Sam Okoth Opondo
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Michael J. Shapiro
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Subalterns “speak”
Migrant bodies and the performativity of the arts
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This chapter turns to the very culture of middle-class households to illustrate how the contemporary globalizing world has unleashed new flows of migrant labor, among which are young women working in homes abroad. With a focus on subaltern characters, investigations in this chapter treat the way their articulation of their precarity can become political critique. It focuses on a critical locus of enunciation supplied by the conditions of migrant female domestic workers as articulated not in ethnographic work that solicits their actual voices, but through a focus on literary and cinematic texts in which the female protagonists compare domestic servitude to colonialism (in the case of Ousmane Sembène’s film Black Girl) and to war crimes (in the case of Zadie Smith’s story, “The Embassy of Cambodia”). Mediated with some thoughts from Gayatri Spivak’s “Can the Subaltern Speak?” and Mahasweta Devi’s short story “The Breast-giver”, we also reflect on the ethical significance of aesthetic interruptions through other genres as illustrated by our reading of images from Ramiro Gomez’s Happy Hills painting and cardboard-cutting series. In effect, the artistic texts we analyze raise an important ethico-political question regarding the effect of capitalist modernization on ethical and domestic life, while provoking us to recognize the ethical weight of proximate and distant others.

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On geo-analysis and the aesthetics of precarity

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