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ISBN Paperback: 978-1-78374-565-4 ISBN Hardback: 978-1-78374-566-1 ISBN Digital (PDF): 978-1-78374-567-8 ISBN Digital ebook (epub): 978-1-78374-568-5 ISBN Digital ebook (mobi): 978-1-78374-569-2 ISBN Digital (XML): 978-1-78374-674-3 DOI: 10.11647/OBP.0153 Cover image: Sama Alshaibi, Sabkhat al-Mil ḥ (Salt Flats) 2014, from the ‘ Silsila ’ series, Chromogenic print mounted on Diasec, 47' diameter. © Sama Alshaibi and Ayyam Gallery. Cover design: Anna Gatti. All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), PEFC (Programme for the Endorsement of Forest Certification Schemes) and Forest Stewardship Council® (FSC® certified). Contents List of Contributors xi Introduction: Women and Migration[s] D. Willis, E. Toscano and K. Brooks Nelson 1 Part One: Imagining Family and Migration 11 1. Between Self and Memory Ellyn Toscano 13 2. Fragments of Memory: Writing the Migrant’s Story Anna Arabindan-Kesson 23 3. A Congolese Woman’s Life in Europe: A Postcolonial Diptych of Migration Sandrine Colard 39 4. Migrations Kathy Engel 47 Part Two: Mobility and Migration 55 5. Carrying Memory Marianne Hirsch 57 6. Making Through Motion Wangechi Mutu 71 7. Strange Set of Circumstances: White Artistic Migration and Crazy Quilt Karen Finley 79 8. Nora Holt: New Negro Composer and Jazz Age Goddess Cheryl A. Wall 91 vi Women and Migration Part Three: Understanding Pathways 105 9. Silsila : Linking Bodies, Deserts, Water Sama Alshaibi 107 10. My Baby Saved My Life: Migration and Motherhood in an American High School Jessica Ingram 113 11. Visualizing Displacement Above The Fold Lorie Novak 121 12. Unveiling Violence: Gender and Migration in the Discourse of Right-Wing Populism Debora Spini 135 13. A Different Lens Maaza Mengiste 155 14. Reinventing the Spaces Within: The Early Images of Artist Lalla Essaydi Isolde Brielmaier 161 15. Swimming with E. C. Kellie Jones 167 Part Four: Reclaiming Our Time 193 16. Kinship, the Middle Passage, and the Origins of Racial Slavery Jennifer L. Morgan 195 17. Black Women’s Work: Resisting and Undoing Character Education and the ‘Good’ White Liberal Agenda Bettina L. Love 207 18. Filipina Stories: Gabriela NY and Justice for Mary Jane Veloso Editha Mesina 217 19. Women & Migrations: African Fashion’s Global Takeover Allana Finley 227 20. What Would It Mean to Sing A Black Girl’s Song?: A Brief Statement on the Reality of Anti-Black Girl Terror Treva B. Lindsey 233 vii Contents Part Five: Situated at the Edge 241 21. Fredi’s Migration: Washington’s Forgotten War on Hollywood Pamela Newkirk 243 22. Julia de Burgos: Cultural Crossing and Iconicity Vanessa Pérez-Rosario 247 23. Sarah Parker Remond’s Black American Grand Tour Sirpa Salenius 265 24. Making Latinx Art: Juana Valdes at the Crossroads of Latinx and Latin American Art Arlene Dávila 273 25. Moving Mountains: Harriet Hosmer’s Nineteenth- Century Italian Migration to Become the First Professional Woman Sculptor Patricia Cronin 283 Part Six: Transit, Transiting, and Transition 299 26. Urban Candy: Screens, Selfies and Imaginings Roshini Kempadoo 301 27. Controlled Images and Cultural Reassembly: Material Black Girls Living in an Avatar World Joan Morgan 323 28. Supershero Amrita Simla, Partitioned Once, Migrated Twice Sarah K. Khan 331 29. Diaspora, Indigeneity, Queer Critique: Tracey Moffatt’s Aesthetics of Dwelling in Displacement Gayatri Gopinath 345 30. The Performance of Doubles: The Transposition of Gender and Race in Ming Wong’s Life of Imitation Kalia Brooks Nelson 363 viii Women and Migration Part Seven: The World is Ours, Too 377 31. The Roots of Black American Women’s Internationalism: Migrations of the Spirit and the Heart Francille Rusan Wilson 379 32. ‘The World is Ours, Too’: Millennial Women and the New Black Travel Movement Tiffany M. Gill 395 33. Performing a Life: Mattie Allen McAdoo’s Odyssey from Ohio to South Africa, Australia and Beyond, 1890–1900 Paulette Young 415 34. ‘I Don’t Pay Those Borders No Mind At All’: Audley E. Moore (‘Queen Mother’ Moore) — Grassroots Global Traveler and Activist Sharon Harley 439 35. Löis Mailou Jones in the World Cheryl Finley 453 Part Eight: Emotional Cartography: Tracing the Personal 471 36. The Ones Who Leave... the Ones Who Are Left: Guyanese Migration Story Grace Aneiza Ali 473 37. The Acton Photograph Archive: Between Representation and Re-Interpretation Alessandra Capodacqua 491 38. Reconciliations at Sea: Reclaiming the Lusophone Archipelago in Mónica de Miranda’s Video Works M. Neelika Jayawardane 505 39. Transnational Minor Literature: Cristina Ali Farah’s Somali Italian Stories Alessandra Di Maio 533 40. Seizing Control of the Narrative Misan Sagay 555 ix Contents 41. Migration as a Woman’s Right: Stories from Comparative and Transnational Slavery Histories in the North Atlantic and Indian Ocean Worlds Gunja SenGupta 561 42. The Sacred Migration of Sister Gertrude Morgan Imani Uzuri 581 List of Illustrations 605 Index 619 List of Contributors Sama Alshaibi’s work explores spaces of conflict and the power struggles that arise in the aftermath of war and exile. Drawing from her experiences as a Palestinian-Iraqi naturalized US citizen, she uses her body as an allegorical site that makes the byproducts of such struggles visible. Alshaibi’s monograph, Sand Rushes In (2015) presents her Silsila series, which probes the human dimensions of migration, borders, and environmental demise. Silsila was exhibited at venues including the Venice Biennale, Honolulu Biennale, and Scottsdale Museum of Contemporary Art. Alshaibi has also exhibited in solo and group shows at MoMA, Bronx Museum, Denver Museum of Contemporary Art, Ayyam Gallery, and the Thessaloniki International Film Festival. She received a Fulbright Fellowship to Palestine (2014–2015), and was named University of Arizona’s 1885 Distinguished Scholar as a Professor of Photography. Grace Aneiza Ali is an independent curator and a faculty member in the Department of Art and Public Policy, Tisch School of the Arts, NYU. She has organized two major exhibitions in the US focused on contemporary Guyanese artists at Aljira, a Center for Contemporary Art and the Caribbean Cultural Center African Diaspora Institute. Ali is also the Editorial Director of the award-winning OF NOTE magazine, an online magazine that features global artists using the arts as catalysts for activism and social change. Ali is a Fulbright Scholar, World Economic Forum Global Shaper, and Andy Warhol Foundation for the Visual Arts Curatorial Fellow. She was born in Guyana and lives in New York City. xii Women and Migration Anna Arabindan-Kesson is an assistant professor of African American and Black Diasporic art with a joint appointment in the Departments of African American Studies and Art and Archaeology at Princeton University. Born in Sri Lanka, she completed undergraduate degrees in New Zealand and Australia, worked as a Registered Nurse in the UK and finally moved to the United States in 2007 to begin a PhD in African American Studies and Art History at Yale University. In her teaching and research, she focuses on African American, Caribbean, and British Art, with an emphasis on histories of race, empire, and transatlantic visual culture in the long nineteenth century. She is currently completing a book entitled The Currency of Cotton : Art , Empire and Commerce 1780–1900 examining processes of cultural exchange underpinned by histories of colonialism, and the legacies of these encounters in contemporary art practice. She has been the recipient of several fellowships, including from the Smithsonian American Art Museum, Winterthur Library, Museum and Gardens and the Paul Mellon Center for Research in British Art. She was awarded an ACLS Collaborative Research Fellowship along with Professor Mia Bagneris of Tulane University, to complete a book entitled Beyond Recovery : Reframing the Dialogues of Early African Diasporic Art and Visual Culture 1700–1900 Isolde Brielmaier , a scholar and curator, is Assistant Professor of Critical Studies in the Department of Photography, Imaging and Emerging Media at Tisch School of the Arts at New York University where she focuses on contemporary art and global visual culture, as well as media and technology as platforms within which to rethink storytelling, the politics of representation, and mobility in its broadest sense. She also serves as Curator-at-Large at the Tang Museum. Isolde has written extensively on contemporary art and culture, including numerous exhibition catalogue essays, journal articles, and reviews as well as books. Among her distinctions, Isolde has received fellowships from the Mellon and Ford foundations as well as the Social Science Research Council (SSRC). She serves on several non-profit boards and sits on the Board of Trustees of the New Museum. Isolde is deeply committed to the promotion of arts education, global women’s issues, and criminal justice reform. She holds a PhD from Columbia University. xiii List of Contributors Kalia Brooks Nelson is a New-York-based independent curator and educator. Brooks Nelson is currently an Adjunct Professor in the Department of Photography and Imaging at New York University’s Tisch School of the Arts. Brooks Nelson holds a PhD in Aesthetics and Art Theory from the Institute for Doctoral Studies in the Visual Arts. She received her MA in Curatorial Practice from the California College of the Arts in 2006, and was a Helena Rubinstein Fellow in Critical Studies at the Whitney Independent Study Program 2007/2008. She has served as a consulting curator with the City of New York through the Department of Cultural Affairs and Gracie Mansion Conservancy. Brooks Nelson is also an ex-officio trustee on the Board of the Museum of the City of New York. Alessandra Capodacqua is a photographer, teacher and a curator who lives and works in Florence, Italy. As an artist, she works with a variety of devices, from pinhole, toy, and digital cameras, to mobile to alternative printing process. She teaches photography in Italian and in English for national and international schools and colleges. Alessandra has curated exhibitions of photography and helped organize festivals of photography in Italy and abroad, such as the International Triennial Festival of Photography Backlight in Tampere, Finland and SI Fest 2016 in Savignano sul Rubicone. Her main area of interest is documentary photography, photojournalism, street photography, and visual story- telling. She is frequently invited to jury International Photo Awards and Prizes, and is a regular contributor to the LensCulture website. Her photographs are shown nationally and internationally. Her work is in private and public collections, including the Galleria degli Uffizi in Florence, the Maison Européenne de la Photographie in Paris, the MUSINF in Senigallia, and the Museo di Montelupone. Major publications include: Autoritratto in Assenza (2016); Il Palazzo Magnifico (2009); Autori — Esperienze di fotografa stenopeica ; Zone di Frontiera Urbana (2007); Valdarno , una visione in movimento (2005); Firenze Fotografa (2000). www.alessandracapodacqua.com. Sandrine Colard holds a PhD in Art History from Columbia University, and a MA in Africana Studies from New York University. She is a historian of Modern and Contemporary African Arts and Photography, with a focus on Central Africa. Based on research conducted in Belgium, xiv Women and Migration Kinshasa and Lubumbashi (DRC), her current book project examines the history of photography in the colonial Congo (1885–1960). She has also published on the ‘archival turn’ in African arts, and in particular on the work of contemporary Congolese artist Sammy Baloji. She has taught and lectured at Columbia University and Barnard College, and has co-curated the exhibition The Expanded Subject : New Perspectives in Photographic Portraiture from Africa at the Wallach Art Gallery (2016). Among others, Sandrine’s research was supported by fellowships from the Belgian-American Educational Foundation (BAEF), the Musée du Quai Branly, and the Pierre and Maria-Gaetana Matisse Fellowship Fund for 20 th Century Art. Before joining NYU, Sandrine was a post- doctoral fellow at the Institut National d›Histoire de l›Art in Paris, affiliated with the ‘Globalization and Emergence of New Creative Scenes in Africa’ project. Patricia Cronin ’s work examines issues of gender, sexuality and social justice and has been exhibited in the US and abroad, including Shrine For Girls at the 56th Venice Biennale that traveled to The FLAG Art Foundation, NYC and The LAB, Dublin, Ireland. Other solo exhibitions were presented at the Capitoline Museum’s Centrale Montemartini Museum; Newcomb Art Museum, Tulane University; and Brooklyn Museum. Cronin is the recipient of numerous awards including: the Rome Prize from the American Academy in Rome, Louis Comfort Tiffany Foundation Grant and two Pollock-Krasner Grants. Her works are in numerous museum collections, including the National Gallery of Art and Smithsonian National Portrait Gallery, Washington, DC and Gallery of Modern Art and Kelvingrove Museum, Glasgow, Scotland. She is the author of Harriet Hosmer : Lost and Found , A Catalogue Raisonné (2009) and The Zenobia Scandal : A Meditation on Male Jealousy (2013) and is Professor of Art at Brooklyn College/CUNY. Arlene Davila ’s work explores cultural politics in Latinx/Latin America focusing on issues of consumption, visual culture, urbanity and political economy. Davila is Professor of Anthropology and American Studies at New York University. Alessandra Di Maio is Associate Professor of English and Postcolonial Studies at the University of Palermo, Italy. She divides her time between xv List of Contributors Italy and the US, where she taught at several universities after earning her PhD in Comparative Literature at the University of Massachusetts Amherst. Her research includes postcolonial, black, diasporic, migratory, gender studies and transnational cultural identities. Her recent projects include a study of African Italian literature and the Black Mediterranean. She has been the recipient of a Fulbright scholarship, a UCLA Mellon postdoctoral fellowship, and a MacArthur Research and Writing Grant. Among her publications are Tutuola at the University. The Italian Voice of a Yoruba Ancestor (2000); An African Renaissance (2006); Wor ( l ) ds in Progress. A Study of Contemporary Migrant Writings (2008); and Dedica a Wole Soyinka (2012). She has translated into Italian Nuruddin Farah, Chris Abani, Caryl Phillips, and Nobel Laureate Wole Soyinka. Kathy Engel is Associate Arts Professor and Chair of the Department of Art & Public Policy, Tisch School of the Arts, New York University. Between 1980 and 2008, she co-founded and worked as an organizer, director, cultural worker, producer, communications and strategic consultant for numerous social justice projects and organizations, locally, nationally, and internationally. Her poems and essays have appeared widely in journals and anthologies. Books include Ruth’s Skirts (2007); The Kitchen , accompanying the art of German Perez (2011), and Banish the Tentative (1987). She co-edited We Begin Here : Poems for Palestine and Lebanon with Kamal Boullata (2007). She is co-producer of the videos talking nicaragua (1983), and On The Cusp (2008). For more information, visit www.kathyengelpoet.com. Allana Finley hails from Philadelphia, Pennsylvania. Before moving to Johannesburg in 2001 from Los Angeles/New York, she worked in fashion for such brands as Eileen Fisher, Tiffany & Co and Gucci America. While living in Los Angeles, she honed her skills as a fashion stylist, focusing on product placement and the marketing of fashion brands through celebrity client relationships. She served as Head of Wardrobe in Oxygen Media’s inaugural year of operation, and dressed the likes of Candice Bergen and Tasha Smith during that time. Over the past fifteen years, her focus has been on business development and strategic marketing for leading event and designer development platform African Fashion International; a malaria elimination initiative founded by Robert Brozin, Goodbye Malaria; founding board member of xvi Women and Migration the first ever South African Menswear Week; leading African designers Stoned Cherrie, CHULAAP, Rich Mnisi and online platforms oxosi.com and KISUA.com. She is a contributor to the book African Catwalk by Per Anders Pettersson (2016) which showcases an unexpected side of the African continent as it examines the fast growing fashion industry in Africa. This book is the first time the emerging African fashion industry has been documented in exclusive behind-the-scenes photographs. Cheryl Finley is Associate Professor and Director of Visual Studies in the Department of the History of Art at Cornell University. She was trained in the History of Art and African American Studies at Yale University. Her chapter in this volume, ‘Löis Mailou Jones in the World’, is taken from her work examining the global art economy, focusing upon artists, museums, pedagogy, biennials and tourism. A longtime scholar of travel, tourism and migration, Finley is also engaged in the collaborative project ‘Visualizing Travel, Gendering Diaspora’ with Leigh Raiford (University of California, Berkeley) and Heike Raphael- Hernandez (University of Würtzburg) funded by the American Council of Learned Societies. Finley’s research has been supported by the Hutchins Center for African and African American Research, the Ford Foundation, the Center for Advanced Study in the Visual Arts, and the American Academy of Arts and Sciences. Karen Finley works in a variety of mediums such as installation, video, performance, public and visual art, music, and literature. She has performed and exhibited internationally. She is the author of eight books, including her latest, the twenty-fifth-anniversary edition of Shock Treatment (2015). Her work includes ‘Mandala: Reimagined Columbus Circle’, an interactive walk that examines the symbols and history of Columbus Circle; ‘Artist Anonymous’, a self-help meeting for those addicted to art; ‘Written in Sand’, a performance of her writings on AIDS; ‘Open Heart’, a Holocaust memorial at Camp Gusen, Austria; ‘Unicorn, Gratitude Mystery’, a solo performance that explores the psychological portrayals of power that drives American election politics; and ‘Sext Me if You Can’, where Finley creates commissioned portraits inspired by ‘sexts’ received from the public. Grabbing Pussy was published in 2018. A recipient of many awards and grants, including a Guggenheim xvii List of Contributors Fellowship, she is an arts professor in Art and Public Policy at New York University. Tiffany M. Gill is the inaugural Cochran Scholar and Associate Professor in the Department of Black American Studies and the Department of History at the University of Delaware. Her research and teaching interests include African American History, Women’s History, the history of black entrepreneurship, fashion and beauty studies, and travel and migration throughout the African Diaspora. A graduate of Georgetown and Rutgers Universities, she is the author of Beauty Shop Politics : African American Women’s Activism in the Beauty Industry (2010) which was awarded the 2010 Letitia Woods Brown Memorial Book Prize by the Association of Black Women Historians. In addition, she has served as a subject editor for African American National Biography, and has had her work published and reprinted in several journals and edited volumes. Before joining the faculty of the University of Delaware, Gill taught at the University of Texas at Austin and was a recipient of the 2010 Regents’ Outstanding Teaching Award for excellence in undergraduate education. Currently, she is at work on a book manuscript chronicling the history of black international leisure travel since World War I. Gayatri Gopinath is Associate Professor of Gender and Sexuality Studies in the Department of Social and Cultural Analysis at New York University, and Director of the Center for the Study of Gender and Sexuality. She is the author of Impossible Desires : Queer Diasporas and South Asian Public Cultures (2005), and has published numerous essays on gender, sexuality and diaspora in journals such as GLQ , Social Text , positions , and Diaspora . Her book, Unruly Visions : The Aesthetic Practices of Queer Diaspora , was published in 2018. Her recent articles and book chapters related to this project include: ‘Queer Visual Excavations: Akram Zaatari, Hashem El Madani, and the Reframing of History in Lebanon’ (2017); ‘”Who’s Your Daddy?” Queer Diasporic Reframings of the Region’ (2013); ‘Archive, Affect and the Everyday: Queer Diasporic Re-Visions’ (2010) and ‘Queer Regions: Locating Lesbians in Sancharram’ (2007). Sharon Harley , Associate Professor in the African American Studies Department at the University of Maryland, College Park, researches and xviii Women and Migration teaches black women’s labor history and racial and gender politics in the African Diaspora. A leading scholar in the field of black women’s history, she is the editor and a contributor to the noted anthologies Sister Circle : Black Women and Work (2002) and Women’s Labor in the Global Economy : Speaking in Multiple Voices (2007). Her most recent essay is titled ‘The Solidarity of Humanity: Anna Julia Cooper’s Personal Encounters and Thinking about the Intersectionality of Race, Gender, and Oppression.’ As a fellow at the Harvard’s Hutchins Center, she examined the political activism and romance between W. E. B. Du Bois and his second wife, international political and cultural activist Shirley Graham. Marianne Hirsch writes about the transmission of memories of violence across generations, combining feminist theory with memory studies in global perspective. Her recent books include The Generation of Postmemory : Writing and Visual Culture After the Holocaust (2012); Ghosts of Home : The Afterlife of Czernowitz in Jewish Memory (2010), co-authored with Leo Spitzer; and Rites of Return : Diaspora Poetics and the Politics of Memory (2011), co-edited with Nancy K. Miller. Hirsch is the William Peterfield Trent Professor of Comparative Literature and Gender Studies at Columbia University. She is one of the founders of Columbia’s Center for the Study of Social Difference. She is a former President of the Modern Language Association of America and a member of the American Academy of Arts and Sciences. Jessica Ingram is a photo-conceptual artist working primarily with themes related to power, race, and American history. She uses photography, video, and audio to explore the ethos of communities and the power of belonging. She received her BFA from New York University’s Tisch School of the Arts and her MFA from California College of Arts & Crafts in San Francisco. Her traveling solo exhibition ‘Road Through Midnight’ was exhibited at the National Civil Rights Museum in Memphis, The Tennessee State Museum in Nashville, and the Center for Documentary Studies at Duke University. She was included in the exhibition ‘Southern Accent: Seeking the American South in Contemporary Art’ at the Nasher Museum, traveling to the Speed Museum in Louisville. Her collaborative projects have been featured at the Sundance Film Festival and installed publicly at the