This somewhat longer post involves a reflection on a number of meetings I’ve had over the last months with African refugees in the city of Bologna, while preparing research on migrant labour and urban marginality. Though these meetings took shape in the context of a travelling theatre project (called City ghettos of today), I am thinking of enlarging my questions into a broader comparative agenda on what some people have started to call, first hesitantly, but ever more publicly and consistently, the Black Mediterranean.
I would like to contribute to this discussion by adding a few, loosely related, ideas around material labour conditions (for more on this dimension see here) as well as emerging hybrid identities in the arena of migrant mobilisations on the Afro-European border (primarily in Italy but also in other places). All of this may result in a research paper later this year.
The Black Mediterranean has recently started to surface as a terminology to describe the cultural crossroads between Africa and Europe. It indicates the emergence of a vibrant cultural borderland characterized by growing proximity between African and European cultures in the area of film, music and literary expression. This post is an attempt to situate this borderland in the geography of racial subordination black Africans in Europe, specifically in Italy, continue to be subjected to (for more on the cultural dimension of the story see here).