Podcasts about african migration

Hello and welcome to Episode 55 of the Migration & Diaspora Podcast, a show about anything and everything to do with migration and diaspora engagement.  I'm delighted to be joined today by Linda Oucho, Executive Director of the African Migration and Development Policy Centre (AMADPOC), who shares her insights into African migrant decision-making. About Linda Linda is an established migration expert with over a decade of experience leading AMADPOC – a research think tank based in Nairobi, Kenya. Linda returned to Kenya after 16 years studying abroad in Ghana, Botswana and the UK. She draws from her experience as a migrant to understand the dynamic nature of migration to, from and within Africa. Linda has undertaken consultancies with the International Organization for Migration (IOM), the International Centre for Migration Policy Development (ICMPD), the African Union Commission, among other intergovernmental and non-governmental organisations. She works closely with African governments, including Kenya where she serves as an active member of the National Coordination Mechanism for Migration (NCM) advocating for the use of research to inform migration decision-making, policy design and implementation.  What we talk about Today, Linda shares a range of insights on migrant decision making, drawing from emerging findings of DYNAMIG, a three-year project that aims to create a more thorough understanding of how people make decisions on whether and how to migrate. We talk about: How the DYNAMIG project functions and how they're conducting their research. The factors that contribute to Africans' decisions to migrate.  Whether or not policies to deter migration actually work.  African migrants' increasing awareness of protection issues (or their lack of protection). As always, lots of links in the show notes so be sure to find this episode at homelandsadvisory.com/podcast. If you enjoy this episode, I invite you to leave a review via your preferred podcasting platform and to share the podcast with your migration-enthusiast friends.  Links DYNAMIG: https://dynamig.org/ LI: https://www.linkedin.com/company/dynamig/ X: https://x.com/_DYNAMIG  AMADPOC: https://amadpoc.org/ Connect with Linda: https://www.linkedin.com/in/lindaoucho/ MIGNEX: https://www.mignex.org/  Migrating Out of Poverty: http://www.migratingoutofpoverty.org/  JLMP: https://au.int/en/jlmp  All episodes of the MDPcast: https://homelandsadvisory.com/podcast 

African Migration in South Africa by Radio Islam

DW's AfricaLink Special Edition: Migrant Crisis – What Is the EU's Position on African Migration?

According to article 14 of the 1948 Universal Declaration of Human Rights, “Everyone has the right to seek and to enjoy in other countries asylum from persecution.” But that promise, which was enshrined three years later in the 1951 Refugee Convention, has never been completely honored. In fact, it has been progressively eroded in recent years across the Global North, even as the numbers of refugees and asylum-seekers around the world have swelled.  Just last month, the Parliament of Denmark passed a law allowing it to relocate asylum-seekers outside Europe while their claims are being processed. A similar measure is under consideration in the United Kingdom, while Australia has long maintained such a policy. Here in the United States, former President Donald Trump's administration enacted a policy known as “Remain in Mexico,” under which asylum-seekers were forced to wait across the border in Mexico, often in unsafe environments, while their claims were processed.  Today on Trend Lines, Khalid Koser, executive director of the Global Community Engagement and Resilience Fund, joins WPR's Elliot Waldman to discuss the past, present and potential future of the right to asylum, and what it might take to revive this critical component of the international legal system. If you would like to request a full transcript of the episode, please send an email to podcast@worldpoliticsreview.com. If you like what you hear on Trend Lines and what you've read on WPR, you can sign up for our free newsletter to get our uncompromising analysis delivered straight to your inbox. The newsletter offers a free preview article every day of the week, plus three more complimentary articles in our weekly roundup every Friday. Sign up here. Then subscribe. Relevant Articles on WPR: Has the World Learned the Lessons of the 2015 Refugee Crisis? African Migration to Europe Is a Lifeline, not a Threat Biden's Immigration Imperatives Refugees Are Being Ignored Amid the COVID-19 Crisis Trend Lines is produced and edited by Peter Dörrie, a freelance journalist and analyst focusing on security and resource politics in Africa. You can follow him on Twitter at @peterdoerrie. To send feedback or questions, email us at podcast@worldpoliticsreview.com.

According to article 14 of the 1948 Universal Declaration of Human Rights, “Everyone has the right to seek and to enjoy in other countries asylum from persecution.” But that promise, which was enshrined three years later in the 1951 Refugee Convention, has never been completely honored. In fact, it has been progressively eroded in recent years across the Global North, even as the numbers of refugees and asylum-seekers around the world have swelled.  Just last month, the Parliament of Denmark passed a law allowing it to relocate asylum-seekers outside Europe while their claims are being processed. A similar measure is under consideration in the United Kingdom, while Australia has long maintained such a policy. Here in the United States, former President Donald Trump's administration enacted a policy known as “Remain in Mexico,” under which asylum-seekers were forced to wait across the border in Mexico, often in unsafe environments, while their claims were processed.  Today on Trend Lines, Khalid Koser, executive director of the Global Community Engagement and Resilience Fund, joins WPR's Elliot Waldman to discuss the past, present and potential future of the right to asylum, and what it might take to revive this critical component of the international legal system. If you would like to request a full transcript of the episode, please send an email to podcast@worldpoliticsreview.com. If you like what you hear on Trend Lines and what you've read on WPR, you can sign up for our free newsletter to get our uncompromising analysis delivered straight to your inbox. The newsletter offers a free preview article every day of the week, plus three more complimentary articles in our weekly roundup every Friday. Sign up here. Then subscribe. Relevant Articles on WPR: Has the World Learned the Lessons of the 2015 Refugee Crisis? African Migration to Europe Is a Lifeline, not a Threat Biden's Immigration Imperatives Refugees Are Being Ignored Amid the COVID-19 Crisis Trend Lines is produced and edited by Peter Dörrie, a freelance journalist and analyst focusing on security and resource politics in Africa. You can follow him on Twitter at @peterdoerrie. To send feedback or questions, email us at podcast@worldpoliticsreview.com.

Ethnocentric pathologies such as diabetes in the black communities and urban environments are made worse by magnesium deficiency.

COVID-19 and migration in Eastern and the Horn of Africa with the African Migration and Development Policy Centre (AMADPOC), Amnesty International and Refugee Consortium of Kenya (RCK).

Yaye Helene Ndiaye and Hedwig Giusto analyse the intercontinental and intra-continental African migration and highlight the fact that most international migration in Africa is directed towards African countries. They agree on the need for stronger cooperation between the African Union, the African countries and regional organisations on one hand and the European Union on the other to stop human traffic and smuggling and govern migration. Ndiaye and Giusto discuss the possibility and the need to promote and open new safe and legal migration routes between Africa an Europe. This #FEPSTalks also addresses the gender dimension of migration, as women and children face bigger risk during their journeys to Europe along illegal pathways.

Alyona Savranenko grew up in a small village in central Ukraine. She had a modest upbringing, one she loved — featuring unpaved roads, cows grazing in the field and mushroom picking in the forests. She enjoyed swimming in the lake throughout the summer and ice skating on it during the winter. When Savranenko turned 6, she started writing poetry, and when she was a bit older, she would write pop songs.Then she turned 12, and hip-hop found her. “The first raps I heard were probably American — Eminem. I started translating them.”Alyona Alyona“The first raps I heard were probably American — Eminem. I started translating them,” she said. “I looked for his texts, memorized them, and he influenced my flow the most. I liked his style. And I started translating lots of other rappers that I listened to. I was curious what they were rapping about. But I’d always rap about something of my own.”Today, Savranenko, a former kindergarten teacher, is the biggest rapper in Ukraine. Her music videos — which touch on subjects ranging from body positivity to bullying and female empowerment — rack up millions of views on YouTube, and she has been on multiple European tours. The hugely popular 28-year-old prides herself on defying the stereotype of what rappers look like in Eastern Europe and the rest of the world.Something about hip-hop clicked with Savranenko. There was space and freedom to express herself — like the poetry she used to write, but without all the rigid rules.Related: Ukrainian folk punk band DakhaBrakha sings a decidedly feminist messageUkrainian rap, gangsta styleHip-hop in Ukraine became popular by the late 1990s. It largely emerged from Kharkiv, a city in eastern Ukraine not far from the Russian border, says Adriana Helbig, an associate professor of music at the University of Pittsburgh. “That was the home of a group called Tanok na Maidani Kongo ["Dance on Congo Square"], and they had won a Ukrainian-language festival competition with their rap, 'Make me a hip, make me a hop,'” said Helbig, author of “Hip Hop Ukraine: Music, Race and African Migration.” “That's what sort of established hip-hop as a genre — a legitimate genre, a Ukrainian-language genre. Until then, anything that was coming into Ukraine was English language and also it was much more dominated by the Russian-language sphere.” As Savranenko got older, writing rap lyrics became part of her life.“I started writing first not about some fantasy stories or made-up fairy tales, but about what was happening around me,” she said. “Some of the stuff that I was rapping about, though, wasn’t even very truthful. I really wanted the Ukrainian rap community to accept me, so I rapped about using drugs and some of the street life that I saw around me — the kind of lifestyle that wasn’t really mine.” Early hip-hop in Ukraine was hugely influenced by African American and Russian rap, Helbig said, where violence and drugs are major themes.  “And the reason was, in part, because [Ukrainian rappers] were growing up in the sort of impoverished urban areas on the outskirts of cities,” she said. “These guys are reacting to the videos that they're seeing coming out of the United States, so they were very much replicating and connecting with this form of poverty, alienation, everything else.”Related: Ukraine's Eurovision 2016 entry is about Stalin’s repression, and Russia isn't thrilledWhen she first started rapping, Savranenko also embraced American gangsta-style rap because she thought that’s what hip-hop was supposed to be about.“But I wasn’t gangster and criminal. I was just a teacher in the kindergarten, but all the rappers respected me.”Alyona Alyona“But I wasn’t gangster and criminal. I was just a teacher in the kindergarten, but all the rappers respected me,” she said.Savranenko kept her job as a kindergarten teacher, but she also kept rapping and getting more attention. Eventually, she took on the rap name Alyona Alyona, writing lyrics in Russian because many of the rappers she listened to were Russian.  The popular 28-year-old Alyona Savranenko prides herself on defying the stereotype of what rappers look like in Eastern Europe and the rest of the world. Credit: Courtesy of Alyona Alyona/Instagram Language politics During the Soviet period, the Russian language dominated the official political and cultural sphere. But after Ukraine became independent from the Soviet Union in 1991, there was a rise in Ukrainian language use. Still, when it comes to rap, the politics around language have been more practical, Helbig said. Related: This Ugandan rapper was ‘miseducated,’ Lauryn Hill-style“For instance, a lot of the musicians that I would talk to just said that it was easier to rap in Russian because you could curse,” Helbig said. Russian-language profanities are commonly used throughout the former Soviet Union, and some artists say it sounds more aggressive.The politics between Russian and Ukrainian language have now started to soften, Helbig said, partially because younger people have more access to learning and using Ukrainian. But in 2014, Ukraine went through the Revolution of Dignity, where Ukrainians started expressing a stronger sense of pride in Ukrainian language. Savranenko said she felt the same. She read more Ukrainian literature, and she was teaching mostly in Ukrainian.“My vocabulary in Ukraine language was bigger and bigger, and I start[ed] rapping in Ukrainian language.”Alyona Alyona“My vocabulary in Ukraine language was bigger and bigger, and I start[ed] rapping in Ukrainian language,” she said. It's a linguistic trend that's playing out across Ukrainian hip-hop. “There's much more of a wide range of ideas that you can express in Ukrainian and also the hip-hop itself is changing, which might account for Alyona Alyona a little bit,” Helbig said. “Ukraine has sort of been blossoming and really moving into its revival of folk, and it has all these very interesting dynamics that they're trying to push into their own identities. And women have a very important role.”Ukrainian has also been historically gendered, she added. “Russian tends to be more of a masculine way, and Ukrainian tends to be positioned as the more the feminine way,” Helbig said, adding that Ukraine is often figuratively depicted as a woman taken captive by Russian soldiers.That might be evident in Savranenko's music, too. 'I just accepted myself'The song “Ribky,” which translates as “fish,” was Alyona Alyona's first hit, with more than 2 million views on YouTube.At face value, the song is simply about the title animal — the way they look, and the way they swim. But a deeper listen reveals more — and the song is really about how powerful fish can be, Savranenko said.“Most people understood what the song was about. That it’s not about fish and water, but about girls,” she said.At the time Savranenko was growing up, Ukraine had a “very gendered division of society” — a backlash to the “gender neutrality” presented in the Soviet Union, Helbig said. “The reaction to that in the early 1990s is you have this hypermasculinity of this machismo mafia type [and] the women were being pushed into the hypersexualization of, like, prostitution,” Helbig said. “There's a lot of violence against women. There's a lot of rape. … This is very much playing out, especially in the villages.”Alyona Alyona's music looks at girls and their place in society — girls who are bullied because they’re different, and girls who face abuse for their weight or their style. Body positivity is also a big theme in her music. “One of the things I was thinking of is really just how powerful [Alyona Alyona] is and what kind of statement she's making.” Adriana Helbig, University of Pittsburgh “One of the things I was thinking of is really just how powerful [Alyona Alyona] is and what kind of statement she's making,” Helbig said. The track “Pushka,” which roughly translates to “the bomb,” takes on the subject as well. In it, Alyona Alyona calls herself a “pishka,” a Ukranian word used as an insult for people who are overweight.But Alyona Alyona appropriates the word — she makes it her own, and carries herself with swagger.“That’s part of my life. I’ve encountered a lot of body shaming, fat shaming, bullying in my life. But mostly it’s people who motivate me because they keep asking, 'How can you be so cool?'” she said. “I tell them I’m like everyone else, I just accepted myself the way I am. I realized people need my experience and I started sharing it. With some — in messages, with others — in songs.” Alyona Alyona embraces a positive message in her music.  Credit: Courtesy of Alyona Alyona And Alyona Alyona hasn’t wavered from that positive message. She rarely curses in her music, and that gangsta-rap style from her early days is long gone.One of her recent tracks is all about standing up to bullies.“We decided to make a music video where I play different characters: a goth, a basketball player and others — showing this way that every person has a second half of themselves,” she said. “We shouldn’t be afraid to be ourselves, shouldn’t be afraid to resist, to stand strong against bullying. We shouldn’t be silent about it. It’s necessary to pull out that other half and fight.”In Ukraine, Alyona Alyona is one of the country’s top artists, and she’s toured all over Europe.“So, I thank God that I have [the] possibility to introduce my country and my music in European countries, and I will be do[ing] this in the future because I don’t want to rap in other languages,” she said. “I’m not ready, I don’t have so many words to sing in English or in Russian. I want to do it in Ukrainian.” Helbig says Alyona Alyona is also helping combat Ukraine's history of generational trauma. In Ukraine, “anxiety among everyday people is extremely high, and here you've got this kid that's, you know, happy. … 'Let's smile. Let's rap about fish. Life's great.' And it's like, what is this person doing?” Hebig said. “But on the other hand, you almost can't help but embrace it.” 

Alyona Savranenko grew up in a small village in central Ukraine. She had a modest upbringing, one she loved — featuring unpaved roads, cows grazing in the field and mushroom picking in the forests. She enjoyed swimming in the lake throughout the summer and ice skating on it during the winter. When Savranenko turned 6, she started writing poetry, and when she was a bit older, she would write pop songs.Then she turned 12, and hip-hop found her. “The first raps I heard were probably American — Eminem. I started translating them.”Alyona Alyona“The first raps I heard were probably American — Eminem. I started translating them,” she said. “I looked for his texts, memorized them, and he influenced my flow the most. I liked his style. And I started translating lots of other rappers that I listened to. I was curious what they were rapping about. But I'd always rap about something of my own.”Today, Savranenko, a former kindergarten teacher, is the biggest rapper in Ukraine. Her music videos — which touch on subjects ranging from body positivity to bullying and female empowerment — rack up millions of views on YouTube, and she has been on multiple European tours. The hugely popular 28-year-old prides herself on defying the stereotype of what rappers look like in Eastern Europe and the rest of the world.Something about hip-hop clicked with Savranenko. There was space and freedom to express herself — like the poetry she used to write, but without all the rigid rules.Related: Ukrainian folk punk band DakhaBrakha sings a decidedly feminist messageUkrainian rap, gangsta styleHip-hop in Ukraine became popular by the late 1990s. It largely emerged from Kharkiv, a city in eastern Ukraine not far from the Russian border, says Adriana Helbig, an associate professor of music at the University of Pittsburgh. “That was the home of a group called Tanok na Maidani Kongo ["Dance on Congo Square"], and they had won a Ukrainian-language festival competition with their rap, 'Make me a hip, make me a hop,'” said Helbig, author of “Hip Hop Ukraine: Music, Race and African Migration.” “That's what sort of established hip-hop as a genre — a legitimate genre, a Ukrainian-language genre. Until then, anything that was coming into Ukraine was English language and also it was much more dominated by the Russian-language sphere.” As Savranenko got older, writing rap lyrics became part of her life.“I started writing first not about some fantasy stories or made-up fairy tales, but about what was happening around me,” she said. “Some of the stuff that I was rapping about, though, wasn't even very truthful. I really wanted the Ukrainian rap community to accept me, so I rapped about using drugs and some of the street life that I saw around me — the kind of lifestyle that wasn't really mine.” Early hip-hop in Ukraine was hugely influenced by African American and Russian rap, Helbig said, where violence and drugs are major themes.  “And the reason was, in part, because [Ukrainian rappers] were growing up in the sort of impoverished urban areas on the outskirts of cities,” she said. “These guys are reacting to the videos that they're seeing coming out of the United States, so they were very much replicating and connecting with this form of poverty, alienation, everything else.”Related: Ukraine's Eurovision 2016 entry is about Stalin's repression, and Russia isn't thrilledWhen she first started rapping, Savranenko also embraced American gangsta-style rap because she thought that's what hip-hop was supposed to be about.“But I wasn't gangster and criminal. I was just a teacher in the kindergarten, but all the rappers respected me.”Alyona Alyona“But I wasn't gangster and criminal. I was just a teacher in the kindergarten, but all the rappers respected me,” she said.Savranenko kept her job as a kindergarten teacher, but she also kept rapping and getting more attention. Eventually, she took on the rap name Alyona Alyona, writing lyrics in Russian because many of the rappers she listened to were Russian.  The popular 28-year-old Alyona Savranenko prides herself on defying the stereotype of what rappers look like in Eastern Europe and the rest of the world. Credit: Courtesy of Alyona Alyona/Instagram Language politics During the Soviet period, the Russian language dominated the official political and cultural sphere. But after Ukraine became independent from the Soviet Union in 1991, there was a rise in Ukrainian language use. Still, when it comes to rap, the politics around language have been more practical, Helbig said. Related: This Ugandan rapper was ‘miseducated,' Lauryn Hill-style“For instance, a lot of the musicians that I would talk to just said that it was easier to rap in Russian because you could curse,” Helbig said. Russian-language profanities are commonly used throughout the former Soviet Union, and some artists say it sounds more aggressive.The politics between Russian and Ukrainian language have now started to soften, Helbig said, partially because younger people have more access to learning and using Ukrainian. But in 2014, Ukraine went through the Revolution of Dignity, where Ukrainians started expressing a stronger sense of pride in Ukrainian language. Savranenko said she felt the same. She read more Ukrainian literature, and she was teaching mostly in Ukrainian.“My vocabulary in Ukraine language was bigger and bigger, and I start[ed] rapping in Ukrainian language.”Alyona Alyona“My vocabulary in Ukraine language was bigger and bigger, and I start[ed] rapping in Ukrainian language,” she said. It's a linguistic trend that's playing out across Ukrainian hip-hop. “There's much more of a wide range of ideas that you can express in Ukrainian and also the hip-hop itself is changing, which might account for Alyona Alyona a little bit,” Helbig said. “Ukraine has sort of been blossoming and really moving into its revival of folk, and it has all these very interesting dynamics that they're trying to push into their own identities. And women have a very important role.”Ukrainian has also been historically gendered, she added. “Russian tends to be more of a masculine way, and Ukrainian tends to be positioned as the more the feminine way,” Helbig said, adding that Ukraine is often figuratively depicted as a woman taken captive by Russian soldiers.That might be evident in Savranenko's music, too. 'I just accepted myself'The song “Ribky,” which translates as “fish,” was Alyona Alyona's first hit, with more than 2 million views on YouTube.At face value, the song is simply about the title animal — the way they look, and the way they swim. But a deeper listen reveals more — and the song is really about how powerful fish can be, Savranenko said.“Most people understood what the song was about. That it's not about fish and water, but about girls,” she said.At the time Savranenko was growing up, Ukraine had a “very gendered division of society” — a backlash to the “gender neutrality” presented in the Soviet Union, Helbig said. “The reaction to that in the early 1990s is you have this hypermasculinity of this machismo mafia type [and] the women were being pushed into the hypersexualization of, like, prostitution,” Helbig said. “There's a lot of violence against women. There's a lot of rape. … This is very much playing out, especially in the villages.”Alyona Alyona's music looks at girls and their place in society — girls who are bullied because they're different, and girls who face abuse for their weight or their style. Body positivity is also a big theme in her music. “One of the things I was thinking of is really just how powerful [Alyona Alyona] is and what kind of statement she's making.” Adriana Helbig, University of Pittsburgh “One of the things I was thinking of is really just how powerful [Alyona Alyona] is and what kind of statement she's making,” Helbig said. The track “Pushka,” which roughly translates to “the bomb,” takes on the subject as well. In it, Alyona Alyona calls herself a “pishka,” a Ukranian word used as an insult for people who are overweight.But Alyona Alyona appropriates the word — she makes it her own, and carries herself with swagger.“That's part of my life. I've encountered a lot of body shaming, fat shaming, bullying in my life. But mostly it's people who motivate me because they keep asking, 'How can you be so cool?'” she said. “I tell them I'm like everyone else, I just accepted myself the way I am. I realized people need my experience and I started sharing it. With some — in messages, with others — in songs.” Alyona Alyona embraces a positive message in her music.  Credit: Courtesy of Alyona Alyona And Alyona Alyona hasn't wavered from that positive message. She rarely curses in her music, and that gangsta-rap style from her early days is long gone.One of her recent tracks is all about standing up to bullies.“We decided to make a music video where I play different characters: a goth, a basketball player and others — showing this way that every person has a second half of themselves,” she said. “We shouldn't be afraid to be ourselves, shouldn't be afraid to resist, to stand strong against bullying. We shouldn't be silent about it. It's necessary to pull out that other half and fight.”In Ukraine, Alyona Alyona is one of the country's top artists, and she's toured all over Europe.“So, I thank God that I have [the] possibility to introduce my country and my music in European countries, and I will be do[ing] this in the future because I don't want to rap in other languages,” she said. “I'm not ready, I don't have so many words to sing in English or in Russian. I want to do it in Ukrainian.” Helbig says Alyona Alyona is also helping combat Ukraine's history of generational trauma. In Ukraine, “anxiety among everyday people is extremely high, and here you've got this kid that's, you know, happy. … 'Let's smile. Let's rap about fish. Life's great.' And it's like, what is this person doing?” Hebig said. “But on the other hand, you almost can't help but embrace it.” 

In 2017, the majority of international migrants resided in a country in their region of birth. The same is true for Africa. But how does African migration on the continent look like? What opportunities do migrants have in their home countries and what are the perceived opportunities in the host countries? How do migrants take on new identities in their host communities and navigate a new life in a new country? Even though African migrants contribute to both the local economy and the economy in their home countries by paying taxes, remittances etc, their situation can be challenging. Recently there has been another outbreak of xenophobic riots in parts of South Africa aimed at mainly black, African immigrants. What are the challenges being a migrant on the continent? And how do we understand the migration on the African continent?

Africa is often depicted as a continent of mass migration, following its high number of migrants experienced in the past few years. According to statistics, As of 2007, there were an estimated seven million African migrants living in Organisation For Economic Co-Operations and Development countries. This increase in numbers has been constituted by: Climate change and environmental degradation, armed conflict, and political, economic and food crises which has continued to force people to flee hence the high number. African migration has largely become synonymous with the European migration crisis; in doing so, it has neglected and silenced other inspiring and compelling narratives from Africa. This debate Not Just A Crisis: A Conversation On African Migration looks at the modern day African Migration complexities, Identity, Residency, Citizenship and breaks down who best defines how we view ourselves and our own identity through stories of two scholars based at King’s College London. Through their stories it’s evident that there is a crisis in both intra-regional migrations and extra-regional migration. The debate began with introductory statements by Aida Abbashar a final year History and International Relations student at King's College London followed by Natasha Chilambo from Zambia and Wadeisor Rukato from Zimbabwe and who are both Masters students in Leadership, Security and Development at the African Leadership Centre, King’s College London.

Tanya Golash-Boza of Univ of California Merced looks at the newest question on the US Census. Sarah Parcak of GlobalXplorer wants everyone to become a space archaeologist. Author Ken Bugul on her book "Le Baobab Fou" and African migration. BYU's Shawn Clark extols the virtues of bugs!

The history and politics of African migration to Israel

The history and politics of African migration to Israel

Emma Kate, Ella, and Ford

In 2004, during the Orange Revolution in Ukraine, Adriana Helbig saw African musicians rapping in Ukrainian and wearing embroidered Ukrainian ethnic costumes. Her curiosity about how these musicians came to be performing during the protests led to her study of immigration, integration and identity in Hip Hop Ukraine: Music, Race, and African Migration (Indiana University Press, 2014). Through interviews with hip hop musicians and African immigrants in Ukraine, Helbig explores multi-valent racial imaginaries connected with U.S. hip hop and black identity construction through music. She also traces how Africans and Ukrainians both construct these identities by conducting research in Uganda, the home country of a number of African Ukrainian musicians. Multimedia resources for Hip Hop Ukraine are available through Indiana University Press Ethnomusicology Multimedia. Adriana Helbig is Associate Professor of Music at the University of Pittsburgh. She directs the Carpathian Music Ensemble and is affiliated faculty in Global Studies and the Center for Russian and East European Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2004, during the Orange Revolution in Ukraine, Adriana Helbig saw African musicians rapping in Ukrainian and wearing embroidered Ukrainian ethnic costumes. Her curiosity about how these musicians came to be performing during the protests led to her study of immigration, integration and identity in Hip Hop Ukraine: Music, Race, and African Migration (Indiana University Press, 2014). Through interviews with hip hop musicians and African immigrants in Ukraine, Helbig explores multi-valent racial imaginaries connected with U.S. hip hop and black identity construction through music. She also traces how Africans and Ukrainians both construct these identities by conducting research in Uganda, the home country of a number of African Ukrainian musicians. Multimedia resources for Hip Hop Ukraine are available through Indiana University Press Ethnomusicology Multimedia. Adriana Helbig is Associate Professor of Music at the University of Pittsburgh. She directs the Carpathian Music Ensemble and is affiliated faculty in Global Studies and the Center for Russian and East European Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2004, during the Orange Revolution in Ukraine, Adriana Helbig saw African musicians rapping in Ukrainian and wearing embroidered Ukrainian ethnic costumes. Her curiosity about how these musicians came to be performing during the protests led to her study of immigration, integration and identity in Hip Hop Ukraine: Music, Race, and African Migration (Indiana University Press, 2014). Through interviews with hip hop musicians and African immigrants in Ukraine, Helbig explores multi-valent racial imaginaries connected with U.S. hip hop and black identity construction through music. She also traces how Africans and Ukrainians both construct these identities by conducting research in Uganda, the home country of a number of African Ukrainian musicians. Multimedia resources for Hip Hop Ukraine are available through Indiana University Press Ethnomusicology Multimedia. Adriana Helbig is Associate Professor of Music at the University of Pittsburgh. She directs the Carpathian Music Ensemble and is affiliated faculty in Global Studies and the Center for Russian and East European Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2004, during the Orange Revolution in Ukraine, Adriana Helbig saw African musicians rapping in Ukrainian and wearing embroidered Ukrainian ethnic costumes. Her curiosity about how these musicians came to be performing during the protests led to her study of immigration, integration and identity in Hip Hop Ukraine: Music, Race, and African Migration (Indiana University Press, 2014). Through interviews with hip hop musicians and African immigrants in Ukraine, Helbig explores multi-valent racial imaginaries connected with U.S. hip hop and black identity construction through music. She also traces how Africans and Ukrainians both construct these identities by conducting research in Uganda, the home country of a number of African Ukrainian musicians. Multimedia resources for Hip Hop Ukraine are available through Indiana University Press Ethnomusicology Multimedia. Adriana Helbig is Associate Professor of Music at the University of Pittsburgh. She directs the Carpathian Music Ensemble and is affiliated faculty in Global Studies and the Center for Russian and East European Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2004, during the Orange Revolution in Ukraine, Adriana Helbig saw African musicians rapping in Ukrainian and wearing embroidered Ukrainian ethnic costumes. Her curiosity about how these musicians came to be performing during the protests led to her study of immigration, integration and identity in Hip Hop Ukraine: Music, Race, and African Migration (Indiana University Press, 2014). Through interviews with hip hop musicians and African immigrants in Ukraine, Helbig explores multi-valent racial imaginaries connected with U.S. hip hop and black identity construction through music. She also traces how Africans and Ukrainians both construct these identities by conducting research in Uganda, the home country of a number of African Ukrainian musicians. Multimedia resources for Hip Hop Ukraine are available through Indiana University Press Ethnomusicology Multimedia. Adriana Helbig is Associate Professor of Music at the University of Pittsburgh. She directs the Carpathian Music Ensemble and is affiliated faculty in Global Studies and the Center for Russian and East European Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2004, during the Orange Revolution in Ukraine, Adriana Helbig saw African musicians rapping in Ukrainian and wearing embroidered Ukrainian ethnic costumes. Her curiosity about how these musicians came to be performing during the protests led to her study of immigration, integration and identity in Hip Hop Ukraine: Music, Race, and African Migration (Indiana University Press, 2014). Through interviews with hip hop musicians and African immigrants in Ukraine, Helbig explores multi-valent racial imaginaries connected with U.S. hip hop and black identity construction through music. She also traces how Africans and Ukrainians both construct these identities by conducting research in Uganda, the home country of a number of African Ukrainian musicians. Multimedia resources for Hip Hop Ukraine are available through Indiana University Press Ethnomusicology Multimedia. Adriana Helbig is Associate Professor of Music at the University of Pittsburgh. She directs the Carpathian Music Ensemble and is affiliated faculty in Global Studies and the Center for Russian and East European Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2004, during the Orange Revolution in Ukraine, Adriana Helbig saw African musicians rapping in Ukrainian and wearing embroidered Ukrainian ethnic costumes. Her curiosity about how these musicians came to be performing during the protests led to her study of immigration, integration and identity in Hip Hop Ukraine: Music, Race,... Learn more about your ad choices. Visit megaphone.fm/adchoices

Antony Otieno Ong'ayo presents an alternative approach to the management of migration in the context of EU–Africa migration relations The effects of contemporary migration dynamics within and from Africa to Europe increasingly translate into cross border challenges facing the European Union. The socio-economic and political factors shaped by the processes of globalisation continue to generate different dimensions of migration in Africa. These dynamics have become major policy challenges in the management of migration and leveraging migration of development. Current policy initiatives are informed by top-down approaches that attach different opportunities and restrictions to them through categorisations such as irregular migrants, asylum seekers, failed asylum seekers, illegal migrants, skilled migrants, highly-skilled migrants, second generation and return migrants. However, these approaches do not take into account the agentic responsibility of African migrants and the communities that they have established in the respective destinations countries to manage themselves. Moreover, they fail to address return decisions and constraints to circularity as experienced by African migrants who may consider going back. Drawing on the experience of sub-Saharan African migrants in the Netherlands, this paper presents an alternative approach to the management of migration in the context of EU–Africa migration relations. It starts from the premise that the experiences and leadership of migrant communities in host countries are vital for a bottom-up driven approach to ‘managed migration’. Tapping into diaspora agency, structures of leadership, consultation and decision-making within the African communities provides new approaches to circular migration that translates into a triple-win situation.

Olivette Otele explores how histories of transatlantic slavery impact on contemporary questions of migration Transatlantic slavery is a complex history of encounters between people of African and European descent. It is also a history of migrations, trade and subjugation. In this presentation, I look into the displacement of people from West Africa from the 17th to the 19th centuries. I ultimately aim at understanding how historians measure the impact of transatlantic slavery in Africa and its economic, social and cultural legacies. The presentation will consequently delve into Eltis’ and Lovejoy’s income per capita theories and explore Manning’s loss of workforce simulation model. It will then turn to histories of the territories from which Africans were captured by looking at the relationships amongst French and British traders, colonial administrators and local populations.

Prof. Rebeca Raijman, a sociologist at the University of Haifa, discusses with host Gilad Halpern her book South African Jews in Israel: Assimilation in Multigenerational Perspective, highlighting the distinctive characteristics of one of the English speaking world's largest Jewish communities, before and after their mass aliya. Song: Chava Albershtein - Karega Ze Nir'e Lo Tov This season of the Tel Aviv Review is made possible by The Van Leer Jerusalem Institute, which promotes humanistic, democratic, and liberal values in the social discourse in Israel.

IMI Visiting Fellow Nauja Kleist presents her research on return migration in the context of restrictive mobility regimes in Europe and Africa, within theories on hope, (im)mobility, social fields, gender, and belonging. Contemporary migration is characterized by a mobility paradox. The increased reach and accessibility of communication, media and transport technologies mean that people in many parts of the world are exposed to visions of the good life elsewhere while restrictive mobility regimes makes access to the global circuits of legal mobility increasingly difficult. In this paper Nauja argues that hope constitutes a productive analytical framework for studies of migration in the light of this mobility paradox, highlighting potentiality as well as uncertainty. She explores this through a case study of life after deportation to Ghana with a focus on conflicting notions of hope. Returning empty-handed is widely embedded in shame and a sense of individualized failure, despite widespread knowledge of the uncertainty related to high-risk migration. Nauja suggests that this conundrum is an expression of the local persistence of social hope in the lack of desirable alternatives which I further explore in the seminar.