PUBLIC ART/PRIVATE LIVES

This essay traces a body of work, as it emerges in the space between visual art and an engagement in the public sphere. A range of projects and exhibitions, using photography as medium, is described in the context of a discussion about the complexity of the photographic transaction. All of these projects explore notions of intimacy, pushing at the boundaries between ‘the private’ and ‘the public’ in the South African public cultural domain. The essay focuses particularly on Hotel Yeoville (2010), a participatory public art project-based online and in the library of the old Johannesburg suburb of Yeoville. Yeoville's estimated 40,000 inhabitants are largely disenfranchised migrants and refugees from every part of the African continent. The project comprised a website and an exhibition space with a series of digital, interactive booths in which members of the public were invited to document themselves through mapping, video, photography, text and social media applications. The essay reflects upon the performative, evocative and expressive potentials of the media platforms that could be accessed through the Hotel Yeoville installation and in this particular social and political context asks questions about the photographic encounter and its relationship to self-representation, truth, knowledge and power.     

Migrant narratives as photo stories: on the properties of photography and the mediation of migrant voices

This article examines how the properties of photography might mediate voice, defined as the capacity to speak and to be heard speaking about one’s life and the social conditions in which one’s life is embedded. It focuses on the affordances that the image provides for migrant cultural minorities to articulate such a voice within the context of collaborative research. I look at the case of Shutter Stories, a collaborative photography exhibition featuring the photo stories of Indian and Korean migrants from Manila, The Philippines. Using participant observation data, I show that it was photography’s ability to be all at once indexical, iconic, and symbolic that became important in voice as ‘speaking’. It allowed migrants to tell rich, multimodal narratives about their lives, albeit with some key limitations. I also show that it was photography’s inability to fix meanings with finality that mattered in voice as ‘being heard’. Although the locals who visited the exhibition engaged with the photo stories in an overwhelmingly positive manner, they often did not completely grasp the migrants’ complex narratives. All these data indicate that collaborative photography exhibition projects should not just be about how migrants speak and are heard. They should also be about how migrants can listen, so that they can adjust what they say to how they are being heard. This is a valuable reminder that in conceptualising photography and migrant cultural minority voices, we also need to take into account the broader process of multicultural dialogue.     

‘Familial looking’: Chinese Canadian vernacular photography of the exclusion period (1923–1967)

This essay examines the roles of photographic and oral testimony in the construction of Chinese Canadian family identity during a period of discriminatory immigration laws and family separation. Extending Marianne Hirsch’s idea of the ‘familial look’, I argue that Chinese Canadians deployed photography to serve as visual proxies that could transcend physical border restrictions. By examining the interplay between visual and verbal cues and the entanglement of selective framing and storytelling, I posit that the strategic use of photography was a means of building a material trace of family presence in the face of absence and loss. However, as a medium where distance and absence are inherent properties, photography – when paired with oral history – also reveals gaps and discontinuities in the construction of memory. Containing and activating trans-temporal and transnational narratives, family photographs and oral histories act upon each other, changing the way we interpret each mode of articulating the past. Deployed as forms of énoncés, photographs in this period declared Chinese Canadians as members of a visible citizenry, in spite of barriers preventing their achievement of full rights as Canadians. This research draws from the development of the project Chinese Canadian Women, 1923–1967, an online multimedia resource and digital repository that brings together oral histories and photographic collections of families across Canada.     

Economic Crisis and Migration

This article develops a perspective on African migrant integration, reflecting on the ‘visualization’ of migrant experience. It formulates some considerations on how integration of migrants can be captured, drawing on empirical material from street photography in modern-day Greece. The main research question concerns the role of visual images as sites for the construction and depiction of social difference. In that sense, their meaning goes beyond their content and they act as visual representations of discourses. The paper addresses this issue through a focus on local aspects of integration of sub-Saharan African migrants in the city centre of Athens. Specifically it looks at three themes related to discourses on migrant integration in today's economic crisis: (1) the physical and social environment of marginalization, (2) the migrant body and (3) the fear of the migrant. On the basis of the findings a synthesis is attempted of several parallel existing representations in discourses about African migration. The synthesis betrays the ongoing struggle between, on the one hand, the dominant structures that the state creates to deal with their presence and, on the other, the migrant strategies for adaptation and inclusion, which in turn sustain the mechanisms and form integration takes in this context.     

Empowering,invasive or a little bit of both? A reflection on the use of visual and narrative methods in research with migrant sex workers in South Africa

Although migration plays a critical role in the economic landscape of the world, government officials and researchers do not sufficiently include migration and/or migrants in research studies and development policies. In South Africa, many migrants – both internal and cross-border – engage in informal livelihood strategies, including sex work (see Richter et al. 2012). Currently, the bulk of research that is being conducted in South Africa in the areas of migration and sex work rely heavily on the use of traditional research approaches and focus mainly on concerns surrounding issues of public health, with increased attention to HIV (for example, see SANAC 2013; Scheibe, Drame and Shannon 2012; Scorgie et al. 2011). While this work is invaluable, there is a need for research that can counter the stigma that sex workers overwhelmingly face in light of HIV/AIDS. Participatory visual and narrative research approaches – as part of mixed method study designs – that examine the lived experiences of migrant sex workers can provide important insights that ‘move beyond the polarized and simplistic arguments that have circulated in South African about migrant sex workers’ (Nyangairi and Palmary, 2014, 132). This methodological approach makes important and necessary contributions to national and international discourses on migration and sex work (see Oliveira and Vearey 2015). In addition, these methods provide a unique platform where the normative discourses that portray migrants as a homogenous vulnerable and apolitical group of people can be contested (Palmary 2006). In this article, I present and discuss three participatory visual and narrative research projects that have been conducted with migrant men, women and transgender persons who sell sex in two Provinces of South Africa and examine the suitability of these approaches.     

Social documentary and personal investigations in contemporary South African photography: Tracey Derrick’s “One in Nine” series

A shell of white gauze floats against a split background in Tracey Derrick’s 2009 photograph, Inhabit – Habergeon – middle English, piece of armour to protect the neck and chest (Inhabit), both autonomous and materially frail. The shadowed wall lifts the calcified gauze towards the viewer, as its lithe body hovers above the vertical divide that separates light from dark. This position apart from the edge may be read as a passage missed or overcome. A year of invasive treatment following her diagnosis of stage two breast cancer in March of 2008 led South African documentary photographer Tracey Derrick to create a photographic series that combines her humanist sensibility with personal reflections on illness. Derrick represents meditations on her trajectory through illness in “One in Nine: My Year as a Statistic,” a collection of reposeful digital colour photographs – including Inhabit – that features the cast Derrick made to obtain accurate measurements for her prosthesis. This body of work complicates a widely held assumption that post-apartheid photography in South Africa focuses more on the individual than collective societal issues. Derrick’s unusual series warrants methodological treatment that attends to the complex ways in which the visual vocabulary and concerns of apartheid-era documentary photography overlap with the personal explorations associated with post-1994 photographic production. In this paper, I utilise socio-historical, psychoanalytic and phenomenological readings of Tracey Derrick’s photograph and “One in Nine” series to elicit an interpretation of the image and series as statement of agency within a metaphorical battle against an invisible, yet pervasive disease. By reading Derrick’s photograph through these theoretical lenses, I reveal her image to be a metaphoric assertion of tenacity and Derrick’s agency, and highlight the areas of overlap between Derrick’s documentary practice and her more personal “One in Nine” project.     

Social Capital and Livelihoods in Johannesburg: Differential Advantages and Unexpected Outcomes among Foreign‐Born Migrants,Internal Migrants,and Long‐Term South African Residents

Foreign‐born migrants – a group rarely compared with both internal migrants and long‐term residents – are often positioned as the most disadvantaged South African urban population. We use data from a 2008 cross‐sectional household survey conducted in Johannesburg to compare a contextually relevant measure of social capital and livelihood advantages between foreign‐born migrants, internal migrants, and long‐term South African residents. Our findings are counterintuitive and emphasize the need to explore the heterogeneity of urban migrant populations, and the mechanisms in which they better their lives, by showing that (1) foreign‐born migrants have better urban livelihood outcomes, and (2) indicators of social capital are not necessarily associated with improved livelihood outcomes.     

David Goldblatt’s making visible: photographic strategies of rumination,orchestration and circulation

This article seeks to understand David Goldblatt’s innovations within the ‘documentary’ photography genre. Arguing that his photographic projects seek public intellectual engagement, it proposes that an understanding of the circulation of Goldblatt’s photographs is critical to grasping the public intellectual engagement of his photographic practice. The article tracks the material forms of photographic circulation, including the texts that accompany the photographs and the texts that flow from them, and argues that photographic public discursive interventions are at once visual, but in exceeding the boundaries of the visual also material and textual. This draws together the forms of circulation and the kinds of publics they address and call into being, not only at the time of the initial production and circulation of the photographs, but also in their archive and its impact on subsequent public discursivity about these photographs.     

‘More like a daughter than an employee’: the kinning process between migrant care workers,elderly care receivers and their extended families

ABSTRACT

This paper explores the intersections of formal and informal care in the relationships that develop between elderly care receivers and their families and migrant domestic care workers and their families. The domestic migrant care literature has tended to focus on two main ‘hidden costs’ of this ‘care-chain’: the ‘care exploitation’ of paid carers by their employers and the ‘care drain’ impact on the family members left behind by the migrant. In this paper, we employ a care circulation framework to examine the process of becoming kin-like – or ‘kinning’, which remains relatively under-explored and warrants further research. An analysis of this process of kinning helps to highlight how the domestic space of care receiver homes are transformed – through the negotiation of relationships with migrant care workers – into transnational social fields that bring the diaspora worlds of the migrants into the everyday worlds of the locals.     

A DOCUMENTARY REGIME OF VERIFICATION

This essay is concerned with a critical but under theorized practice of modern society – official identification. It makes two arguments about modern identification technologies: they develop within an archival problematization of identity, and secondly, they should be critically analyzed as practices of verification. Although the essay is historical in focus these two arguments are intended as an intervention in debates about contemporary practices of identification and surveillance. The essay examines the emergence of the passport in the US from the 1850s to the 1930s. The contested development of the conviction that the identity in a passport is in ‘fact’ someone's identity is the subject of this history of the passport. The passport is used to argue that official identification, as a modern problem was rethought as the collection, classification and circulation of information through new bureaucratic logics of objectivity. The subsequent assemblage of modern identification practices formed what is best understood as a documentary regime of verification that produced identity as a stable object critical to the governing practices of the modern state. The passport as a technology of verification foregrounds that the modern production of this ‘official identity’ through documents is collapsed into a truth claim, which presents that identity as self-evident.     

Still face,moving face

The article examines two sets of photographs of the face: first, a set of images by Suzanne Opton of soldiers returned from tours of duty in Iraq/Afghanistan and second, Robert Lyons’ portraits of Rwandans. In conclusion, it looks briefly at Alfredo Jaar’s The Eyes of Gutete Emerita. It explores what pictures of the face can do. Responses to Opton’s images from passers-by who saw them mounted on huge billboards, as well as the photographer’s account of what she thought she was doing, and Lyon’s motives and reactions to his work are examined. Drawing in part on Ariella Azoulay’s political ontology of photography and Jacques Rancière’s notion of the distribution of the sensible, the article asks what it is that these images of the face do, politically, and whether there might be a way in which the face, or its still image, and the event of photography in which the face is embedded, escapes the dominant regime of signification. The article argues that despite its widespread use in practices of biopolitical control, the face, or in some cases its still image, can prompt or generate action and challenge the dominant regime of signification and visibility.     

What people do with pictures

This article argues that there is no single ‘voice’ that picturing makes audible, nor any single image that it makes visible. It examines how members of two different groups – hospital in-patients and homeless people – talk about photographs they had taken using cameras supplied by the researcher. Examples of these photographs are used in the article to examine conventions of picturing, different ways of narrating content and production, and movement of pictures through space and time. The argument is made that these features are variously deployed in explanations of what photographs mean. This leads to the conclusion that what pictures portray and what stories narrate are better thought of as versions of our experience of the world than as constructions of the world that we experience.     

The linear imagination,stalled: changing temporal horizons in migrant journeys

In this article, I engage with a growing interest in questions of time in the study of migration to consider how changing temporal horizons in migrant journeys play an important role in shaping multilocal migration imaginaries. I draw on two ethnographic cases with migrant care workers from the Philippines, of different generations and at different points of their migration journeys, to examine how initially held linear imaginaries of migration become confounded and stuck over time. Snapshots of migrant lives at these different points of the journey – ‘(pre)‐departures’, ‘stepping stones’, ‘settling’ – reveal how migrants’ temporal horizons shift as a consequence of changing state and political‐economic conditions, as well as migrants’ own dynamic subjective and affective engagements. New uncertainties, possibilities and dilemmas unfold and initial linear imaginaries give way instead to those that are open‐ended and asynchronous. A temporal perspective reveals that mobilities are not marked by a beginning and an end but rather involve ongoing, multiple and provisional journeys across locales and over time and the life course.     

Framing interior: race,mobility and the image of home in South African modernity

This paper explores the depiction of dwellings in order to locate the emergence of a particular framing of the interior in South Africa. I suggest that in the first half of the twentieth century, images of domestic spaces pointed both to racially distinct interiors and racialised forms of interiority. As an aesthetic technology of the late nineteenth century, photography aided in the production of visual motifs that fixed the appearance of race in a new way, and located such an appearance in particular places. The visual intertwining of race and place – designating racially proper and improper places – was instrumental to apartheid’s attempt to curtail racial mixing and unregulated mobility. In contrast with the imposed movement engendered by migrant labour, I suggest that the figure of the interior becomes a privileged standpoint from which to view the triumph of race as a form of fixity in modern South Africa.     

Editor's introduction

Documentary photography has always been confronted by criticisms and self-doubts about its method and purpose. Can pictures ostensibly intruding into the lives of the poor and the destitute, whether taken by academics, reformers or professional photographers, ever be legitimate? This article suggests that these concerns actually determine the way mainstream American social photography looks. Such is the case, at least, in a cliché which has run through the US documentary tradition since the 1930s, and which could be labelled ‘doorstep portraits’. Examples drawn from the famous Farm Security Administration archive and from Oraien Catledge's work in Atlanta's Cabbagetown in the 1980s show individuals and families sitting for a picture on the threshold of their house. This image is a meaningful convention because it seems to encode the nature of the relationship between photographer, subject and audience. This ritual ‘presentation of the self’ takes place as the private lives of the sitters are being transformed into public visual discourse through the photographic image. The first part of this paper attempts to define doorstep portraits as a kind of ‘metapicture’ – to use W.T.J. Mitchell's term. The issue of ‘access’ in documentary practice is then briefly described as the methodological problem which this metapicture engages. Erving Goffman's definition of ‘performance’ and Edward T. Hall's proxemics provide a theoretical framework for understanding how this engagement works. Finally, the normative dimension of documentary's visual conventions in the context of liberal reform discourse is re-examined in the light of this model.     

New soldiers and empty boys: imaging traumatic memory

This essay reconstructs one important context for images published by the Vietnam Veterans Against the War (VVAW): the testimonial practices of anti-war veterans. First in small rap sessions, and then in unofficial public hearings, anti-war veterans recollected their war experiences in an effort to inform civilians about the US war in Vietnam, and mobilise them to oppose it. Photographs of introspective veterans – lost in memory – provide a visual idiom for the experience of ‘flashing back’ that was the basis for veterans’ testimony. If these photographs signify the central role of self-reflection in veterans’ anti-war organising, they also imply a distrust of graphic war photography – both images disseminated by the mainstream media and atrocity photographs taken by soldiers themselves. Anti-war veterans worried that war photographs catered to a consumerist appetite for intense, vicarious experience and provoked only a fleeting sense of revulsion. Compounding this distrust of graphic imagery was the circulation of war souvenirs, atrocity photographs taken by soldiers of their dead and wounded victims. Exploring portraiture as an alternative to photojournalism, this essay situates images of introspective veterans in relation to the pioneering activism of the VVAW and allies them with images produced by other activists working in the visual field, focusing on Martha Rosler’s ‘Empty Boys’.     

Who needs Cantonese,who speaks? Whispers across mountains,delta, and waterfronts

This essay digs into the ‘dirtiness’ of cultural studies to prioritize praxis, or as the way my mountain folks collect summer lotus: putting our feet in the muddy water, and finding ways to get the stems underneath the smooth leaves. Using Cantoneseness as a case to locate such ‘dirtiness’, I draw on personal/familial histories as well as research projects to tell how conjunctures of Cantoneseness are politically and unevenly lived. This complex journey travels roughly from my childhood in the Yuebei mountains of northern Guangdong through my teenage and early adult years in the Pearl River Delta (PRD) to my current location as a temporary resident in the East Pacific port of Vancouver. I selectively emphasize and speak on three different locations: first, the rural inland Cantonese location of Yuebei mountains – the borderland and hinterland experiences of my family and myself living what the mountains would offer and how these have changed; second, the industrial superior Cantonese location of PRD in Shenzhen and Guangzhou – my personal experiences and identities as a migrant youth, combined with a case study including interviews with migrant peasant-workers and their children; and third, the western transnational Cantonese location of East Pacific waterfronts in Vancouver and Richmond – my personal engagement with social activism as an ethnicized, international student, combined with a narrative study including interviews with social activists with different Cantoneseness and migration routes. While this mix of whispers speaks in its own way towards using cultural studies with more seriously (global) space-sensitive and (social justice) praxis-sensitive approaches, the primary focus is more modestly on my autobiographical accounts and research efforts as a specific case: to show some strategic locations of ‘Cantonescape’ on the one hand, and to invite wider conversations around cultural-spatial politics on the other.     

JOHANNESBURG INTERIORS

Almost two decades into the post-apartheid era, inner-city Johannesburg – like much of South Africa – remains structured by deeply ingrained forms of physical and imaginative segregation. Building on architect Sarah Calburn's suggestion that one way to address these divisions would be to make the city's external or outside spaces feel more like domestic interiors as well as on the calls of writer Njabulo Ndebele for new forms of public intimacy, this article explores three distinct artistic projects that each attempt to push beyond segregation by opening up private homes for public perusal and/or making public space more intimate and home-like: Kgebetli Moele's novel Room 207, Christoph Gurk's performance art collection X Homes Johannesburg and Terry Kurgan's public photography/digital media experiment Hotel Yeoville. Working with concepts of home, hotels and hospitality, it theorizes the modes of ‘intimate exposure’ these projects enact as forms of hospitality or Derridean ‘hos(ti)pitality’ potentially capable of welcoming diverse groups into a shared public space while at the same time foregrounding inequalities in need of redress. While the role of artistic projects in shaping culture should not be overemphasized, the article also underscores how such works have emerged in contemporary South Africa as vibrant ways of thinking in public and thinking the public.     

Strategic Migrant Network Building and Information Sharing: Understanding ‘Migrant Pioneers’ in Canada

This article explores the migrant networks that develop between migrants, non‐migrants and the larger Indian diaspora. Specifically, it examines the decision to migrate to Toronto, Canada and how this decision is shaped by, and in turn shapes the migrant network. Based on 35 interviews with migrants from Karnataka, South India, two main findings are presented. First, migrants are deliberately choosing settlement countries in which their families are not yet located, thereby becoming “migrant pioneers” in their country of settlement, which is an attempt to expand their migrant networks globally. Second, the narratives these migrants receive and subsequently impart to others are often inaccurate, which can lead to miscommunication flows among these migrant networks. These findings are considered in light of the large body of research on migrant networks and the ways they develop and transmit information. This paper argues that existing understanding of migrant networks is somewhat static. Findings indicate that these “migrant pioneers” may be engaging in global risk‐diversification strategies for subsequent generations, but may themselves suffer from the more immediate consequences of misinformed networks.     

Slave Crucibles: Interstate Migrants and Social Assimilation in the Antebellum South

Between 1800 and 1860 almost a million American slaves were forcibly removed from the Upper South and sent to the Lower South. An outpouring of historical research has greatly contributed to our understanding of the political, economic, demographic and business aspects of interregional slave migration in the antebellum period. As yet, however, relatively few studies have examined the assimilation process of interstate slave migrants. Cast into new slave communities, newcomers were often treated – and felt – like outsiders by their fellow bondspeople, and were forced to utilise various strategies to effect their integration. How did migrants experience the transition to new slave communities? How did they forge new relationships, and what were the bases of these relationships? What institutions and strategies aided in their integration process? And to what extent do their experiences reveal a broad ‘slave identity’ in the antebellum period? This study explores these questions for interstate newcomers in the antebellum South.