On Both Sides of the Border ââ⦠Women Art Still Being Murderedã¢ââ

Border Art is a contemporary art exercise rooted in the socio-political experience(s), such every bit of those on the U.S.-Mexico borderlands, or frontera. Since its conception in the mid-lxxx'southward, this creative practice has assisted in the development of questions surrounding homeland, borders, surveillance, identity, race, ethnicity, and national origin(s).

Border art as a conceptual artistic practice, however, opens upwardly the possibility for artists to explore similar concerns of identity and national origin(s) but whose location is not specific to the Mexico- U.s. border. A border can be a division, dividing groups of people and families. Borders tin include but are not express to language, civilization, social and economic class, organized religion, and national identity. In improver to a division, a border tin can likewise conceive a borderland surface area that can create a cohesive community carve up from the mainstream cultures and identities portrayed in the communities away from the borders, such as the Tijuana-San Diego border between Mexico and the United States.

Edge fine art can be defined as an art that is created in reference to whatsoever number of concrete or imagined boundaries. This art tin can but is not limited to social, political, concrete, emotional and/or nationalist issues. Border art is non confined to one particular medium. Border fine art/artists often accost the forced politicization of homo bodies and physical land and the arbitrary, however incredibly harmful, separations that are created past these borders and boundaries. These artists are oft "border crossers" themselves. They may cross borders of traditional art-making (through performance, video, or a combination of mediums). They may at once exist artists and activists, existing in multiple social roles at one time. Many border artists defy easy classifications in their artistic practice and piece of work.

History of border fine art specific to the Mexico-U.s.a. border [edit]

Ila Nicole Sheren states, "Border Fine art didn't get a category until the Border Art Workshop/Taller de Arte Fronterizo (BAW/TAF). Starting in 1984, and continuing in several iterations through the early xx-first century, the binational collective transformed San Diego-Tijuana into a highly charged site for conceptual operation art ...The BAW/TAF artists were to link performance, site-specificity, and the U.S.-Mexico Border, too as the showtime to export "border art" to other geographic locations and situations."^[1] A proponent of Border Art is Guillermo Gómez-Peña, founder of The Edge Arts Workshop/Taller de Arte Fronterizo.^[2] The Edge Arts Workshop/Taller de Arte Fronterizo pioneered tackling the political tensions of the borderlands, at a time when the region was gaining increased attending from the media due to the NAFTA debates.^{[ commendation needed ]} The contradiction of the border opening to the free flow of capital but simultaneously closing to the flow of immigrants provided the opportunity to accost other long-existing conflicts within the region.^[iii]

Antonio Prieto argues that "Equally opposed to folk artists, the new generation belongs to the centre class, has formal training and self-consciously conceives itself equally a producer of 'border art.' Moreover, their art is politically charged, and assumes a confrontational opinion vis-à-vis both Mexican and U.S. government policies."^[3]

In their introduction to the exhibition, La Frontera/The Border: Fine art About the Mexico/United states of america Border Experience, Patricio Chávez and Madeleine Grynstejn state, "For the artists represented here, the border is not a physical purlieus line separating two sovereign nations, but rather a identify of its own, defined by a confluence of cultures that is not geographically bounded either to the north or to the south. The border is the specific nexus of an authentic zone of hybridized cultural experience, reflecting the migration and cross-pollination of ideas and images between different cultures that ascend from real and constant human being, cultural, and sociopolitical movements. In this decade, borders and international boundaries accept become paramount in our national consciousness and in international events. As borders define the economy, political ideology, and national identity of countries throughout the earth, so we should examine our own borderlands for an understanding of ourselves and each other." Prieto notes that "While the first examples of Chicano art in the late sixties took up bug of land, community and oppression, information technology was not until later that graphic artists like Rupert García began to explicitly depict the border in their work. García's 1973 silkscreen "¡Cesen Deportación!," for example, calls for an stop to the exploitative treatment of migrant workers who are allowed to cross the border and are then deported at the whim of U.Southward. economic and political interests."^[3]

Prieto notes that for Mexican and Chicano artists, the aesthetics of rascuache created a hybrid of Mexican and American visual culture. While it does not have an verbal English translation, the term, rascuache, tin can exist likened to the artistic term, kitsch. It translates most closely from Spanish equally "leftover" with a sensibility closest to the English term, kitsch.^{[ commendation needed ]}

Photographer David Taylor focused on the U.S.-United mexican states border past following monuments that mark the official borders of the United States and México outlined as a result of the 1848 Treaty of Guadalupe Hidalgo. He quotes on his website, "My travels along the border have been done both alone and in the company of agents. In full, the resulting pictures are intended to offer a view into locations and situations that we generally do non access and portray a highly complex physical, social and political topography during a period of dramatic change." In his projection, Taylor has covered concrete borders by documenting the surroundings and landscape along the border just besides addresses social issues by engaging with locals, patrolman, smugglers, and many other people living in and being afflicted by the U.S.-México border. He also chooses to address political issues by focusing on the large issue of drug trafficking.^[4]

[edit]

Edge Tuner is a project by the Mexican-Canadian Creative person Rafael Lozano-Hemmer that explores connections which exist between cities and people on either side of the Mexico - United States border. Situated in the El Paso / Juarez borderlands, this interactive work utilizes large searchlights as a means for participants on either side of the edge to communicate with one another. When one axle of low-cal interacts with some other, a microphone and speaker automatically switch on allowing participants on both sides to communicate across the hardened infrastructure which divides their two countries. The searchlight, most normally used in applications of surveillance and apprehension of migrants by the United States Border Patrol is 1 of the symbols which Lozano-Hemmer subverts in his piece of work. Of this loaded symbol he says: "I find searchlights absolutely abhorrent, that's why I must work with them."^[5]

Borrando La Frontera (Erasing the Border) by Ana Teresa Fernandez challenges the materiality of the U.S./United mexican states border through its erasure of the structure. In the film, Ana Teresa Fernandez hopes to "[turn] a wall that divides into the ocean and the sky that expands" into a symbol for potential future mobility.^[6] By making the border the same color as the sky, rendering information technology invisible, the creative person draws attention to the naturalized sense of nation in opposition to the natural landscape. The artist creates new meaning for the sky'due south natural bluish color, as she uses it to symbolize a geography with open up borders and freedom of motility. By painting this idea over the border contend, Fernandez and her collaborators The film also emphasizes the natural elements of the scene The birds' and the water'due south movement, unfazed by the fence, adjure to the redundancy of the fence and the politics of the U.S./Mexico border. Artesania & Cuidado (Craft & Care) by Tanya Aguiñiga serves as a collection of the artists work in activism, blueprint, and documentation. Specifically, Aguiñiga'southward entry way to the gallery sets the tone for the exhibition.^{[ citation needed ]} Aguiñiga is too responsible for AMBOS—Art Fabricated Betwixt Opposite Sides. The project consisting of artworks fabricated that foster a sense of interconnectedness in border regions. The project is multifaceted and presents itself in the course of documentary, activism, community appointment, and collaboration to activate the U.South./ United mexican states border, exploring identities afflicted by the luminal zone of the border and to promote good for you relationships from one side of the border to the other.^[vii]

"Globe Trade Center Walk" by (Philippe Petit) Called the "artistic crime of the century," Petit'southward daring feat became the focus of a media awareness. On the morning of August 7, Petit stepped onto the tightrope, which was suspended between the ii towers. A oversupply of thousands soon gathered to watch the man on the wire more than than one,300 feet above them. For 45 minutes, Petit practically danced on the sparse metal line. He was arrested for his efforts and was ordered to give a performance in Cardinal Park as his sentence.^{[ commendation needed ]}

Another creative person tackling the contentions of the Us/Mexico border is Judi Werthein, who in 2005 created a line of shoes titled, Brinco, Spanish for the word Bound. These shoes would exist distributed, costless of charge, to people in Tijuana looking to cross the border. Werthein explains, "The shoe includes a compass, a flashlight considering people cross at dark, and inside is included also some Tylenol painkillers because many people get injured during crossing." Additionally, the shoes featured removable soles with a map of the San Diego/Tijuana border, specifically indicating favorable routes to take. On the back of the talocrural joint of the shoe is an image of Toribio Romo González, the saint dedicated to Mexican migrants. The shoes themselves were made cheaply and mass-produced from China, imitating the means of production abused by many American companies. These shoes would besides be sold in small boutique shops in San Diego for $215 a pair, advertised to the higher class audience as "one-of-a-kind art objects." The profits of this venture would and so be donated to a Tijuana shelter aiding migrants in need.^{[eight] [ix] [10]}

Jorge Rojas'due south performance art is complex in its approach of reflecting his cantankerous-cultural experiences in both Mexico and America. Rojas was born in Morelos, Mexico, and at present lives in Salt Lake Urban center, Utah. This change in residence has informed the changes in his work regarding his feelings of home vs. homeland. His work examines this change in homeland in means that highlight his foreignness and his awareness of both cultures. His functioning pieces frequently combine Mexican cultural themes with a performance style that creates a new space to identify the abiding change in cultural identity.^{[ citation needed ]}

Shinji Ohmaki'south piece "Liminal Air Infinite-Fourth dimension" talks near the concrete sense of liminal space, and how this represents a boarder. this liminal space is represented by a thin white piece oh clothe that blows in the air. The use of vents underneath constantly keeps information technology floating in the air. Ohmaki says, "The cloth moves up and down, causing a fluctuation of the borders that divide various territories… some people they will feel that time is passing quickly While others might feel that time is being slowed downwardly. By tilting the sensations, a dimension of fourth dimension and space that differs from everyday life can be created." So just like and actual boarder you get a sense of not knowing whee you are and how long you volition exist stuck float in the air.^[eleven]

History of edge fine art specific to Palestine-Israel [edit]

In June 2005, performance artist Francis Alÿs walked from one end of Jerusalem to the other performing The Green Line. In this operation, Alÿs is carrying a can filled with light-green paint. The lesser of the can was perforated with a small hole, so the paint dripped out as a continuous squiggly line on the ground as he walked. The route he followed was one drawn in greenish on a map as part of the ceasefire after the 1948 Arab-Israeli War, indicating state under the command of the new state of israel. Alÿs restricted his walking to a 15-mile stretch through a divided Jerusalem, a hike that took him downwards streets, through yards and parks, and over rocky abandoned terrain. Julien Deveaux documented the walk alongside Alÿs.^{[12] [13] [14]}

Artist invested in Palestine/Israel fine art: Sama Alshaibi: A well known artist that uses her body as an instrument for her artwork. Focuses the context of double generational deportation also every bit the notion of being "illegal" in the United States every bit described every bit psychological deportation. Her trunk serves equally an "allegorical sight" and "captures feminine perspective." She focuses on portraying the life of a displaced Palestinian adult female who immigrated to the The states at an early on age with her family. She also describes information based on embroidery with Palestinian and Arab women. Some of her artworks are: Milk Maid, Deport Over, Together Apart, and Between Two Rivers. ^{[ citation needed ]}

International artists and their influence [edit]

In that location have been several artists from other countries who have come to the Israeli Westward Bank barrier and used the wall itself as a canvass to express their condemnation of its establishment. They have worked in hand with local Palestinian street artists also to express their sentiments and ultimately get beyond their bulletin.^[15] These much more than well known international artists have also aided in turning the public eye to the disharmonize that is occurring betwixt Palestine and State of israel. Many of the artists that work on the separation barrier have taken something that is perceived as an instrument of segmentation and thus turned it into the canvas in which they create their message.^{[ citation needed ]}

Banksy [edit]

Banksy, Pigeon, 2008, Bethlehem, Palestine.

The anonymous, U.k.-based artist, Banksy, is a prominent figure in the way individuals take used the separation wall every bit surface to express their dissent for its establishment. He has used the dimension of the wall, the partitioning it represents, and the context behind it to make works that succeed in their environment. 1 of his more pop works depicts a dove, a symbol of peace, juxtaposed with it wearing a bullet-proof belong. Here, it can exist inferred that Banksy is trying to express that there is a want for peace betwixt the two nations, yet given the history of violence, they must exist prepared for disharmonize. Essentially, he is demonstrating the fake sense of peace that is being generated as a byproduct of this wall.

Banksy, Children with Paradise Mural, 2005, Bethlehem, Palestine.

Other works Banksy has washed over the years also including creating optical illusions to break up the solidarity of the wall. He tries to emphasize the elements of a barrier, how it divides up space and creates a disconnect from the globe effectually the viewer. He has works such every bit children in front of a "hole" in front of the wall that reveals a paradise, a world unseen past the viewer due to the obstruction by the wall.^[16]

Banksy has expressed his different opinions on the Israeli-Palestine conflict and the experiences he has encountered while working on border art. An oft cited chat between Banksy and a Palestinian human being helps illustrate the sentiments towards the wall from the Palestinian perspective:

"Erstwhile human being: Y'all paint the wall, yous make information technology look beautiful.

Me [Banksy]: Thank you.

Old man: We don't desire information technology to be beautiful, nosotros detest this wall. Go home."^[fifteen]

The gravity of this conversation demonstrates how border art can have a political message or help a group of people limited their opinion, even so information technology the art cannot take away the wall. In this interaction, the wall is the antagonist to the Palestinian people and whatsoever endeavour to beautify the wall is rendered useless because it does not remove the rift that is produced.

Banksy has made other comments regarding the size and calibration of the separation barrier in regards to how it essentially isolates the Palestinian population, most surrounding them on every side. He says, "It essentially turns Palestine into the globe's largest open-air prison house."^[16]

Swoon (artist) [edit]

Swoon, Lace-Weaving Woman, 2009, Bethlehem, Palestine

Another artist is American born street artist, swoon, who has worked on the separation bulwark as 1 of the few prominent female person artists that have influenced the male person dominated earth of street art. Swoon is instrumental to creating a female person narrative in this increasingly studied expanse of fine art. Many of her pieces draw women as the key figures and protagonists of their corresponding compositions and ultimately gives some other perspective to the border art phenomenon.^[15] Her edge fine art on the separation barrier focuses on the characteristics of calibration and location, causing the viewer to comprehend the sheer size of the wall in relation to the body. Swoon explains why scale is important to her by saying, " '...I think it's important that people understand the scale of it because it helps in understanding the grotesque power imbalance that the Palestinian people are facing.' "^[15] By creating this contrast in size of the viewer to her art work, it causes the individual to question the wall, bring attending to information technology, and consider the lengths State of israel has taken to protect itself from external forces.

One of her works that demonstrates this concept is that of her Lace-Weaving Woman, here the subject rises about halfway up the wall and looks every bit if she weaving her skirt. The action of weaving here implies a sense of unity, and in its context is juxtaposed as the wall is symbolized as division.^[15] Other pieces past Swoon have been focusing on location such every bit creating art where a Palestinian youth had placed a Palestinian flag at the superlative of the barrier so was subsequently arrested by Israeli officials. Swoon has not given definitive meanings backside her work, and allow the viewers to translate these spaces where she has worked and how her fine art has changed it, if at all.

Conceptual border(southward) [edit]

Borders tin also be conceptual. For instance, borders between social classes or races. Gloria Anzaldúa'southward conceptualization of borders goes beyond national borders. Anzaldúa states: "The U.S.-Mexican border es una herida abierta where the Third World grates against the first and bleeds. And before a scab course, information technology hemorrhages again, the lifeblood of two worlds merging to form a third country - a border culture." Anzaldúa as well refers to the border as being a locus of rupture and resistance; fragmented.^[17]Borderlands. Border artists include Ana Mendieta, Guillermo Gómez-Peña, Coco Fusco, and Mona Hatoum.

Conceptually speaking, borders, as discussed by Claire Fox, can be found anywhere; it is portable. Specially wherever poor, ethnic, immigrant, and/or minority communities collide with hegemonic society.^[18]

Prieto notes that "This double task --existence critical while at the same fourth dimension proposing a utopian borderless future-- was undertaken with the tools of conceptual art."^[three] Conceptual art was a European avant-garde creative practice which focused on the intellectual development of an artwork rather than fine art as object.

Border is further discussed in Adalbarto Aguirre Jr. and Jennifer K. Simmers bookish journal and discusses the fluidity of borders saying that"The border merges country and people into a shared torso of social and cultural representation." The article also continues on saying that the meaning of border changes with the people that experience them.^[19]

Sheren additionally echoes that "'Edge' began to refer to a variety of not-physical boundaries: those between cultural or belief systems, those separating the colonial and the postcolonial, and even those demarcating diverse kinds of subjects."^[1] In this way, borders transcend physicality and become 'portable'.

In a conceptual mindset, the human being body can be viewed as a borderline. This is explored in Gloria Anzaldua's article La Frontera = The Edge: Art about the Mexico/United States Border Experience. ^[20] She discusses at length the Layers of our identities and how we become these boundaries within our environment. She mentions the dynamics that affect our identities such as sex, gender, teaching, ethnicity, race, form, etc. The author questions if these are equal parts or are pieces of our self more prevalent due to our surroundings? She speaks about the concept of unified consciousness, a mix of identity from the universal commonage in human existence. She continues by saying we must clear a person not categorized by one affair but every bit a history of identities such as student, mother, sister, brother, teacher, craftsman, coworker, etc.^{[ citation needed ]}

Some other individual who also explores ideas of the human body acting equally a conceptual edge is Sama Alshaibi. This is expressed in her personal essay and art titled Memory Work in the Palestinian Diaspora. ^[21] In contextualizing her art work that is mentioned later on in the slice, she discusses her and her family's personal history. "My trunk, pictured in my American passport, had the ability to travel and move freely in this earth and could come up back to the U.Due south. and speak for those whom I met in Occupied Palestine, confined to a single metropolis and cutting off from the world past massive walls."^[22] After referencing her ain personal and familial narratives, Sama then shifts her discussion toward utilizing her trunk once again within her fine art; her body acts as "a vehicle to embody and illustrate visual narratives of the Palestinian past and present." Overall, her photographs and videos depicting her body at the heart of focus are all in an attempt to construct a "collective memory," "...[a memory] which culminates in a different mediation of history, one that resists the "official" and mediated history Palestine and Israel.^[23]

Stuart Hall^[24] also elaborates on the concept of identity in his article: Ethnicity, Identity, and Difference. He replaces the idea of an intersectional identity model with a layered identity model. The layered model lists titles of identity inside one person in order of which is more than prevalent depending on the circumstances. The intersectional is outdated due to the idea of having i central identity and branching off of it is a multitude of descriptions such every bit race, class, and gender.

Trinh T. Minh-ha additionally observes "boundaries non only express the want to gratis/to subject area one practice, one culture, 1 national community from/to some other, but also expose the extent to which cultures are products of the standing struggle between official and unofficial narratives–those largely circulated in favor of the State and its policies of inclusion, incorporation, and validation, also every bit of exclusion, appropriation, and dispossession."^[25]

Patssi Valdez touches on the idea of the border in her screenprint, "L.A./TJ." Valdez is an American Chicana creative person currently living and working in Los Angeles. Dissimilar almost who hear the word border and immediately assume separation, her idea of a border is a frame. Seen in L.A./TJ, Valdez frames the two cities, thus exaggerating the idea of mixing reality rather than separating the two. This mixing of reality is a symbol of her belonging and interacting with both Mexico and the United States.^{[ citation needed ]}

Expanding notions of "Border Art" [edit]

At that place exist inherent difficulties in articulating the traumas of the Holocaust. The fine art created between direct and post-generational participants redefines notions of "memory-as-border." In other words, agreement the notions of "edge" becomes complex in relation to firsthand and secondhand trauma. 1 example of this idea is how the experiences of those directly involved in the Holocaust upshot their offspring? Marianne Hirsch describes this miracle as "postmemory."^{[ citation needed ]}

Postmemory most specifically describes the relationship of children of survivors of cultural or commonage trauma to the experiences of their parents, experiences that they "retrieve" only as the narratives and images with which they grew up, only that are so powerful, so monumental, as to constitute memories in their own correct. The term "postmemory" is meant to convey its temporal and qualitative difference from survivor memory, its secondary, or 2d-generation memory quality, its ground in deportation, its vicariousness and belatedness. The work of postmemory defines the familial inheritance and manual of cultural trauma. The children of victims, survivors, witnesses, or perpetrators have different experiences of postmemory, even though they share the familial ties that facilitate intergenerational identification.^{[ commendation needed ]}

Creative person Sama Alshaibi, considers Hirsch'south formulation of postmemory as "key to my life and to my art practice, which is, afterward all, an extension of who I am."^[21] Built-in to a Palestinian mother and an Iraqi male parent, Alshaibi describes her upbringing as "...dominated by traumatic narratives of losing Palestine, and all along I was mourning for a identify unknown to me."^[21] Equally a outcome, her work is "based on narratives of my mother'south family's forced migration from Palestine to Republic of iraq and then on to America."^[21]

In Headdress of the Disinherited, Alshaibi photographic work features the artist wearing her recreation of a traditional Palestinian headdress lined with coins that were used equally a bride's wedding dowry. Alshaibi describes the headdress as part of an inter-generational transmission: "Fashioned after my mother'due south faint retentiveness of her grandmother'southward, our collaborative effort constructs a memorial to our family's continual migrations."^[21] Alshaibi recreated the headdress using familial ephemera and travel documentation rather than coins, "Substituting the no longer minted Palestinian currency with coins embossed with our visas, passport stamps, and pictures suggests an intellectual dowry rather than a monetary one."^[21] Dowry money lid resembles migration and deportation. The placement continues to hold an effect over heads today, with the dematerialization of women's bodies and cultures from the region.

Border fine art in practice and examples of work [edit]

• Doris Salcedo, Shibboleth, 2007, Installation Fine art, Tate Modern
• Sama Alshaibi
• Ahlam Shibli
• Francis Alÿs
• Yishay Garbasz
• Mona Hatoum
• Susan Meiselas
• Christo and Jeanne-Claude, Running Fence, 1972-76, Sonoma and Marin Counties, California
• Ana Mendieta, Silueta Series, 1973-1980
• Anila Quayyum Agha

References [edit]

1. ^ ^{a b} Sheren, Ila (2015). Portable Borders: Operation Fine art and Politics on the U.S. Frontera since 1984. Austin: University of Texas Press. p. 23.
2. ^ Encyclopedia of Activism and Social Justice. Ed. Gary L. Anderson and Kathryn G. Herr. Vol. ii. Thousand Oaks, CA: SAGE Reference, 2007. p627-628.
3. ^ ^{a b c d} Prieto, Antonio. "Border Art as a Political Strategy". Information Services Latin America. Archived from the original on November 3, 2015. Retrieved Dec 6, 2015.
4. ^ "David Taylor". world wide web.dtaylorphoto.com . Retrieved 2015-12-09 .
5. ^ "Artist Rafael Lozano-Hemmer on the Importance of Telling Circuitous, Nuanced Edge Stories". The Texas Observer. 2019-xi-25. Retrieved 2019-12-08 .
6. ^ "Borrando la Frontera". 2 April 2016.
7. ^ "Virtually". AMBOS . Retrieved 2019-12-05 .
8. ^ "Interview of Judi Werthein". LatinArt.com . Retrieved 2019-12-05 .
9. ^ "State-of-the-art shoes assistance migrants". 2005-11-17. Retrieved 2019-12-05 .
10. ^ "Judi Werthein – Station Museum of Contemporary Art". Retrieved 2019-12-05 .
11. ^ "Portfolio : Liminal Air Space-Fourth dimension | Shinji Ohmaki.net".
12. ^ Cotter, Holland (xiii March 2007). "Thoughtful Wanderings of a Man with a Can". The New York Times.
13. ^ "The Green Line". 25 June 2015.
14. ^ https://www.julien-devaux.com/
15. ^ ^{a b c d east} de Turk, Sabrina (2019). Street Fine art in the Heart Due east. I.B. Tauris & Company, Limited. pp. 73–81.
16. ^ ^{a b} "Well-known UK graffiti creative person Banksy hacks the Wall". 31 August 2005.
17. ^ Anzaldúa, Gloria (1987). Borderlands/La Frontera: The New Mestiza (1 ed.). San Francisco: Aunt Lute Books. p. 25.
18. ^ Fox, Claire (1994). "The Portable Edge; Site Specificity, and Representations at the U.S-Mexico Border". Social Text. 41 (41): 61–82. doi:10.2307/466832. JSTOR 466832.
19. ^ Aguirre, Adalberto; Simmers, Jennifer Chiliad. (2008). "Mexican Border Crossers: The Mexican Body in Immigration Soapbox". Social Justice. 35 (4 (114)): 99–106. ISSN 1043-1578. JSTOR 29768517.
20. ^ Anzaldua, Gloria (1993). "Edge Arte: Napantla, El Lugar de la Frontera". La Frontera/The Border: Art near the United mexican states/ Us border experience. pp. 107–114.
21. ^ ^{a b c d e f} Alshaibi, Sama (2006). "Retentivity Piece of work in the Palestinian Diaspora". Frontiers: A Journal of Women Studies. 27 (2): thirty–55. doi:10.1353/fro.2007.0000. JSTOR 4137421. S2CID 154151865.
22. ^ Alshaibi, Sama (2006). "Memory Work in the Palestinian Diaspora". Frontiers: A Journal of Women Studies. 27 (two): 39. doi:10.1353/fro.2007.0000. JSTOR 4137421. S2CID 154151865.
23. ^ Alshaibi, Sama (2006). "Memory Work in the Palestinian Diaspora". Frontiers: A Journal of Women Studies. 27 (2): 41. doi:10.1353/fro.2007.0000. S2CID 154151865.
24. ^ Hall, Stuart (1996). "Ethnicity, Identity, and Difference". Becoming National: 337–349.
25. ^ Minh-ha, Trinh T. (2011). elsewhere, within here immigration, refugees and the boundary event. New York: Routledge. p. 45.

Hall, Due south. (1996). Ethnicity, Identity, and Difference . Becoming National, 337–349.

External links [edit]

• La Frontera: Artists forth the U.S.-Mexico Border with Stefan Falke

Resource for further education and services [edit]

• U.S. Customs and Border Protection
• Colibrí Centre for Human Rights – Report or Detect a Missing Person on the U.S.-Mexico Border

robicheauxpeat1962.blogspot.com

Source: https://en.wikipedia.org/wiki/Border_art

Share this post