DAY FOURTEEN: Challenging sexual humanitarian bordering through co-creative ethnographic filmmaking

Nick Mai shares the trailer to CAER, made in collaboration with Colectivo Intercultural Transgrediendo, and argues for the importance of co-creative ethnographic filmmaking as a strategic methodological approach to challenging the spectacle of victimhood, allowing migrant sex workers and other migrant groups to define victimhood according to their needs, experiences, and priorities.

Nick Mai

Featured image: Image: Still from CAER: Lorena Borjas and Liaam Winslet watching the first version of the film during a co-creative editing feedback session. From Anti Trafficking Review. 

Contemporary times are characterised by the convergence of the inequalities engendered by neoliberal policies and the parallel increase in both migration flows and restrictive migration policies. They are also characterised by the global rise of neo-abolitionist policies attempting to eradicate sex work, framed as sexual exploitation and trafficking, which often translates into harmful policies exacerbating the exploitability and deportability of marginalized, racialized and sex-gendered migrant groups. This convergence is the background for the proliferation of sexual humanitarian biographical borders. These emerge at the interplay between discursive, material and performative practices through which a majority of ‘economic migrants’ are filtered away from a minority of refugees identified according to stereotypical humanitarian understandings of victimhood, abuse and exploitation expressing the sensibilities and priorities of the global north. Co-creative ethnographic filmmaking (ethnofiction) can be a strategic methodological approach to challenge the idealised and stereotypical priorities and categories of victimhood framing sexual humanitarian bordering by allowing migrant sex workers and other marginalised and stigmatised migrant groups to define victimhood in their terms according to their experiences, priorities and needs. 

Watch the trailer to CAER (Caught) here. It was made in collaboration with the Colectivo Intercultural Transgrediendo

Author’s Bio

Nick Mai is a sociologist, an ethnographer and a filmmaker whose writing and films focus on the experiences and representations of stigmatised and criminalised migrant groups. Through co-creative ethnographic films and original research findings Nick challenges prevailing representation of the encounter between migration and sex work in terms of trafficking, while focusing on the complex dynamics of exploitation and agency that are implicated.  Nick is the author of Mobile Orientations: An Intimate Autoethnography of Migration, Sex Work, and Humanitarian Borders (Chicago University Press, 2018).  

DAY FOURTEEN: Heart & Art, a creative program for refugee and asylum seeker women

Amancaya Xristina shares the power of art through her piece on the Heart & Art creative program for refugee and migrant women. By using creativity women reinvent what are those stable values within themselves, that no matter the circumstances they can return to and feel safe.

Amancaya Xristina

Featured image: Artwork created during the Heart & Art creative program. Image credit: Amancaya Xristina

When words are not ready to be shared, painting through its symbols and colors can become a smoother bridge to connect the dots of the past to the future, from loneliness to community, from silence to a story. Heart & Art is a creative and therapeutic program of interaction and exploration where refugee and asylum seeker women from different paths of life meet, create and share. The focus is on community, self-expression and healing from trauma. By using creativity women reinvent what are those stable values within themselves, that no matter the circumstances they can return to and feel safe.

Gender based violence (GBV) is often disguised in subtle forms of living, such as the daily intimidation of survival, or on the uncertainty of where “home” was, is and will be and when can I reach it, how to raise my children through a xenophobic and racist culture? How do we combat GBV through safe and respectful networks of solidarity and how to reinvent oneself in a new culture as a woman and mother?

My most recent insight on GBV and displacement comes from my work in Amurtel Greece, an organization located in the center of Athens, that gives various forms of support to refugee and migrant women in pregnancy, in birth and postpartum. We gather in this safe women’s space once a week, where mothers are able to close their eyes, connect with their breath, choose their brushes and colors, and create. To be in the present for a whole hour without worrying or thinking ahead is a state that is often unthinkable for refugee women, so when they do manage to relax it is a welcome break to them.

In a few cases, some mothers needed and were ready to share their story in detail. This included their stories of abuse and how they conceived their baby, sometimes in a refugee camp or while crossing borders. However, the majority of them need time to build trust and open up. Through art and more specifically through painting, mothers are able to access sensible personal information which is not yet ready to be expressed in words. The “silence” of colors, forms, and symbols has an inner message that has valuable meaning to the mother that creates and gives her an understanding of her present psychological inner state of being.

Painting is a tool that is respectful to the emotional pace of each person; it reveals only what the mother is ready to share to herself and to the group. Expressing through painting is a respectful and essential way of working with possible victims of GBV. Of course, it does not have to be only painting or a specific technique. The idea behind it not just being eager to listen right away for a detailed story expressed orally but employing creativity to access the unconscious information of each person in its own symbolism, rhythm and time.

One of the workshops of Heart & Art is called “Masks & Mirrors”, where we challenge the notion of who we are, how we see ourselves and how others see us. Another expression of GBV for refugee women is self-identity crisis; asking “who am I?” while crossing border to border and when the cultural norms differ. The cultural shock is inevitable and there is a heavy weight on them when they walk in unknown and unfamiliar places.

At the same time in “Masks & Mirrors”, we go deeper and try to look into the different layers of societal perceptions since childhood to adulthood, womanhood, motherhood – the mask of innocence, of being a pure girl, a quiet woman, a caregiving mother. We acknowledge these invisible masks in our self of today and by painting our new mask we redefine who we are and who we want to become.

One mother shared with the group that the white part of the mask represents her early years when she was a girl and a daughter, and the black painted part of the mask represents when she got married. There is no need for further questioning to understand her full story. The image that she portrayed accompanied with her few words reveal her present perception of herself in her story, which she can redefine when she is ready. This first acknowledgement is a valuable step towards healing. Also, various mothers that wear the hijab put make up on their masks – rouge, eyelines and crayons – and they share that this is how they would like to look if they could.

In another Heart & Art workshop called “Mothers within Mothers”, the intention is to honor and heal the intergenerational linkage of mothers within their own mothers and with their children. One of the mothers in the group stayed silent the whole hour but she did paint. Once more the symbols and colors used revealed her story in a respectful, subtle way. From this image alone, we were able to address her need for further psychological support.

I used these few examples from my practical experience with the mothers that visit Amurtel Greece to share my insight on how to approach victims of GBV in transition, in this case refugee and asylum seeker mothers.

Art can reach ones’ truth in a humane, calmer and softer way when words are not ready.

Author’s Bio

I started painting at the age of 24 when I was living in the colorful country of my favorite painter Frida Kahlo, in Mexico. While living in Bolivia I wrote an art visual book of birth stories, painting and poetry called “Birth as you please”. In Latin America, Canada and now in Greece I am coordinating women’s circles using art as a powerful healing tool. I have a degree in Economics, an MBA and a Master’s in Social Development and I am currently studying Art Therapy.

I always say that I started painting to penetrate more into the truth of life where words cannot reach. Creating in groups and especially in a circle is therapeutic in itself since it is a safe space for sharing and connection. I am now conducting in collaboration with various non-profit organizations (IOM GREECE, Amurtel Greece, Caritas Hellas) an art program I call Heart & Art, with refugee women who have deep traumas, but also life teachings of strengths and resilience.  I am always moved by how art can instantly alleviate the human spirit.

Art is more than an expression, it is a human need that connects us to our inner truth and wisdom.

For further information:

https://amancayacreate.wixsite.com/amancayacreate

https://www.barnesandnoble.com/w/birth-as-you-please-amancaya-xristina/1138446248?ean=9781989795088

https://greece.amurtel.org/

https://www.facebook.com/AMURTEL.Greece/

DAY FOURTEEN: The Courts of Women – AWHRC, El Taller International and Vimochana. 

Corrine Kumar speaks about Courts of Women, assembled together in tandem with various organisations, that receive testimonials and offer judgments on different forms of violence like war, militarization, feminisation of poverty. They create possibilities for exchange among women’s and human rights groups and organisations in the regions.  

Corrine Kumar

Featured image: “Women of the court” by Nick in exsilio is licensed under CC BY-NC-SA 2.0.

The Vision 

this eye  

is not for weeping 

its vision must be unblurred 

though tears are on my face 

its intent is clarity 

it must forget  

nothing 

Let us tell you the story of the Courts of Women: 

It was a dream of many years ago; a dream to break the silence that enshrouds the violence; to rewrite women’s histories, to reclaim our memories; to find new visions for out times. To tell our stories not only of pain, but also of courage and survival; to find another logic; another way to know 

It began in Asia through the Asian Women’s Human Rights Council who together with several other women’s rights groups across the Asia and the Pacific has held nine Courts in the region; India held several Courts of Women; El Taller International, a sister organisation based in Tunisia has taken these Courts to the other regions of the world: Africa, Arab, Central and Latin America. 

The Courts of Women are an unfolding of a space, an imaginary: a horizon that invites us to think, to feel, to challenge, to connect, to dance, to dream. It is an attempt to define a new space for women, and to infuse this space with a new vision, a new politics. It is a gathering of voices and visions of the global south, locating itself in a discourse of dissent: in itself it is a dislocating practice, challenging the new world order of globalisation, crossing lines, breaking new ground: listening to the voices and movements in the margins. 

The Courts of Women seek to weave together the objective reality (through analyses of the issues) with the subjective testimonies of the women; the personal with the political; the logical with the lyrical (through video testimonies, artistic images and poetry); the rational with the intuitive; urging us to discern fresh insights, offering us other ways to know, inviting us to seek deeper layers of knowledge; towards creating a new knowledge paradigm. The Courts of Women are public hearings: the Court is used in a symbolic way. In the Courts, the voices of the victims/ survivors are listened to. Women bring their personal testimonies of violence to the Court: the Courts are sacred spaces where women, speaking in a language of suffering, name the crimes, seeking redress, even reparation. 

It speaks of a new generation of women’s human rights. 

It is an expression of a new imaginary that is finding different ways of speaking truth to power; challenging power, recognising that the concepts and categories enshrined in the ideas and institutions of our times are unable to grasp the violence; violence that is not only escalating, but is also intensifying, the forms are becoming more brutal.  

The Courts of Women also speak truth to the powerless, seeking the conscience of the world, creating other reference points than that of the rule of law, returning ethics to politics. It invites us to the decolonisation of our structures, our minds and of our imaginations; subsumed cultures, subjugated peoples, silenced women reclaiming their political voice and in breaking the silence refusing the conditions by which power maintains its patriarchal control.  

It speaks too of another notion of justice; of a jurisprudence, which bringing individual justice and reparation will also be transformatory for all. A jurisprudence that is able to contextualize and historicise the crimes; moving away from a justice of revenge, a retributive justice, to a justice seeking redress, even reparation; a justice with truth and reconciliation; a restorative justice, healing individuals and communities.  

Through its very diverse voices, the Courts of Women attempt to speak of equality, not in terms of sameness, but in terms of difference; a difference that is rooted in dignity that comes from depths, from the roots a people who have been dispossessed and denigrated.  

The Courts of Women invite us to write another history: 

A counter hegemonic history, a history of the margins. The Courts of Women are a journey of the margins: a journey rather than an imagined destination. A journey in which the dailiness of our lives proffer possibilities for our imaginary, survival and sustenance; for connectedness and community.  

The Courts of Women invite us to dismantle the master’s house; for as the poet Audre Lorde says the master’s tools will never dismantle the master’s house. There is an urgent need to challenge the centralising logic of the master’s narrative implicit in the dominant discourses –of class, of caste, of gender, of race. This dominant logic is logic of violence and exclusion, a logic of civilised and uncivilised, a logic of superior and inferior. 

This centralising logic must be decentered, must be interrupted, even disrupted. 

The Courts of Women speak to this disruption; to this trespass. The Courts of Women are about crossing lines, about breaking new ground, about finding new paradigms of knowledge and of politics. 

The Courts of Women are our dreams of trespass. 

Author’s Bio 

Corrine Kumar is Founder and International Coordinator of the World Courts of Women that work with local organizations to assemble these courts that have a different ethos and emphasis. An assembled Jury receives testimonials and then offer judgments that offer a valuable input into local, national and international campaigns against different forms of violence like war and militarization, monoculturalisation and the feminisation of poverty. They contribute to a growing body of knowledge that will help to question, transform and initiate alternative thinking, institutions and instruments which seek to address the violation of women’s human rights at regional, national and international levels. They create possibilities for exchange among women’s and human rights groups and organisations in the regions.  

Over the years the Courts have grown into a movement that has gathered momentum from the time of its inception in 1992 to the over 40 Courts held in the global south; deepening its vision of politics and power, justice and transformation and the making of violence against women unthinkable.   

DAY THIRTEEN: Female genital mutilation, migration and displacement 

In this interview with Juliana Nkrumah, issues of female genital mutilation and how different meanings are affixed to it through migration and displacement are discussed.

An interview with Juliana Nkrumah 

Featured Iimage reproduced from Shutterstock 

What does this year’s blogathon theme mean to you?  

A lot of us think of gender-based violence (GBV) as violence against women – but GBV is wider than violence against women. I see it as societally instituted where social control and social isolation are powerful strategies used to entrench GBV. 

The wars that took place in West Africa in the late 90s and early 2000s in Liberia, Ivory Coast and Sierra Leone forced people to leave their countries and go to places like Guinea and Ghana, and then sometimes resettle in Western countries. These West African countries practisce female genital mutilation (FGM) as a traditional practice, a normal social practice that nobody questions. FGM is seen as a way of strengthening women’s status and position in society, not as GBV.  

It is important to recognise that GBV does not only occur when populations are in conflict, but also in communities where there is a sense of stability. However, where conflict or war displaces people, after social upheaval new understandings of GBV emerge.  

How does the movement of people shape access to communities of care after enduring gender-based violence? 

FGM is a form of gender-based violence. The interesting thing about this type of GBV is that it only affects people who identify as biological females, as the site of violence is the external genitalia of a person born female. When people live in a country, village or community where FGM is not seen as GBV, because the society has forced people to accept this is a way of life -, this is who we are, this is what defines us and sets us apart from other biologically born women -, then there is no question about seeking care because it happens to everybody – 99% in Somalia, 94% in Djibouti, 94% in Guinea. How are you going to seek help if it is not seen as an issue?  

If we focus on the movement of people into diaspora, to a country like Australia where FGM is not an acceptable practice, we see FGM as a human rights violation, and we accept and respond to the health impacts. We create the care and build an environment where women are comfortable to seek help. For example, in maternity care it becomes an issue of life and death, particularly for the most serious types of FGM, where health professionals have no knowledge and skill to deal with it. Gynaecologists and women’s health workers need to be able to respond and make the community feel comfortable approaching communities of care within our health care services.  

But we are currently lacking psychological care in our community. Women who were circumcised before they came to Australia in a sense have learned to deal with it. But the young people are savvy, their culture is not only their parent’s culture, but the global culture. And as a result of that, they are dealing with some deep psychological impacts. We need to grow a community of care for these young women as some of them are really angry and frustrated. Their anger is fuelled by the fact that they feel that beliefs like religion was used to entrench and enforce the practice. They are looking for skilled professionals who they can relate to and who they don’t have to educate about FGM before they can get support. There’s a movement against this type of GBV, driven by the community themselves. The young people are on a trajectory to stop the practice in their community, to say it’s not going to happen to our children, and we are taking control of our community now.  

How might migrant communities practice healing and seek accountability in the absence of legal personhood and formal citizenship? 

In relation to making a change around this form of GBV, I think you need several things to work side by side. The law as a tool of change is powerful in the hands of those who understand community and can use the law to reach community and change a situation. When the laws around female circumcision were introduced in Australia, they were harsh, and the community saw this as a racist response. But the interesting thing is that we took the law and went to the community and said to them, it’s not because they don’t like you or because they’re being racist, we have laws in Australia that protect a human being’s body, just like bicycle helmet and seatbelt laws. This made the penny drop for some communities, they said ‘whoa, the government cares about me and the protection of my body and my children’s body’. The law became a tool for education, leading to change.  

I see changes in understanding of GBV and female circumcision because people are living in a place where outside information can reach them. If there’s no information in community the practice is allowed to continue. There’s evidence to show that when people receive external information, they use that to make an informed decision. In Australia, the law has been a tool of education and what people reverted to for protection when they are under pressure from families overseas to ensure the perpetration of the practice.  

Author’s Bio 

Juliana Nkrumah AM has worked in both State and Commonwealth Government agencies for over 20 years. Her voluntary work in the community sector has gained her much acclaim including the award of Membership of the Order of Australia. She currently works as the Program Manager, Domestic and Family Violence at Settlement Services International (SSI).  

Juliana has been an active advocate on the women’s issues in Australia since 1989; she is especially passionate about Women’s Human Rights issues. Juliana played a leadership role on issues of FGM across Australia whilst working as the Coordinator of the NSW Education Program on FGM in Western Sydney Area Health Services from 1996 to 2005. She continues to be a spokesperson on FGM; and has provided access to training on FGM for a number of women as spokespersons on FGM. 

DAY THIRTEEN: Whom to Blame? Negotiating Vulnerability and Living in Safety in Assam 

In the border state of Assam, India, public discourses often link gender-based violence with immigration but Ivy Dhar offers us a different picture that is more complex. Her research suggests there is no clear connection between immigration and an increased violence towards women and girls.

Ivy Dhar 

Featured image: Scene from a play Labhita. Courtesy of Dwijen Mahanta. Source: Wikimedia Commons. 

Assam, a state in North-East India, has witnessed multiple episodes of ethnic conflict over time. The phrase bahiror manuh (outsiders) has come to largely connote anybody who could not be identified as indigenous to Assam till the 1960s. Its usage further picked up momentum and had the effect of drawing attention to bideshi (foreigners) or undocumented immigrants from Bangladesh in the 1970s and 80s. Post-2000s, those believed to be immigrants have been publicly labelled, almost permanently, as “Assam’s sorrow”. In recent times, smaller indigenous communities have asserted a strong anti-immigrant sentiment.  

It is widely understood that political instability often engenders organised crime. Along with the continued political unrest in Assam, crime against women has increased at a faster pace, which stands to be the highest in India in 2021. Problematic media report in alarmist ways about how migration and demographic changes affect the social milieu. This is, however, not the full picture. 

Growing up in Assam, choosing to migrate in the 1990s to a metropolitan area in search of prospects of education and career, though my research interests kept my interaction intact, I cannot help but question whether the spaces today are in fact more unsafe than before. Dowry was almost unheard of when I lived in the state, whereas today domestic violence and dowry death list as a high concern for Assam among other states of North-east India. Cruelty by the husband and his relatives has a fair share in the numbers as well. Reports disclose that women at home feel unsafe

The narratives that I have gathered through an open-ended questionnaire and unstructured interviews with women and girls (aged 16-49 years) living in urban areas of Assam on why the struggle for women’s safety is so challenging suggests that there is no clear connection between immigration into Assam and the question of women’s safety. One respondent felt that women have become educated and more visible in public spaces, but society remains patriarchal and work-culture demands for mobility push women to further vulnerability.

Domestic violence, abuse, and domination of women in the neighbourhood are regularly observed, and safety is easily compromised. Young girls are targeted in public transport and streets. Women’s vulnerability is highly at stake in spaces that one frequents daily and not only in isolated zones. This is not a recent phenomenon. 

A woman in her 40s observed that teasing or physical molestation was not uncommon in public spaces when she was in her teens, and women of similar age have confirmed such responses. Posing the query alike to girls brought to light that, though teasing is rare, they have come across incidents of molestation in crowded places and perpetrators of sexual harassment were often known to the victims. Girls have disclosed that they feel unsafe going outside the home alone, especially during night hours. They are mostly accompanied by family members. They may also feel uncomfortable wearing clothes of their choice given the public glare. A respondent often advises her teen daughter to come home early, be alert, and remain in a group outside the home so that she stays safe. Interestingly, issues of safety are more openly discussed in the present times by parents and schools but to my understanding, the threat has remained where it was two decades ago.  

The guardians of law and order insist that Assam’s higher crime rate against women is due to higher reporting. In that case, is the state responsive and listening carefully? A respondent rightly pointed out that there seems to be no regulated effort by the state to understand women’s vulnerability.  

A discussion on women’s safety brings the stark existence of patriarchy and misogyny that is often entrenched in everyday practices in more ways than the statistics can reflect. Women respondents have confirmed that sexist slurs are frequently used by men to objectify women.

In social conversation, bonori (unchaste), kulta (woman who has sexual relation with many men) and, kulokhini(attaining dishonour for the kin) all of them denote ‘bad character’ women, who are deemed to tarnish the family image, whereas ghorelu and potibrotastree define women who are of ‘good character’ devoted to home, spouse, and his family. Similarly, mekhelartolorejua is usually addressed to men who have the image of being submissive to women. Such standards and stereotypes harden discrimination in many ways and may pressurise women to give up on many individual pursuits.  

I agree with one respondent that crimes against women are not a result of any one single reason. She noted that immigration has caused anxiety and is suspected to have contributed to the existing crime rate. But these debates about immigration are also ways to make the safety of women a political issue, whereas social and cultural contexts are completely ignored.

Assam’s image as a women-friendly region under threat from immigrants is a generalised notion that clouds a more complex reality.  

Acknowledgement: I am thankful to Papori Das and Jasodhara Borthakur for establishing contact with the respondents.  

Author’s Bio

Ivy Dharis an Assistant Professor at the School of Development Studies, Dr. B.R. Ambedkar University Delhi. She was a Fellow (Junior) at the Nehru Memorial Museum and Library (NMML). She has taken an avid interest in researching the development and political issues of North-east India from the beginning of her academic career. Her broad interest areas are democracy, conflict and gender, water and development, and material culture and have published on related topics in journals and books.