‘India’. My article will explore how the dichotomy between the ‘good’ wanderer and the ‘bad’ wanderer in the ‘Indian tradition’ was premised upon a highly contingent process of religio-political partisanship and struggles over territorialization. Using the nineteenth-century Orientalist discourse on the Romani community and the Beats’ obsession with ‘India’ (cf. the Beat Movement) as case studies, this article, from the postcolonial vantage point, demonstrates how the impulse to assume nomadology as characteristic of ‘India(n-ness)’ ‐ to have perpetually existed in the ‘Indian’ cultural repertoire ‐ is symbolic of an ahistorical and essentialist notion of ‘India’.
{"title":"Of nomadology: A requiem for India(n-ness)1","authors":"Avishek Ray","doi":"10.1386/cjmc_00007_1","DOIUrl":"https://doi.org/10.1386/cjmc_00007_1","url":null,"abstract":"Despite the statist imagination of the ‘nomad’ pitted against an overtly instrumental understanding of space, ‘modern’ techniques of statist demographic control, and increasing surveillance on mobility, the trope of nomadology in the context of India often characterizes\u0000 ‘the return of the repressed’. The Buddhists in the Ancient, the Bhakti‐Sufi practitioners in the Medieval, and certain anti-imperialist ideologues in the Modern have perpetually latched on to the trope to articulate political dissidence. Thinking in these terms, the invocation\u0000 of nomadology in Critical Theory ‐ by Deleuze and Guattari, Rosi Braidotti, Michel de Certeau and Edward Said, among others ‐ alluding to non-conformity, non-linearity and political subversion, has an intellectual history that is often purportedly grounded onto ‘India’.\u0000 My article will explore how the dichotomy between the ‘good’ wanderer and the ‘bad’ wanderer in the ‘Indian tradition’ was premised upon a highly contingent process of religio-political partisanship and struggles over territorialization. Using the nineteenth-century\u0000 Orientalist discourse on the Romani community and the Beats’ obsession with ‘India’ (cf. the Beat Movement) as case studies, this article, from the postcolonial vantage point, demonstrates how the impulse to assume nomadology as characteristic of ‘India(n-ness)’\u0000 ‐ to have perpetually existed in the ‘Indian’ cultural repertoire ‐ is symbolic of an ahistorical and essentialist notion of ‘India’.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46916025","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 looks at On Reflection, a video installation by the London-based artist Ori Gersht, in light of the artist’s transcultural or ‘travelling’ position between the United Kingdom, where Gersht has been residing and practising art since 1989, and his native country of Israel. Through close analysis of a single video installation by a British/Israeli ‘radicant’, to adopt Nicolas Bourriaud’s suggestive nomenclature, the article asks how the global migratory condition is affecting contemporary art and aesthetic experience. Focusing on sensory and motor aspects of viewers’ engagement with the installation, the article proposes an approach to the political through the prism of aisthêsis, or sensory engagement. It further suggests that On Reflection evinces a cautious effort to augment observers’ sense of bodily presence, which, however, does not outlast the brief duration of the gallery visit. The multidisciplinary approach offered here combines close attention to aesthetics, in Jill Bennett’s sense of ‘what art does’, with insights from phenomenological film theory and from cognitive neuroscience. It is argued that this is a productive critical gateway through which to investigate the migratory turn in global art.
{"title":"Balancing on shifting ground: Migratory aesthetics and recuperation of presence in Ori Gersht’s video installation On Reflection","authors":"Hava Aldouby","doi":"10.1386/cjmc_00001_1","DOIUrl":"https://doi.org/10.1386/cjmc_00001_1","url":null,"abstract":"This article looks at On Reflection, a video installation by the London-based artist Ori Gersht, in light of the artist’s transcultural or ‘travelling’ position between the United Kingdom, where Gersht has been residing and practising art since 1989, and his\u0000 native country of Israel. Through close analysis of a single video installation by a British/Israeli ‘radicant’, to adopt Nicolas Bourriaud’s suggestive nomenclature, the article asks how the global migratory condition is affecting contemporary art and aesthetic experience.\u0000 Focusing on sensory and motor aspects of viewers’ engagement with the installation, the article proposes an approach to the political through the prism of aisthêsis, or sensory engagement. It further suggests that On Reflection evinces a cautious effort to augment\u0000 observers’ sense of bodily presence, which, however, does not outlast the brief duration of the gallery visit. The multidisciplinary approach offered here combines close attention to aesthetics, in Jill Bennett’s sense of ‘what art does’, with insights from phenomenological\u0000 film theory and from cognitive neuroscience. It is argued that this is a productive critical gateway through which to investigate the migratory turn in global art.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44168359","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}
Across European nations, the binary distinction between ‘us’ and ‘them’ has been reinforced by right-wing populists seeking to frame global mass migration waves as the backdrop against which increased social fragmentation can be explained. While persisting resentments and continuing ethnicization of different social groups amplify hatred towards migrants, refugees and people of colour, many artistic and cultural institutions have taken a stand against such discriminatory rhetoric, trying to use their programmes as gateways to imagine new forms of solidarity and possibilities of organizing living with difference. This account focuses on developments in the city of Dresden, Germany, one of the hotspots for understanding the impact of racist and right-wing extremist legacies on contemporary responses to migration into Europe. Following the influx of refugees in 2015, Dresden became the centre of right-wing extremist protest, but also a focal point of its resistance in the arts and cultural institutions. In theatre and music, people have organized protests, founded community groups and established recurring programmes that focus on pivotal issues of belonging, citizenship, gender and home to reframe the social imaginary of what life with people of different backgrounds would look like in the city. This article draws on ethnographic work with three music initiatives in the city whose work centres on issues of ‘borders’ to show how ‘borderness’, a term used by social anthropologist Sarah Green to describe the sense of border, is experienced through and lived in music, educational practice and political activism. Findings show that collaborations between resident and refugee musicians resulted in narrations of border-experiences and transformed music repertoire. Spaces of music-making could become cultural borderlands themselves. Projects engaged in dismantling ‘the everyday construction of borders through ideology, cultural mediation, discourses, political institutions, attitudes and everyday forms of transnationalism […] that create and recreate new social-cultural boundaries and borders’ (Yuval-Davis et al. 2018: 229) in music education, which yielded a transcultural dialogue in the classroom in politically heated neighbourhoods. Theatre projects addressed gender-specific needs that provided women with opportunities to participate.
{"title":"Musical borderness: Contesting spaces through cultural engagement","authors":"Carolin Müller","doi":"10.1386/cjmc_00006_1","DOIUrl":"https://doi.org/10.1386/cjmc_00006_1","url":null,"abstract":"Across European nations, the binary distinction between ‘us’ and ‘them’ has been reinforced by right-wing populists seeking to frame global mass migration waves as the backdrop against which increased social fragmentation can be explained. While persisting resentments\u0000 and continuing ethnicization of different social groups amplify hatred towards migrants, refugees and people of colour, many artistic and cultural institutions have taken a stand against such discriminatory rhetoric, trying to use their programmes as gateways to imagine new forms of solidarity\u0000 and possibilities of organizing living with difference. This account focuses on developments in the city of Dresden, Germany, one of the hotspots for understanding the impact of racist and right-wing extremist legacies on contemporary responses to migration into Europe. Following the influx\u0000 of refugees in 2015, Dresden became the centre of right-wing extremist protest, but also a focal point of its resistance in the arts and cultural institutions. In theatre and music, people have organized protests, founded community groups and established recurring programmes that focus on\u0000 pivotal issues of belonging, citizenship, gender and home to reframe the social imaginary of what life with people of different backgrounds would look like in the city. This article draws on ethnographic work with three music initiatives in the city whose work centres on issues of ‘borders’\u0000 to show how ‘borderness’, a term used by social anthropologist Sarah Green to describe the sense of border, is experienced through and lived in music, educational practice and political activism. Findings show that collaborations between resident and refugee musicians resulted\u0000 in narrations of border-experiences and transformed music repertoire. Spaces of music-making could become cultural borderlands themselves. Projects engaged in dismantling ‘the everyday construction of borders through ideology, cultural mediation, discourses, political institutions, attitudes\u0000 and everyday forms of transnationalism […] that create and recreate new social-cultural boundaries and borders’ (Yuval-Davis et al. 2018: 229) in music education, which yielded a transcultural dialogue in the classroom in politically heated neighbourhoods. Theatre projects addressed\u0000 gender-specific needs that provided women with opportunities to participate.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44092447","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 investigates gendered meanings attached to filial obligations when they are negotiated between Iranian refugee parents and their children. We investigate gender in intergenerational relationships by using the frame of social control, understanding it as a form of institutional, normative and internalized control. This research is based on an ethnographic study of Iranian families living in Finland. The data consists of observations and interviews with adult children and their parents. The results show that the daughters were able to negotiate their filial obligations with their parents in strategic ways. They actively spoke against their parents’ normative control to make independent choices. However, following their parents’ wishes was also a way for the daughters to actively maintain their own cultural values. The sons were often expected to take care of their ageing parents and had little agency when negotiating the intensity of these demands for support. So rather than making decisions about maintaining their cultural values like the daughters, the sons were often automatically expected to offer support and guidance. However, the sons experienced less normative control when interacting with their parents.
{"title":"Gender and social control in negotiations over filial obligations: Adult children and their ageing parents in Iranian refugee families","authors":"Z. Karimi, Johanna Hiitola","doi":"10.1386/cjmc_00003_1","DOIUrl":"https://doi.org/10.1386/cjmc_00003_1","url":null,"abstract":"This article investigates gendered meanings attached to filial obligations when they are negotiated between Iranian refugee parents and their children. We investigate gender in intergenerational relationships by using the frame of social control, understanding it as a form of institutional, normative and internalized control. This research is based on an ethnographic study of Iranian families living in Finland. The data consists of observations and interviews with adult children and their parents. The results show that the daughters were able to negotiate their filial obligations with their parents in strategic ways. They actively spoke against their parents’ normative control to make independent choices. However, following their parents’ wishes was also a way for the daughters to actively maintain their own cultural values. The sons were often expected to take care of their ageing parents and had little agency when negotiating the intensity of these demands for support. So rather than making decisions about maintaining their cultural values like the daughters, the sons were often automatically expected to offer support and guidance. However, the sons experienced less normative control when interacting with their parents.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48475180","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}
In our examination of the representations of exile in Afghan popular culture, we focus in particular on popular poetry and song lyrics in Farsi, one of the national languages of Afghanistan. This article concentrates on the voices of exiles, their self-representation and their descriptions of life far from their homeland. We argue that, in addition to offering catharsis and expressing collective suffering, the verses are also used to urge return and, more recently, to voice complaints to and about host societies, as well as to critique the Afghan government for its failures.
{"title":"Representations of exile in Afghan oral poetry and songs","authors":"Belgheis Alavi Jafari Jafari, L. Schuster","doi":"10.1386/cjmc_00002_1","DOIUrl":"https://doi.org/10.1386/cjmc_00002_1","url":null,"abstract":"In our examination of the representations of exile in Afghan popular culture, we focus in particular on popular poetry and song lyrics in Farsi, one of the national languages of Afghanistan. This article concentrates on the voices of exiles, their self-representation and their descriptions of life far from their homeland. We argue that, in addition to offering catharsis and expressing collective suffering, the verses are also used to urge return and, more recently, to voice complaints to and about host societies, as well as to critique the Afghan government for its failures.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47712299","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 explores the various ways in which noise acts as an aesthetic marker of precarity in Nick Broomfield’s Ghosts, a documentary account of the death of 23 undocumented Chinese nationals in the United Kingdom in 2004. Taking its cue from recent work on aesthetics and the temporalities of precarity, it considers the ways in which the different forms of noise ‐ medial and informational ‐ index the ways in which the figure of the undocumented migrant labourer disturbs dominant western accounts of the aesthetic predicated on a division between production and consumption. Noise, in the form of Michel Serres’ conceptual figure of the parasite, it argues, registers the ways in which precarious labour has revealed the dependence of aesthetic categories on models of production rendered incoherent by the representation of undocumented migrant labour.
{"title":"Breath on the windowpane: Precarious aesthetics and diegetic noise in Nick Broomfield’s Ghosts","authors":"Niall Martin","doi":"10.1386/cjmc_00005_1","DOIUrl":"https://doi.org/10.1386/cjmc_00005_1","url":null,"abstract":"This article explores the various ways in which noise acts as an aesthetic marker of precarity in Nick Broomfield’s Ghosts, a documentary account of the death of 23 undocumented Chinese nationals in the United Kingdom in 2004. Taking its cue from recent work on aesthetics\u0000 and the temporalities of precarity, it considers the ways in which the different forms of noise ‐ medial and informational ‐ index the ways in which the figure of the undocumented migrant labourer disturbs dominant western accounts of the aesthetic predicated on a division between\u0000 production and consumption. Noise, in the form of Michel Serres’ conceptual figure of the parasite, it argues, registers the ways in which precarious labour has revealed the dependence of aesthetic categories on models of production rendered incoherent by the representation of undocumented\u0000 migrant labour.","PeriodicalId":38038,"journal":{"name":"Crossings","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47878132","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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