Immigrant Protest: Politics, Aesthetics, and Everyday Dissent

322 Pages·2014·12.08 MB·English

by  Marciniak & Katarzyna Marciniak & Imogen Tyler

Immigrant Protest
SUNY series, Praxis: Theory in Action
Nancy A. Naples, editor
Immigrant Protest
stuvs
Politics, Aesthetics, and
Everyday Dissent
Edited by
KATARZYNA MARCINIAK
and
IMOGEN TYLER
SUNY
P R E S S
Published by
STATE UNIVERSITY OF NEW YORK PRESS
Albany
© 2014 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever
without written permission. No part of this book may be stored in a retrieval
system or transmitted in any form or by any means including electronic,
electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise
without the prior permission in writing of the publisher.
For information, contact
State University of New York Press
www.sunypress.edu
Production, Laurie D. Searl
Marketing, Anne M. Valentine
Library of Congress Cataloging-in-Publication Data
Immigrant protest : politics, aesthetics, and everyday dissent / edited by
Katarzyna Marciniak and Imogen Tyler.
p. cm. — (SUNY series, Praxis : theory in action)
Includes bibliographical references and index.
ISBN 978-1-4384-5311-8 (hardcover : alk. paper)
ISBN 978-1-4384-5312-5 (ebook)
1. Immigrants—Political activity. 2. Illegal aliens—Political activity.
3. Protest movements. 4. Immigrants—Political activity—Case studies.
5. Illegal aliens—Political activity—Case studies. 6. Protest movements—
Case studies. I. Marciniak, Katarzyna, 1963– , author, editor of compilation.
II. Tyler, Imogen, author, editor of compilation.
JV6255.I56 2014
322.4086'912—dc23 2013044072
10 9 8 7 6 5 4 3 2 1
Contents
List of Illustrations vii
Acknowledgments xi
Introduction: Immigrant Protest: Noborder Scholarship 1
Katarzyna Marciniak and Imogen Tyler
I. The Aesthetic Performance of Immigrant Protest
1. Dare to Wear—a Mosque! Immigrant Protest as
Cross-Cultural Pedagogy 25
Azra Akšamija
2. The Political Aesthetics of Immigrant Protest 45
Rozalinda Borcila˘ with Katarzyna Marciniak
and Imogen Tyler
3. Becoming British: Exploring Citizenship through Arts Practice 63
Lena Šimic´ with Imogen Tyler
4. Border Disorder 81
Alex Rivera with Katarzyna Marciniak
5. Loving the Alien: Indigenous Protest and
Neo-Colonial Violence in James Cameron’s Avatar 97
Bruce Bennett
vi Contents
6. Pedagogy of Rage 121
Katarzyna Marciniak
II. In the Field: Acts of Immigrant Protest
7. On Israel/Palestine and the Politics of Visibility 147
Simon Faulkner
8. Everyday Acts of Resistance: The Precarious Lives of
Asylum Seekers in Glasgow 169
Teresa Piacentini
9. Pushing the Boundaries of Asylum: Everyday Resistance in
Swedish Clandestinity 189
Maja Sager
10. Subjects that Matter? Nonidentitarian Strategies of
Pro-“Migrant” and “Migrant” Protest in Germany 209
Petra Rostock
11. Gender and the Politics of Anti-Racist and 225
Immigrant Protest in Greece
Alexandra Zavos
12. Immigrant Protest and the Courts of Women 243
Marguerite Waller
13. Migrant Resistance and the Anti-Raids Campaign in
London 2012 267
Anti‑Raids Campaign Coalition
14. Afterword: The Human Waste Disposal Industry or
Immigrant Protest in Neoliberal Times 277
Imogen Tyler and Katarzyna Marciniak
Notes on Contributors 291
Index 297
Illustrations
Bullchete, 2011. Courtesy of Alex Rivera xiv
Fig. I.1. Machete, DVD cover, 2011 2
Welcome to Gringolandia, 2006. Courtesy of Xico Gonzalez
and Center for the Study of Political Graphics 22
Fig. 1.1. Survival Mosque, 2005. Courtesy of Azra Akšamija 24
Fig. 1.2. (Left) Switzerland’s anti-Minaret campaign poster from
2009; (Right) anti-Islam poster by the British National
Party 26
Fig. 1.3. Wearable Mosques, 2005. Azra Akšamija 27
Fig. 1.4. Nomadic Mosque, 2005. Azra Akšamija 30
Fig. 1.5. Dirndlmoschee, 2005. Azra Akšamija 32
Fig. 1.6. Dirndlmoschee (video stills), 2005. Azra Akšamij 34
Fig. 1.7. Dirndlmoschee (details), 2005. Azra Akšamija 35
Fig. 1.8. Survival Mosque, 2005. Azra Akšamija 36
Fig. 1.9. Survival Mosque (bag constellation), 2005. Azra Akšamija 37
Fig. 1.10. Survival Mosque (bag constellation), 2005. Azra Akšamija 38
Fig. 1.11. Mirror, 2005. Azra Akšamija 39
vii
viii Illustrations
Fig. 1.12. Speak, 2005. Azra Akšamija 40
Fig. 1.13. Convertible Veil, 2005. Azra Akšamija 41
Fig. 1.14. Nomadic Mosque, 2005. Azra Akšamija 42
Fig. 2.1. We are not alien, we are awesome, 2011. Developed
collaboratively during sign-making event, written by
ten-year-old Josue Herrera. Image by Sarah-Ji 44
Fig. 2.2. Flyers for “Shut Down ICE,” May 15–21, 2012 53
Fig. 2.3. If one is deportable, we are all exploitable—Si uno es
deportabile, todos somos explotabiles, 2011. Sign made
collaboratively. Image by Brett Jenelik 55
Fig. 2.4. End of three day walk to the site of a proposed Immigrant
Detention Camp in Crete, IL, 2012. Image by Juan Ibarra 57
Fig 2.5. Signs carried for three days, left at the site of a proposed
Immigrant Detention Camp in Crete, IL, 2012. Image by
Juan Ibarra 59
Fig. 3.1. Becoming British, 2007. Courtesy of Lena Šimic´ 62
Fig. 3.2. Lena as Medea, in Medea/Mothers’ Clothes. Courtesy of
Lena Šimic´ 70
Fig. 3.3. Lena performs in Blood & Soil. Courtesy of Lena Šimic´ 76
Fig. 4.1. Sleep Dealer, DVD cover, 2008. Alex Rivera 80
Fig. 4.2. Love on the Line (from The Borders Trilogy), 2002.
Alex Rivera 85
Fig. 4.3. A Visible Border (from The Borders Trilogy), 2002.
Alex Rivera 94
Fig. 5.1. “I see into you”: the ethnographic spectacle of Avatar 96
Fig. 5.2. Sully is prepared for the avatar link 99
Fig. 5.3. Sully’s identity is uploaded to his avatar in the film’s
final shot 101
Fig. 5.4. The multiethnic visual coding of the Na’vi 103
Fig. 5.5. Becoming alien: the subjective experience of the
avatar link 107
Fig. 5.6. The heteronormativity of interspecies sex:
Neytiri with Sully’s avatar 111
Illustrations ix
Fig. 6.1. Who’s the Illegal Alien, Pilgrim? 1978. Courtesy of
Yolanda Lopez and Center for the Study of
Political Graphics 120
Fig. 6.2. Frozen River’s landscape 125
Fig. 6.3. Ray and Lila after the rescue 128
Fig. 6.4. Ray at Yankee One Dollar 134
Fig. 7.1. Admit None, 1999. Courtesy of THINK AGAIN
and Center for the Study of Political Graphics 144
Fig. 7.2. The 2010 Avatar demonstration in the West Bank
village of Bil’in. Courtesy of Oren Ziv 146
Fig. 7.3. Khaled Jarrar, “At the checkpoint” exhibition at the
Hawara checkpoint, 2007. Courtesy of Rula Halawani 152
Fig. 7.4. Khaled Jarrar assembling his exhibition at the Hawara
checkpoint, 2007. Courtesy of Rula Halawani 155
Fig. 7.5. Activists in Bil’in make a banner, 2006. Courtesy of
Jacob Ketriol 157
Fig. 7.6. Mock ship used in demonstration in Bil’in, June 2010.
Courtesy of Simon Faulkner 162
Fig. 7.7. David Reeb, Facebook Painting, 2010 163
Fig. 8.1. We Belong to Glasgow, 2010. Courtesy of Cameroonian
Association and Sympathizers in Scotland (CAMASS) 168
Fig. 9.1. Everydayness, 2011. Fia Persson 188
Fig. 10.1. The original photograph of Konstablerwache, Frankfurt
am Main, Germany taken and uploaded by User Melcom
on http://upload.wikimedia.org/wikipedia/commons/b/bf/
Konstablerwache%2C_Frankfurt.jpg. Accessed June 21,
2012. Graphic: Carmen Losmann/Petra Rostock 208
Fig. 11.1. No to Racism from the Baby’s Cot, 2005 campaign.
Collage by Alexandra Zavos 224
Fig. 12.1. At the Court of Women on Poverty in the U.S.
(May 2012), the all-woman bomba ensemble, Las
Bomberas de la Bahia, performed songs and dances of
protest created by seventeenth and eighteenth-century
African slaves in Puerto Rico, 2012. Austin-Long-Scott 242