Women and Migration(s) II

Kalia Brooks

Description

Women and Migration(s) II draws together contributions from scholars and artists showcasing the breadth of intersectional experiences of migration, from diaspora to internal displacement. Building on conversations initiated in Women and Migration: Responses in Art and History, this edited volume features a range of written styles, from memoir to artists’ statements to journalistic and critical essays. The collection shows how women’s experiences of migration have been articulated through art, film, poetry and even food.


This varied approach aims to aid understanding of the lived experiences of home, loss, family, belonging, isolation, borders and identity—issues salient both in experiences of migration and in the epochal times in which we find ourselves today. These are stories of trauma and fear, but also stories of the strength, perseverance, hope and even joy of women surviving their own moments of disorientation, disenfranchisement and dislocation.


This collection engages with current issues in an effort to deepen understanding, encourage ongoing reflection and build a more just future. It will appeal to artists and scholars of the humanities, social sciences, and public policy, as well as general readers with an interest in women’s experiences of migration.
 

Sujets

• Ethnic Studies
• Social Science
• Sociologie, société et politique

Informations

• Publié par: Open Book Publishers
• Date de parution: 14 novembre 2022
• Nombre de lectures: 0
• EAN13: 9781800647114
• Langue: English
• Poids de l'ouvrage: 126 Mo

Extrait

Women and Migration(S) ii

Women and Migration(s) II
Edited by Kalia Brooks, Cheryl Finley, Ellyn Toscano and Deborah Willis





https://www.openbookpublishers.com




©2022 Kalia Brooks, Cheryl Finley, Ellyn Toscano and Deborah Willis. Copyright of individual chapters is maintained by the chapter’s authors.
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text for non-commercial purposes of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information:
Kalia Brooks, Cheryl Finley, Ellyn Toscano and Deborah Willis (eds), Women and Migration(s) II. Cambridge, UK: Open Book Publishers, 2022, https://doi.org/10.11647/OBP.0296
Further details about Creative Commons licenses are available at, https://creativecommons.org/licenses
All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web
Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0296#resources
Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
ISBN Paperback: 9781800647084
ISBN Hardback: 9781800647091
ISBN Digital (PDF): 9781800647107
ISBN Digital ebook (epub): 9781800647114
ISBN Digital ebook (azw3): 9781800647121
ISBN XML: 9781800647138
ISBN HTML: 9781800647145
DOI: 10.11647/OBP.0296
Cover image: FIRELEI BÁEZ for Marie-Louise Coidavid, exiled, keeper of order, Anacaona, 2018. Oil on canvas. Installation view: 10th Berlin Biennale, Akademie der Künste (Hanseatenweg), Berlin, 9 June 9-September 2018. Photo: Timo Ohler. Cover design by Anna Gatti

Contents
Contributor Biographies ix
Introduction 1
Kalia Brooks, Deborah Willis, Ellyn Toscano and Cheryl Finley
Part One: Migrations and Meanings in Art 5
1. Carry Over 9
Sama Alshaibi
2. Marie Louise Christophe 19
Firelei Báez
3. Astral Sea 23
Tsedaye Makonnen
4. Maid in the USA 29
Carolina Mayorga
5. Rapture 31
Shirin Neshat
6. Blessing of the Boats 33
Muna Malik
7. Island Putas 37
Gabriella N. Báez
8. Barbadian Spirits—Altar for My Grandmother (Ottalie Adalese Dodds Maxwell, 1892–1991) 43
Leslie King-Hammond
9. Notes from an Undisclosed Location: Someplace in the Mojave Desert, California, United States 47
Brandy Dyess
10. Of Bodies and Borders 53
Essay by Maria Elena Ortiz on the work of Ana Teresa Fernández
11. Sweet Milk in the Badlands. 57
Allison Janae Hamilton
12. Shrine for Girls: Social Justice and Aesthetic Responsibilities 61
Patricia Cronin
13. From a Hot Border 67
H ồ ng-Ân Tr ươ ng
14. NormaNamesake/The Choice 69
Nashormeh N. R. Lindo
Part Two: Responses in Art History and Art Criticism 73
15. Refugees 75
Ifrah Mahamud Magan
16. Blue and White Forever: Embodying Race and Gender in Clay 77
Kalia Brooks
17. Radically Sustained Care: Chandra McCormick’s Katrina Displacement as a Mother and an Artist 87
Hannah Ryan
18. Carrie Mae Weems—Making Points and Changing Views 99
Deborah Willis
19. Nuyorican Abstract: Thinking through Candida Alvarez and Glendalys Medina 107
Arlene Dávila
20. Joy Gregory: A Woman on the Go! 117
Cheryl Finley
21. Reading against the Grain of the Black Madonna: Black Motherhood, Race and Religion 135
Yelaine Rodriguez
Part Three: Crisis 155
22. Back Home: Lessons from the Pandemic on Care, Gender and Justice 157
Debora Spini
23. Requiem for a Drink of Water 165
Bryn Evans
24. Sustaining and Retaining: A Social Ecological Reflection on Cultural Dance Performance for African Women and Femmes in Higher Education 167
Arielsela Holdbrook-Smith
25. The ‘New’ Hollywood and Beyond: Women, Migration, and Cultural Victimhood 171
Heike Raphael-Hernandez
26. Telling the Story of a Global Pandemic: African Wax Prints, Style, Beauty and COVID-19 in Ghana, West Africa 181
Paulette Young
27. The Empathy Exodus 195
Esther A. Armah
28. Being Woke: Visualizing Solidarity and Resistance 203
Roshini Kempadoo
Part Four: Fragmented Memories 211
29. A Work from Sorrow: The PEN International Women’s Manifesto 215
Jennifer Clement
30. Undisciplined Pleasures, Vigilant Defiance 1.0 and 2.0 A.K.A. WMD: Women of Massive Delight | Our Own Sister F%#!-ing Pantheon 221
Sarah Khurshid Khan
31. Instants: Fragments of a Return 233
Hande Gurses
32. Reflections on Migrations and Border Crossings, Destinations and Destinies 239
Sirpa Salenius
33. Optical Self(s): Métis Women’s Authorship Regarding Conception of Self in Pre-Independence Senegal 249
Summer Sloane-Britt
34. Sankofa and the Art of Archiving Black Atlantic Migrations 259
Gunja SenGupta
35. ‘These Bones Gonna Rise Again’: A Womanist Reclamation 281
Michelle Lanier
36. Being Beyond—Aesthetics of Resistance: Annemarie Clarac-Schwarzenbach 285
Bettina Gockel
37. Mom Rose 297
Melvina Lathan
38. She Carried with Her Neither Memory Nor Archive 305
Ellyn Toscano
39. Meaning and Roots in Copper: Winifred Mason in New York and Haiti 313
Terri Geis
40. Coconuts and Collards: Recipes and Stories from Puerto Rico to the Deep South 323
Von Diaz
41. How to Look at Silence 347
Nohora Arrieta
Acknowledgments 357
List of Figures 359
Index 371

Contributor Biographies
Sama Alshaibi (b. 1973, Iraq) situates her own body as a site of performance in consideration of the gendered and social impacts of war, migration and environmental demise. Alshaibi has participated in numerous group and solo exhibitions including the 55th Venice Biennale, State of the Art 2020 (Crystal Bridges Museum of Contemporary Art, Arkansas), the 2019 Cairo International Biennale, the 2017 Honolulu Biennial, MoMA (NY), the American University Museum, Washington, D.C., the MARTa Herford Museum (Germany), the Herbert F. Johnson Museum of Art (NY), the Arab American National Museum (Michigan), the Institut Du Monde Arabe (Paris), and the Ayyam Gallery (UK/UAE). Alshaibi has been the recipient of a 2019 Artpace San Antonio residency, an Arab Fund for Arts & Culture Visual Arts Grant, and a Fulbright Scholar Fellowship to Palestine. Her monograph, Sand Rushes In (New York: Aperture, 2015), features her Silsila series. Alshaibi is Professor of Photography, Video and Imaging at the University of Arizona in Tucson.
Esther Armah is Executive Director at The Armah Institute of Emotional Justice, a global institute implementing the visionary framework for racial healing by providing emotional education in the context of race, gender, and culture. The AIEJ does this via projects, training, thought—leadership. Armah leads a global team in Ghana, Chicago and London. She is an international award-winning journalist, a writer, a playwright and an international speaker who has lived and worked in New York, London, Washington, D.C., Accra, Lagos, Nairobi, and Johannesburg.
Nohora Arrieta is a Ph.D candidate in the Department of Spanish and Portuguese at Georgetown University, where she specializes in Latin American Literary and Cultural Studies. Her dissertation, Bittersweet Poetics: Aesthetics and Politics of the Sugar Plantation in Brazil and the Caribbean (1990-2018) , discusses works of visual art about the sugar plantation produced by Afro-descendant artists in Brazil and the Caribbean.
Nohora is co-translating into English the poetry of Afro-Colombian poets Romulo Bustos and Pedro Blas. She is also working on two writing projects: How to Look at Silence examines family archives, memorabilia and contemporary works of art to discuss the migrations of Black and Indigenous women in the continental Caribbean (Venezuela-Colombia). I have been here for a while is a collection of narrative profiles of Black artists from the Spanish Caribbean, Colombia and Brazil. Her research and writing have been funded by ACLS/Mellon and Fulbright
Firelei Báez (b. 1981, Dominican Republic) received an MFA from Hunter College, a BFA from the Cooper Union’s School of Art, and studied at the Skowhegan School of Painting and Sculpture. In 2020, Báez was shortlisted for Artes Mundi 9, and will be the subject of a solo presentation at the ICA Watershed (Boston, MA) this summer. In 2019, she had solo exhibitions at the Mennello Museum of Art (Orlando, FL), the Witte de With Center for Contemporary Art (Rotterdam, the Netherlands), and the Modern Window at the Museum of Modern Art (New York). Her major 2015 solo exhibition Bloodlines was organized by the Pérez Art Museum Miami and traveled to the Andy Warhol Museum in Pittsburgh.
Gabriella N. Báez is a queer documentary photographer based in San Juan, Puerto Rico covering stories across the Caribbean region. Her personal projects focus on intimate topics about family, migration and self-portraiture. Gabriella as a young practitioner has already been published in Reuters, Bloomberg, The New York Times , CNN, and The Nation . In 2020 she became a Magnum Photography and Social Justice fellow, an IWMF Howard G. Buffett Fund grantee, and a Women Photograph + Nikon grantee. Follow her on Twitter and Instagram as @gabriellanbaez.