Reframing Migration, Diversity and the Arts

Schramm, Moritz; Moslund, Sten Pultz; Petersen, Anne Ring; Gebauer, Mirjam; Post, Hans Christian; Vitting-Seerup, Sabrina; Wiegand, Frauke Katharina

doi:10.4324/9780429506222

Cited by 28 publications

(8 citation statements)

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“…Concurrently they offer a deeper insight into the mechanisms of structural violence that continue to exclude members of an urban society from its public narrative. Such methods further provide space for a higher public awareness of migratory communities and their stories, and thereby form a vital component of critical migration studies (Petersen and Schramm 2017;Meskimmon 2017;Schramm et al 2019;Yildiz 2019).…”

Section: The Contributionsmentioning

confidence: 99%

(Un)Sighted Archives of Migration—Spaces of Encounter and Resistance: An Introduction

Siegenthaler

Bublatzky

2021

Visual Anthropology

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This special issue of Visual Anthropology takes a close look at (un)sighted migratory archives and archives of migration. Acknowledging migration as part of social practice and collective memory, it highlights the relevance of migratory archives for individual and collective subjectivities. With a transversal perspective across the fields of art, anthropology and social activism, the contributions analyze the complexities of power relations, spatial and temporal dynamics, media practices, and meaning production involved in the making, maintaining, contemplation, appropriation, destruction and loss of such archives. Rethinking methodological and theoretical approaches, these engage with archives as spaces of encounter and resistance in a liminal zone of visibility and invisibility. THE CIRCULATION OF IMAGES AND ARCHIVES OF MIGRATIONAlthough scholarly discussions and theories have challenged static and hegemonic notions of the archive in recent decades (

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Section: The Contributionsmentioning

confidence: 99%

(Un)Sighted Archives of Migration—Spaces of Encounter and Resistance: An Introduction

Siegenthaler

Bublatzky

2021

Visual Anthropology

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“…It is in this light that one must understand Foroutan's idea that Germany has become a postmigrant society, and that the acknowledgement of this change must lead to a renegotiation of established institutions, structures, and values (Foroutan 2018, p. 185; see also Foroutan 2019aForoutan , 2019b. The concept of a postmigrant society thus also harbours a normative, or perhaps even utopian, dimension: it is nurtured by the dream of change towards a more pluralistic and inclusive democratic society (Schramm et al 2019)-a postmigrant imaginary that also sustains 100% FOREIGN? Importantly, with regard to the participatory method underpinning the project, Foroutan has argued that connections through family, friends, school, political engagement, or the workplace have produced "new kinds of knowledge, empathy and attitudes" that construct "post-migrant alliances" of "heterogeneous peer groups" whose participants share moral and democratic ideals:…”

Section: A Postmigrant Societymentioning

confidence: 99%

“In the First Place, We Don’t Like to Be Called ‘Refugees’”: Dilemmas of Representation and Transversal Politics in the Participatory Art Project 100% FOREIGN?

Petersen

2021

Humanities

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100% FOREIGN? (100% FREMMED?) is an art project consisting of 250 life stories of individuals who were granted asylum in Denmark between 1956 and 2019. Thus, it can be said to form a collective portrait that inserts citizens of refugee backgrounds into the narrative of the nation, thereby expanding the idea of national identity and culture. 100% FOREIGN? allows us to think of participatory art as a privileged site for the exploration of intersubjective relations and the question of how to “represent” citizens with refugee experience as well as the history and practice of asylum. The conflicting aims and perceptions involved in such representations are many, as suggested by the opening sentence of Hannah Arendt’s 1943 essay “We, Refugees”: “In the first place, we don’t like to be called ‘refugees’”. Using 100% FOREIGN? as an analytical reference point, this article discusses some of the ethical and political implications of representing former refugees. It briefly considers recent Danish immigration and asylum policies to situate the project in its regional European context and argues that, similarly to its neighbouring countries, Denmark can be described as a “postmigrant society” (Foroutan). To frame 100% FOREIGN? theoretically, this article draws on Arendt’s essay, Trinh T. Minh-ha’s concept of speaking nearby, as well as the feminist concept of transversal politics (Meskimmon, Yuval-Davis). It is hoped that this approach will lead to a deeper understanding of what participatory art can bring to the ethical politics of representing refugee experience.

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“…However, the concept itself, ‘migrant’ art and literature, is not an innocent concept in that it frames and labels the narratives and artworks of migrants as a kind of ghettoised genre, exclusively focused on their experiences as migrants, thereby diminishing the artistic ‘value’ of the artworks. As a consequence, German scholarship has developed the notion of ‘postmigrant’ art and literature in order to counter this ghettoisation of the artistic expression by migrants (Moslund, 2015; Römhild, 2017; Schramm et al, 2019). The postmigrant perspective on art and literature recognises migrant artists as artists in general, while it tends to build on a cosmopolitanist, late modern individualisation of identities.…”

Section: Agonistic Narratives Of Migrationmentioning

confidence: 99%

On agonistic narratives of migration

Hansen

2020

International Journal of Cultural Studies

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The aim of this article is to apply the concept of agonism to the study of migration and migration narratives in order to shed new light upon a complex field and contribute to the countering of neo-nationalist right-wing populism. Following Chantal Mouffe, the author argues that agonistic narrative traits can be found in already existing cultural products that are able to unsettle the existing identity positions of the hegemonic European identity discourse pitting the national citizen against the figure of the migrant, and/or create new identity positions and alliances across the ‘us’–’them’ divide. Agonistic narratives of migration are stories able simultaneously to counter the two complementary and hegemonic discourses on migration, the antagonistic, neo-nationalist discourse representing the migrant as a threat, and the humanitarian discourse representing the migrant as a victim. Instead, agonistic narratives aim to forge alliances through protest and activities against inequality and discrimination.

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Reframing Migration, Diversity and the Arts

Cited by 28 publications

References 0 publications

(Un)Sighted Archives of Migration—Spaces of Encounter and Resistance: An Introduction

(Un)Sighted Archives of Migration—Spaces of Encounter and Resistance: An Introduction

“In the First Place, We Don’t Like to Be Called ‘Refugees’”: Dilemmas of Representation and Transversal Politics in the Participatory Art Project 100% FOREIGN?

On agonistic narratives of migration

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