Migrant women’s employment in paid reproductive work through the crisis: the case of Italy (2007-2012)

Paid reproductive work, especially in the case of cleaning and home-care for elderly people, is an important sector for foreign women in Italy. For this reason, since the beginning of the current economic crisis, scholars have wondered about the impact of the recession on migrant domestic workers. They have looked particularly at possible competition with Italian women entering the sector for lack of better alternatives. Our paper takes this discussion a step further by assessing the overall changes affecting migrant women in the Italian labour market, 2007-2012. We will look at how their position has been transformed, by taking both an ethnic perspective, in relation to Italian women, and a gender perspective, in relation to migrant men. By way of a conclusion, the argument will be made that there is a substantial lack of competition between Italian and foreign women in the care and domestic sector due to differences in their earnings, hours of work and activities.

Migrant identities in a new immigrant destination: revealing the limitations of the ‘hard working’ migrant identity

Migrant labour has transformed local economies in many places, often helping to reverse long-term decline. The emergence of new immigrant destinations (NID) globally brings mixed opportunities for the individuals involved. This article uses empirical evidence, focusing on the workplace, to show the performance, construction and significance of migrant identity. By using social identity theory to examine what it means to be a ‘migrant’, it follows from Goffman’s overarching concern with social interactions and his promotion of microanalysis as analytical lenses.
The article reveals the ambiguity of the label ‘migrant’. It shows how the external application or internal enactment of migrant identities bestow particular status that represents an asset or an obstacle to integration. It can mean ‘hard working’, ‘less deserving’ and ‘exploitable’ and it also denotes ‘lazy’ and individuals. While some individuals assume the hard working migrant and ‘exploitable’ identity in certain circumstances because of the benefits that it brings, this status can also cause high levels of dissatisfaction and distress among migrants. The research shows how the creation of a migrant identity limits the structures and networks from which migrants may draw resources and in so doing curtails the possibilities for social change due to migration.

‘New’ migrant identities: unravelling opportunities and restrictions

Labour and capital mobility from globalisation has given rise to significant increases in the reliance of migrant labour in established gateways, but also in new migration destinations. Many aspects of migrant incorporation in new migration destinations have received some attention, not least regarding employer and employee relations. Less attention has been focused on the construction of migrant as a marker of identification, although identities, particularly regarding gender and ethnicity, in the workplace have received considerable attention. This article aims to illuminate knowledge on how migration produces social change thereby responding to a call from Batnitzky et al. (2009, p. 1290) for additional attention on what ‘the practical and symbolic effects of migration are as people move across different structures and institutions of social control….’ Mindful of Goffman’s (1969, 1983) emphasis on individual interactions and experiences, it examines what it means to be a migrant in terms of everyday encounters and experiences. It investigates the array and interplay of internal and external processes that create migrant identities and the implications of this for social integration.

The paper argues that one of the paradoxes of globalisation, and of the associated increased levels of migrant labour, is the construction of the migrant identity that ultimately impedes social integration. It shows how the application of migrant identity (internally and externally) bestows a particular status that affects (options for) individual behaviour and subsequent actions and outcomes. The paper argues that while migrants value the migrant identity status because of the benefits that it brings, this status can also cause high levels of dissatisfaction among migrants and it can exclude migrants from wider benefits of full citizenship. Migrants have individual identification processes, but external forces, including social structures and institutions, also affect migrant identity. These forces help to shape individual expectations and standards, contributing to identity interruption and dissonance.

The paper is structured as follows: it uses social identity theory as a means of understanding what it is to be a ‘migrant’ in a new destination, while simultaneously recognising the inevitability of this generic label - migrants are an extremely heterogeneous group, made up of individuals with different experiences, values and so forth. The analysis considers the significance of context and of social interactions, thus paying attention to how identity is constructed and performed by the individual and also assigned by others. Empirical evidence is used to examine how having a migrant status affects individual prospects. The paper evaluates the extent to which patterns and processes of migration present an opportunity for social change, positive or negative.

The Re-Enchantment of Surrealism: Remedios Varo’s Visionary Artists

The visionary prowess of the artist was established, in both the visual and verbal arts, by the Symbolists in Fin de siècle France. This article asserts a continuity between the avowed spiritual dimension of their work and the visionary power of surrealist art asserted—despite strong resistance from the centre—by a group of renegade surrealists in the 1920s and beyond. To do so, it explores the artists that Spanish-born Mexican painter Remedios Varo (1908 – 1963) depicts in her work, demonstrating how they might be better understood when analysed in relation to Georges Ivanovich Gurdjieff’s (1866?-1949) esoteric aesthetics. In doing so, it reveals a neglected, postsecular trajectory in the history of surrealism.

Towards an Asynchronous Cinema: how can the asynchronous use of sound in artists' moving image underpin the creation of dialectic tension between the audio, the visual and the audience?

This PhD by publication examines selected practice-based audio-visual works made by the author over a ten-year period, placing them in a critical context. Central to the publications, and the focus of the thesis, is an exploration of the role of sound in the creation of dialectic tension between the audio, the visual and the audience. By first analysing a number of texts (films/videos and key writings) the thesis locates the principal issues and debates around the use of audio in artists’ moving image practice. From this it is argued that asynchronism, first advocated in 1929 by Pudovkin as a response to the advent of synchronised sound, can be used to articulate audio-visual relationships. Central to asynchronism’s application in this paper is a recognition of the propensity for sound and image to adhere, and in visual music for there to be a literal equation of audio with the visual, often married with a quest for the synaesthetic. These elements can either be used in an illusionist fashion, or employed as part of an anti-illusionist strategy for realising dialectic. Using this as a theoretical basis, the paper examines how the publications implement asynchronism, including digital mapping to facilitate innovative reciprocal sound and image combinations, and the asynchronous use of ‘found sound’ from a range of online sources to reframe the moving image. The synthesis of publications and practice demonstrates that asynchronism can both underpin the creation of dialectic, and be an integral component in an audio-visual anti-illusionist methodology.

Chinese Migrant Workers in Kenya: Their Health Status and Access to Health Care

Thesis (Master's)--University of Washington, 2016-06

Shakespeare and the Re/Vision of Indian Heritage in the Postcolonial British Context

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.

“The Secret Garden”: Artists, Bohemia and Gentrification in the Ouseburn Valley, Newcastle upon Tyne, UK.

Research has pointed to the importance of artists in the early stages of gentrification; however, few studies have examined specifically the meaning of gentrification and place-change from the perspective of artists themselves, and few studies have investigated the role of ‘creative city’ policies as unintended drivers of gentrification processes. This study generates insights into artists’ own views of gentrification processes within the gentrifying bohemia of the Ouseburn Valley in Newcastle upon Tyne in the North East of England. We stress that gentrification in this area cannot solely be understood as a process of displacement, but is also clearly linked to the growth of modes of regulation and commercialisation within social space. Increasing regulation, brought about by greater local state focus on ‘creative districts’, has impacted the Valley. Alongside this, projects of property development as well as a general growth in the popularity of the Valley as a nightlife consumption district and area of production for commercially-orientated creative class workers have challenged artists’ values of the area as a ‘secret garden’ where romantically inflected values of self-expression, autonomy, spontaneity and non-instrumental artist cooperation can be found.

Tangible mobile app store design for China's new generation migrant worker

China has the largest numbers of Internet users and mobile phone subscribers in the world, as well as the most extensive peacetime internal migration on the planet. Mobile phone uses play a very important role in migrant responses to alienation and discrimination. There are 150 million to 200 million migrant workers in China, 60% of them are the second-generation migrant workers. They support the nation’s manufacturing and industry. The majority of these individuals is poor and is from rural areas of the country. These young people are currently ignored by mainstream mobile device manufacturers, even though this constituency will be a growing consumptive segment in the future. Thus, my research will target the new-generation migrant workers in China, and concentrates on their mobile lives to best develop a tangible mobile devices application store that will improve their mobile experiences.

The incorporation of violence by women video artists

This paper examines the way in which women video artists embodied violence in their video pieces as a strategy of critique of the patriarchal regime. Since the 1960s several generations of women artists used different strategies of self-harm or explored the physical and mental limits of their bodies to express the anguish of those who are excluded from the patriarchal society on sexist and/or racist grounds. Considering the guiding line that covers three fields – art, gender, and feminist social movements – as well as their key thinkers and scholars in Sociology, Fine Arts and the Humanities, we have built the object of study of this essay, namely, the relationship between women's video art focused on the body, violence and gender along with feminist social movements in the period ranging from 1967 to 2007, in a Western context. The methodology used had as its primary goal to create a link between the micro-sociological level of expressions, body gestures and behaviours in the videos and the macro-sociological level of broader, institutionalized social forces that are at the origin of inequalities, such as dimensions of gender and «race». This study concluded that at least since the 1960s there is the denunciation by women video artists of the general circumstances women live under, while enduring violence of various kinds, such as socio-cultural, psychological and sexual violence against women.

Playing Miami : Afrocuban performance artists negotiating cubanidad

The social scripts that are deeply involved in cultural production by AfroCuban identified artists in Miami, during the late nineties to the present, participate in a climate that is informed by and feeds from the so-called Latin Explosion of this time period. More specifically, varying historical, socioeconomic, and geopolitical trajectories have placed Africa and African-based religion and cultural production (via music and theatre) at the center of Cuban national identity. The purpose of this study is to facilitate a discussion of the experiences of AfroCuban performance artists and the climate for production, given the aforementioned dynamics, in mass media. These experiences are directed by a study of transnational structures for cultural production (including the more recent memory-shadow of hip-hop culture in Cuba) and discourse that engages theories of modernity, authenticity, and resistance. Through the interventions of artists, producers, and distributors via their art and business, the text identifies and resists the pervasive oppression of stereotype, dehumanization (Othering), and essentialism.

Determining conservation priority areas for Palearctic passerine migrant birds in sub-Saharan Africa

Migratory bird species breeding in the Palearctic and overwintering in sub-Saharan Africa face multiple conservation challenges. As a result, many of these species have declined in recent decades, some dramatically. We therefore used the best available database for the distribution of 68 passerine migrants in sub-Saharan Africa to determine priority regions for their conservation. After modeling each species’ distribution using BIOMOD software, we entered the resulting species distributions at a 1° × 1° grid resolution into MARXAN software. We then used several different selection procedures that varied the boundary length modifier, species penalty factor, and the inclusion of grid cells with high human footprint and with protected areas. While results differed between selection procedures, four main regions were regularly selected: (1) one centered on southern Mali; (2) one including Eritrea, central Sudan, and northern Ethiopia; (3) one encompassing southwestern Kenya and much of Tanzania and Uganda; and (4) one including much of Zimbabwe and southwestern Zambia. We recommend that these four regions become priority regions for research and conservation efforts for the bird species considered in this study.

Romano-British wall-painting fragments: a spectroscopic analysis

Raman spectroscopic analyses of fragmented wall-painting specimens from a Romano-British villa dating from ca. 200 AD are reported. The predominant pigment is red haematite, to which carbon, chalk and sand have been added to produce colour variations, applied to a typical Roman limewash putty composition. Other pigment colours are identified as white chalk, yellow (goethite), grey (soot/chalk mixture) and violet. The latter pigment is ascribed to caput mortuum, a rare form of haematite, to which kaolinite (possibly from Cornwall) has been added, presumably in an effort to increase the adhesive properties of the pigment to the substratum. This is the first time that kaolinite has been reported in this context and could indicate the successful application of an ancient technology discovered by the Romano-British artists. Supporting evidence for the Raman data is provided by X-ray diffraction and SEM-EDAX analyses of the purple pigment.

here/there/then/now

here/there/then/now was a practice-led research project that brought together 10 independent artists in dance, music, theatre and visual/media arts to create a site-specific program within the walls of the Brisbane Powerhouse. The purpose was to explore how to best conceive flexible performance platforms, theatricalise site-specific work and engage new audiences through forms of promenade experience that could provide open choices on how and where to view it. The sold out season of 6 performances, which took place 14-19 May 2002, presented three discrete performance installations set in intimate parts of the building, each with their own aesthetic and communicative intention, culminating in a fourth in-theatre installation, where memories of the first three coalesced and were reinterrogated. Each site thereby investigated meaning-making via the moving body and its critical relationship with space and objects, in a dramatic re-contextualisation of traditional solo dance forms, now re-articulated through interdisciplinary practices. The benefit of this approach was the creation of a layered and multimodal experience that could be both shared and subsequently critiqued by performers and audience alike.

Calling Home

Through the exhibition implicit conceptions of home held by the participating artists and those viewing the exhibition were externalized. Represented as images, the conceptions conveyed different as well as shared understandings categorized as physical, cognitive, emotional, instrumental and existential. Unlike written papers on the meaning of home, the exhibition enabled access to a richer understanding of home as facilitating a way of being-in-the-world.