Intermediating the Internet Economy in Digital Livelihoods Provision for
( 2021 ), Work without the Worker: Labour in the Age of
Platform Capitalism ( London and New
( 2012 ), ‘ Labour Brokers in Migration:
Understanding Historical and Contemporary TransnationalMigration Regimes in
This book excavates forgotten histories of solidarity which were vital to radical political imaginaries during the ‘long sixties’. It decentres the conventional Western focus of this critical historical moment by foregrounding transnational solidarity with, and across, anticolonial and anti-imperialist liberation struggles. It traces the ways in which solidarity was conceived, imagined and enacted in the border-crossings – of nation, race and class identifications – of grassroots activists. Exiled revolutionaries in Uruguay, postcolonial migrants in Britain, and Greek communist refugees in East Germany campaigned for their respective causes from afar while identifying and linking up with liberation struggles in Vietnam and the Gulf and with civil rights movements elsewhere. Meanwhile, Arab migrants in France, Pakistani volunteers and Iraqi artists found a myriad of ways to express solidarity with the Palestinian cause. Neglected archives also reveal Tricontinental Cuban-based genealogies of artistic militancy, as well as stories of anticolonial activist networks and meetings in North America, Italy, the Netherlands and Sudan, forging connections with those freedom fighters attempting to overthrow Portuguese colonial rule in Africa. These entwined routes of the 1960s chart a complex map of transnational political recognition and radical interconnections. Bringing together original research with contributions from veteran activists and artists, this interdisciplinary volume explores how transnational solidarity was expressed in and carried through the itineraries of migrants and revolutionaries, film and print cultures, art and sport, political campaigns and armed struggle. It presents a novel perspective on radical politics of the global sixties which remains crucial to understanding anti-racist solidarity today.
Africans have long graced football fields around the world. The success of icons such as Samuel Eto’o, Didier Drogba and Mohamed Salah has fuelled the migratory projects of countless male youth across the African continent who dream of following in their footsteps. Using over a decade of ethnographic research, African Football Migration captures the historical, geographical and regulatory features of this migratory process. The book uncovers and traces the myriad actors, networks and institutions that impact the ability of children and youth across the continent to realise social mobility through football’s global production network. This sheds critical light on how young people are trying to negotiate contemporary barriers to social becoming erected by neoliberal capitalism. It also generates original interdisciplinary perspectives on the complex interplay between structural forces and human agency as young players navigate an industry rife with commercial speculation. A select few are fortunate enough to reach the elite levels of the game and build a successful career overseas. Significantly, the book vividly illustrates how for the vast majority, the outcome of ‘trying their luck’ through football is involuntary immobility in post-colonial Africa. These findings are complemented by rare empirical insights from transnational African migrants at the margins of the global football industry and those navigating precarious post-playing-career lives. In unpacking these issues, African Football Migration offers fresh perspectives on the transnational strategies deployed by youth and young men striving to improve their life chances, and the role that mobility – imagined and enacted – plays in these struggles.
a complex and
translocal understanding of contemporary forms of belonging. Here, it is
productive to turn to cultural geography. In their introduction to Translocal
Geographies: Spaces, Places, Connections, geographers Katherine Brickell and
Ayona Datta explain how the increasing interest in the notion of translocality
has led to a stronger emphasis on local–local connections, situatedness and
‘groundedness’ during transnationalmigration, albeit often with a predominant focus on national boundaries. To depart from the national framework,
they introduce the notion
migration, which is that attempts to achieve transnationalmigration through football are tied up in internal migratory dynamics and (im)mobilities.
‘Trying your luck’ in the Colts league
The idea that young people have agency ‘has become a type of mantra within the social sciences’ (Jeffrey, 2012 : 245); however, a key finding emerging from the literature on children and youth is that the form and nature of this agency is complex. For example, young people's agency in African contexts may not take the form
This book explains how the famous Spanish singer and actress Imperio Argentina starred in a film, Carmen, la de Triana, that was made in Berlin under the auspices of the Third Reich. It examines the Transition between the dictatorship and democratic eras in four films featuring performances in which transgendered protagonists lip-synch to songs from the Hispanic diaspora. The book considers how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. It focuses on one of the most financially successful Spanish films of the last ten years: El otro lado de la cama. The book moves to how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. This was when the Spanish version of British punk's irreverence, playful and disrespectful attitude toward art, bad taste, and corrosive humour nevertheless failed to capitalise on the political overtones of the original movement. The book lays emphasis on music as an indicator of the attitudes, social hierarchies and demarcations of youth but marks a shift in focus towards flamenco. Continuing the interwoven themes of rootlessness and evolution, it examines the diegetic and non-diegetic contribution of songs to representative films of the so-called 'immigration cinema' genre within Spanish cinema. Next come the exploration of transnationalism, migration and hybridity by exploring the role of Afro-Cuban song, music and dance in two films from Mexican cinema's golden age: Salón Méxicoand Víctimas del pecado.
, institutions and networks that often have a vested interest in the movement of players within Ghana and ‘outside’.
Chapter 5 explained how African youth rationalise their entry into the game and their aspirations for spatial mobility through football. In revealing the economic and cultural drivers that influence their decisions to pursue football as a professional career and a potential source of transnationalmigration, we showed how the subjectivities and dispositions of aspirant footballers are best understood when
Given the significant similarities and differences between the welfare states of Northern Europe and their reactions to the perceived 'refugee crisis' of 2015, the book focuses primarily on the three main cases of Denmark, Sweden and Germany. Placed in a wider Northern European context – and illustrated by those chapters that also discuss refugee experiences in Norway and the UK – the Danish, Swedish and German cases are the largest case studies of this edited volume. Thus, the book contributes to debates on the governance of non-citizens and the meaning of displacement, mobility and seeking asylum by providing interdisciplinary analyses of a largely overlooked region of the world, with two specific aims. First, we scrutinize the construction of the 2015 crisis as a response to the large influx of refugees, paying particular attention to the disciplinary discourses and bureaucratic structures that are associated with it. Second, we investigate refugees’ encounters with these bureaucratic structures and consider how these encounters shape hopes for building a new life after displacement. This allows us to show that the mobility of specific segments of the world’s population continues to be seen as a threat and a risk that has to be governed and controlled. Focusing on the Northern European context, our volume interrogates emerging policies and discourses as well as the lived experiences of bureaucratization from the perspective of individuals who find themselves the very objects of bureaucracies.
Deporting Black Britons provides an ethnographic account of deportation from the UK to Jamaica. It traces the painful stories of four men who were deported after receiving criminal convictions in the UK. For each of the men, all of whom had moved to the UK as children, deportation was lived as exile – from parents, partners, children and friends – and the book offers portraits of survival and hardship in both the UK and Jamaica. Based on over four years of research, Deporting Black Britons describes the human consequences of deportation, while situating deportation stories within the broader context of policy, ideology, law and violence. It examines the relationship between racism, criminalisation and immigration control in contemporary Britain, suggesting new ways of thinking about race, borders and citizenship in these anti-immigrant times. Ultimately, the book argues that these stories of exile and banishment should orient us in the struggle against violent immigration controls, in the UK and elsewhere.
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.