Learning through social spaces: migrant women and lifelong learning in post‐colonial London

Muslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book uses the multi-layered concept of ‘voice’ as an analytical lens through which to examine a diverse corpus of over 60 documentaries, short films, téléfilms (made-for-television films), and feature films released in France between 1979 and 2014. In examining the ways in which the voices, experiences, and points of view of Maghrebi migrant women in France are represented and communicated through a selection of key films, this study offers new perspectives on Maghrebi migrant women in France. It shows that women of this generation, as they are represented in these films, are far more diverse and often more empowered than has generally been thought on the basis of the relatively narrow range of media and cultural productions that have so far reached mainstream audiences. The films examined in this study are part of larger contemporary debates and discussions relating to immigration, integration, and what it means to be French.

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Embodied Research in Migration Studies

10.1332/policypress/9781447339069.001.0001 ◽

2018 ◽

Author(s):

Elena Vacchelli

Keyword(s):

Qualitative Research ◽

Research Process ◽

Migrant Women ◽

Invasive Approach ◽

Post Colonial ◽

Research Participants ◽

Non Invasive ◽

Colonial Theory ◽

Embodied Research ◽

Definition Of

The definition of data in qualitative research is expanding. This book highlights the value of embodiment as a qualitative research tool and outlines what it means to do embodied research at various points of the research process. It shows how using this non-invasive approach with vulnerable research participants such as migrant, refugee, and asylum-seeking women can help service users or research participants to be involved in the co-production of services and in participatory research. Drawing on both feminist and post-colonial theory, the author uses her own research with migrant women in London, focusing specifically on collage making and digital storytelling, whilst also considering other potential tools for practicing embodied research such as yoga, personal diaries, dance, and mindfulness. Situating the concept of ‘embodiment’ on the map of research methodologies, the book combines theoretical groundwork with actual examples of application to think pragmatically about intersectionality through embodiment.

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Shall WeChat? Switching between online and offline ethnography

Bulletin of Sociological Methodology/Bulletin de Méthodologie Sociologique ◽

10.1177/07591063211040229 ◽

2021 ◽

Vol 152 (1) ◽

pp. 52-75

Author(s):

Beatrice Zani

Keyword(s):

Virtual Worlds ◽

Migrant Women ◽

Social Spaces ◽

Economic Activities ◽

Digital Platform ◽

Virtual Ethnography ◽

Digital Methods

Drawing on the ethnographic work conducted inside the digital platform WeChat, this article contributes to the ongoing discussion about the multi-sited ethnographic tools and the digital methods available for investigating virtual worlds and online practices. It analyses the communications, interactions, sociality, and economic activities produced on the application WeChat by Chinese migrant women, together with the same practices constructed offline in Taiwan. Taking a close look at the offline context from which these digital practices are generated, the article shows that when studying online practices, it is essential to understand what corresponds to them in the offline worlds. By updating the four Goffmanian interactionist fieldwork sequences, this research provides some reflections on the necessity to mix and merge online and offline ethnographic techniques in order to apprehend the new practices and scales of interaction at the crossroads where online and offline social spaces intersect. Virtual ethnography cannot be exclusive. Rather, it needs to be designed and performed in dialogue with ‘physical’ observations.

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CHOREOGRAPHIC PERFORMANCE, GENERATIONS AND THE ART OF LIFE IN POST-COLONIAL DAKAR

Africa ◽

10.1017/s000197201300065x ◽

2014 ◽

Vol 84 (1) ◽

pp. 36-54 ◽

Cited By ~ 6

Author(s):

Hélène Neveu Kringelbach

Keyword(s):

West Africa ◽

Social Mobility ◽

Social Spaces ◽

Post Colonial ◽

The Social ◽

Decent Life ◽

The World ◽

Urban Africa ◽

History Of ◽

Art Of Life

ABSTRACTThis article looks at three generations of choreographic performers in urban Senegal to examine the creative ways in which people develop their bodily skills, not only for the pleasure of innovation, but also to ‘make their way into the world’. In so doing, they produce new social spaces and engage with a multiplicity of existing ones. I suggest that this multiple engagement characterizes contemporary urban Africa, where social mobility is conceived of as multiplying the possibilities of building a decent life in spite of economic hardship. In West Africa, this is in continuity with a long history of social mobility achieved through travel and the acquisition of new skills. Through a multiple engagement with different genres, performers also experiment with new ways of producing choreographic work. At every juncture, the social spaces thus produced either intensify or reduce the connections with global spaces already laid out by previous generations.

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Spotlight on voices from the community: The importance of empowerment through the Erasmus+ Nefeli Project for Roma women

International Journal of Roma Studies ◽

10.17583/ijrs.2021.7909 ◽

2021 ◽

Vol 3 (1) ◽

pp. 97

Author(s):

Theofano Papakonstantinou ◽

Dimitrios Alexandros Ladopoulos

Keyword(s):

Lifelong Learning ◽

Learning Activities ◽

Formal Learning ◽

Media Campaign ◽

Migrant Women ◽

Know How ◽

The Arts ◽

The Uk ◽

Roma Women

The Erasmus+ Nefeli Project held a weeklong training (September 21-25, 2020) for women from all walks of life and welcomed over 25 participants. Women from the UK, Europe and abroad attended the training and engaged in lifelong learning using the arts and intangible cultural heritage practice, learning about techniques that they can apply in their contexts. Nefeli's training was an exchange of know-how and material of Non-Formal Learning activities between organisations of the consortium and focussed on offering the participants a way to improve their methods and quality of work and gain more results in terms of agency for women from vulnerable communities.The participants all gained a Europass Mobility certificates as well CPD certificates. Prior to the training the team held a social media campaign where we asked Roma and migrant women to answer three questions around what lifelong learning means.

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Maghrebi Migrant Women in France and French Cinema

Muslim Women in French Cinema ◽

10.5949/liverpool/9781781381984.003.0001 ◽

2016 ◽

pp. 1-33

Author(s):

Leslie Kealhofer-Kemp

Keyword(s):

Gender Studies ◽

First Generation ◽

Migrant Women ◽

French Cinema ◽

Post Colonial ◽

General Overview ◽

Feature Films ◽

Short Films ◽

To Come ◽

And Gender

The introduction provides a general overview of the place of Maghrebi migrant women in France and outlines the book’s purpose, scope, and methodology. The study adopts the concept of ‘voice’ as a framework through which to critically examine the representations of Maghrebi women in a diverse corpus of documentaries, short films, téléfilms, and feature films, and the introduction draws on scholarship in post-colonial, film, and gender studies. It sets out the book’s key questions, including: In what ways do cinematic depictions of first-generation women challenge dominant perceptions about this generation, and notably the idea that the women are silent and disempowered? Do films depicting Maghrebi women invite audiences to come to a better understanding of the women’s subjective perspectives, and if so, by what means? What opportunities and constraints do the formal conventions characteristic of the four types of films present in representing first-generation women? To what extent is the question of Islam raised, and can it be said that this shapes the representations of Maghrebi women in a particular way? The introduction concludes with a description the fieldwork undertaken to construct the study’s cinematic archive.

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