With less than one month to go, I gladly announce here the closing event of the New Plantations project, in Brussels on 14 December. For the last two years our international research team from Switzerland, Belgium and Italy has analyzed migrant work conditions in Europe, focusing on dynamics of illegalization, racialization and labour exploitation in the contintent’s agricultural sector.
Directed by a group of activists, artists and academics, the event will highlight the forces at play in the European horticultural industry. Rather than a classic presentation-based conference, the workshop will be pinpointed around several interactive tables, each of which will address a specific theme. The event will be closed by a short theatre show by Cantieri Meticci, whose members have been active participants in this project.
Anyone who is interested in participating, please send a confirmation email to project director Timothy Raeymaekers (email@example.com) by November 30th. More information on time, place and logistics of the event can be found on our facebook page and on the attached flyer. The language of the event will be French.
The new issue of Movements: Journal for Critical Migration and Border Studies appeared, addressing currentconflicts aroundEU migration and social rights, as well as Europe’s border and asylum policies since the 2015/2016 border regime crisis. Edited by Mathias Fiedler, Fabian Georgi, Lee Hielscher, Philipp Ratfisch, Lisa Riedner, Veit Schwab, and Simon Sontowski, it also hosts a special report on African land labourers in Calabria, by Carole Reckinger, Gilles Reckinger, and Diana Reiners. Their exhibition, Bitter Oranges, is currently travelling through Europe.
In passing, I mention this art movie produced by Nico Angiuli, winner of the arts and human rights competition for young artists and cultural institutions curated by Connecting Cultures and Fondazione Ismu, which is on display in Rome’s Quadriennale’s exhibition.
The project involves the Tre Titoli hamlet, nearby Cerignola, in Southern Italy’s Puglia Region. It narrates the symbolic intersection of the Ghanese community, which over the last decades has occupied some of the abandoned houses left after the hamlet’s faltered agricultural reform of the 1950’s and 70s, with that of the rural proletarian struggle led by union leader Giuseppe Di Vittorio during that very period.
Aware of these dire conditions, the artist aims at abandoning the usual two-dimensional representation of this African ghetto in the media by introducing practices of self-narration, in order to allow for a more complex scenario of compromise and tension, and thus giving voice to spontaneous micro-processes of resistance against widespread attempts to normalize this marginalisation process of local voices.
The project has been realised in collaboration with Terra Piatta (or ‘Flat Land‘), a program of research and artistic, social and cultural production, curated by Vessel, a cultural platform in Lucera, Puglia, with a specific focus on artistic practices in dialogue within a rapidly changing rural context.
Check out the Guardian Africa Network photo album today with pictures of Eritrean migrants celebrating mass and baptising their children in Tel Aviv, Israel. The improvised suburban spaces used for these celebrations not only provide a spiritual escape from often aggressive government immigration policies but also recreate a sense of ‘home’ in a politically hostile environment. To place this in wider context, interesting work is currently presented on the plight of African refugees in Israel nowadays, amongst others by Haim Yacobi, Barak Kalir and Laurie Lijnders. Particularly Yacobi’s discussion of the ‘Villa in the Jungle’ – a trope that highlights Israel’s moral geographic engagement with Africa, significantly informs this debate. ‘Walling off’ Eritrean refugees, he says, has not exclusively become a vector for reproducing Israel identity as set apart from Africa and the Middle East, but also reflects the persistent attempts of government authorities at active demographic engineering and urban segregation. The active exclusion of Eritrean churches thus has to be read in this context, of the racialisation of political space that characterises Israeli society as a whole.
On 13 May, the Human Rights Nights Festival in Bologna will host a rare screening of Asmarina, by Alan Maglio and Medhin Paolos. The documentary tells the history of Milan’s Porta Palazzo neighbourhood through the voices of its first- and second generation African immigrants. It investigating the identities, experiences and aspirations of Milan’s habesha community -a term that has attracted quite some attention lately with the ongoing arrival of Eritrean and Ethiopian migrants who use the neighbourhood as a hub for their onward journeys.
Besides many other interesting events, the festival also screens Jonas Carpignano‘s Mediterranea, about the plight of burkinabe’ immigrants working on Italy’s orange plantations. Their plight has received renewed attention lately because of increasing tensions about their labour condition in and around the region of Puglia and Basilicata, about which I will report later. In the meantime (and for those who cannot attend) I attach the movie trailer.
Further to my previous post about Brussels some days ago, two apparently unrelated analyses appear to confirm my observations about the reasons behind IS expansion. According to terrorism expert Hassan Hassan, the strategy of hitting targets in Europe, far removed from their operational bases in the Middle East and Northern Africa, is increasingly unrelated to the loss of terrain they are experiencing in the latter. On the contrary, the attacks in Paris and Brussels show how IS is trying to take control over former Al Qaeda networks by aligning and associating themselves with the latter’s militants.
In an unrelated analysis, Scott Atran -an anthropologist working in France and the UK- warns not to underestimate the ideological traction of the IS Caliphate. In the poor neighbourhoods of Casablanca and Tetuan, as in the Parisian banlieus, he and his colleagues encountered a widespread acceptance, if not a sharing, of IS values as well as the brutal violence committed in its name. Despite some of the factual mistakes in Atran’s text (which are discussed in part on the Aeon forum) the key message is valid and lays in what Edmund Burke, in a different context, calls the attraction for the sublime -or the fascination to fight for a glorious and unifying cause.
Far from being miserable paupers, or a rejected Lumpenproletariat (as Diego Gambetta showed for other historical examples), IS suicide bombers not only share this fascination, but they are also ready to make the ultimate sacrifice in favour of this greater good as well as for their group of companions with whom they share intimate relationships (Atran talks about a fusion of identity in this regard). In this sense it does not come as a big surprise that the large majority of IS recruits are mobilised through their proper families, the French centre against religious radicalisation (or CPDSI) reveals. Rather than more police and camouflage on the streets, therefore, what might be needed instead are closer contacts with such families at risk as well as community leaders. In their unwillingness to also address the socio-psychological causes of this terrorist (or, as Atran provocatively says, “revolutionary”) struggle, European leaders continue to play into the cards of the IS military leadership, which is becoming increasingly apt in exploiting this diminishing grey zone between the sovereign life of post-modern (neo)liberal democracies, and the killing of this life in the name of revolutionary sacrifice…
The Manchester School of Arts is organising a conference on Art and Geopolitical Borders this 20th November.
“In recent years there has been a growth in interest in the ways that art practice can both acknowledge and articulate the issues around geopolitical borders,” the flyer says. “Borders have long functioned as a vital component of state-formation and nation building, a role that continues within the shifting politics of globalisation… Recently there has been an upsurge in art practices that visualise the tensions and contradictions arising from contemporary borders. However art can also function as a means of disruption and intervention within the established operations and normative meanings of border technologies, and as a site of reparation, where traumatic histories can be negotiated in turn.” This one day symposium attempts to address these and related issues.