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Abstract

This article examines how photographic interviews can be used to represent the life stories of lesbian, gay, bisexual, and transgender refugees. Transnational and cross-border movements have a significant impact on the photographic and narrative self-representation of such refugees. By focusing on the example of a photographic interview project, The Story That Travelled, this article demonstrates how ideas surrounding community, citizenship, and transnational mobility are interpreted and visualized by refugees who have fled their countries of origin because of their sexuality and/or gender. In addition, this article considers how digital technologies impact lesbian, gay, bisexual, and transgender refugees and their experience and negotiation of borders.

Ann Petry, The Street (London: Virago, 2019), 416pp., £9.99 (soft back)

Luis Alberto Urrea, The Devil's Highway: A True Story (New York: Little, Brown and Company, 2004), xxi +239 pp. $16.99 (paperback).

Abstract

Humans and elephants have historically shared the forested mountain ranges of Zomia, a geography defined by the regular movement of people and an ecology shaped by the movement of its elephant population. This article will examine how free-roaming elephant pathways facilitated human mobility in the highlands defining the Indo-Myanmar border. It will analyze the more-than-human agency that emerges when following elephant trails and the varying role this forest infrastructure might have played in the social and political history of the region. The article will explore two historical examples. First, the migration of a Lisu community in Upper Myanmar who utilized elephant paths to navigate their passage. Second, how the British Empire exploited a network of elephant-human tracks to subjugate the peoples living in Mizoram, northeast India. In these regions the patterns of migration, history of colonization, and identities and practices of communities must be understood in relation to wild elephants.

Abstract

This article examines transportation infrastructures’ capacity to produce and transform social space through a focus on the contested history of railway development in Valsusa, Italy. I draw on participant observation and interviews with local residents and activists during ethnographic fieldwork in 2014–2015. I first describe how railways helped form modern sociality in Valsusa in the twentieth century. Subsequently, I explore contrasting topological effects of a projected high-speed rail through the valley. For planners envisioning a trans-European space of exchange, the railway is a powerful way to “shrink” space; for local residents, this implies reducing Valsusa to a traffic “corridor.” Yet their protest generates new social relations and knowledges, giving rise to a notion of “territory” as unbound and connected to a transnational space of resistance to capitalist expansion.

Abstract

This article considers the railways as a decolonial option for moving toward mobility justice. It views the photographic artwork Trained Man by Ngalkban Australian artist Darren Siwes through a mobilities lens, considering how the artist plays with time and attends to space, making visible what colonial projects of protection and assimilation have attempted to erase. Attending to the truths and imaginaries that reside and move with Trained Man, it draws on the work of Aboriginal and Black artists, scholars, and activists to trace Australia's past and present colonial history of training Aboriginal people into whiteness. It considers the railways as carrying “two lines of destiny” with potential moving in both colonial and decolonial directions. The article concludes by suggesting that shared spaces such as the railways open possibilities for mobilizing the decolonial project.

A unique exhibition was held between 19 and 22 September 2018 in the deep blue waters of Amorgos, Greece.1 Amorgos is the easternmost of the Cyclades islands, neighboring the Dodecanese island group. The island's rich aquatic life and architectural beauty featured prominently in French director Luc Besson's internationally acclaimed English-language film on freediving, The Big Blue (Le Grand Bleu, 1988), transforming the island into an international destination for tourists and freedivers. The exhibition, Underwater Gallery: On a Single Breath, was installed at a depth of 7 to 17 meters inside a sea cave in the area of Aghios Pavlos, below the Monastery of Hozoviotissa. Hozoviotissa's famous top-floor window of the “big blue” opens to the Aegean Sea, affording visitors a bird's eye view to the Aegean. It is clear that the gallery's connection to Besson's artwork is indisputable.

Abstract

This article reflects on the dissenting act of mobility as articulated by migrant workers in India, who, during the nationwide lockdown amid the COVID-19 pandemic crisis, are walking back home, hundreds of miles away, in lieu of public transport. Their mobility—precisely, the act of walking—has thus acquired a metaphoric status, and laid bare the ideological practices of territorializing the city-space. This article argues that the migrant worker's mobility, from within the axiomatic of the prevalent “mobility regime,” can be read as a powerful metaphor of our tensions within the global political-economic order that the pandemic has so starkly exposed. The article provokes less literal, but more literary, understandings of mobilities in general, in order to come to grips with the manifold contradictions, paradoxes, and counteractions in the way the world moves.