#diaspora-narratives

#diaspora-narratives

Trofimov's move to Germany was a spontaneous decision made after the war began, as he feared for his future and sought a more stable career.

"In 'break bad (freddy flexing)' (2021), a slim man's attempt to exert physical strength instead displays his fragility. A gentleness in his eyes suggests truer strength beneath the performance."

The spices are merely a vessel for culture, community, storytelling, and politics. The recipes were so fresh, simple, and seasonal. That's not the version of South Asian food that most people know.

The event was once described by The New York Times as 'a cross between a Jewish summer camp in the Catskills and a progressive jazz concert.' Past incarnations have featured Laurie Anderson, Philip Glass, Lou Reed.

The Korean wave or hallyu that brought the country's culture to the world has now well and truly engulfed Latin America.

"I could understand the language somewhat, but I was terrible about speaking it. My accent was terrible. People could not understand me," Deiaco-Smith said.

Naima dives deep into life goals with a fierce passion, yet she often finds herself buffeted by currents. Sixteen years ago, she had moved to the country for love, only to be mistreated by her Swiss husband. Since her diploma was not recognised in Switzerland, she went from managing a team of 48 to being wholly dependent on her partner.

She said she stood in her new kitchen, which had radiant floor heating and a view of the fjord, and cried because the bread smelled wrong. She'd moved from São Paulo for a man she'd met at a data science conference. The apartment was beautiful. The healthcare was extraordinary. The man was kind. And the bread smelled wrong, and that wrongness cracked open something in her she hadn't known was load-bearing.

With time, as his research led to police intervention, he caught the attention of the city's gangs. In November 2024, during a period of escalating violence in the Haitian capital, gang members entered the compound where Gensley lived. They burned the radio station, my home and many other things in the area. They even killed his dog.

Laime Arold, a 26-year-old Haitian, buys energy bars at a small shop on the side of the Pan-American Highway in southern Chiapas, Mexico. Jose Adan, a Honduran, prays aloud in a park in Tapachula, asking God to protect him from kidnappers and the police along the way. Gerardo Aguilar, a Venezuelan, travels at 60 miles per hour, lying across two seats on a bus headed for Guatemala. The three all have something in common: they are in Mexico and they are migrants. None of them are heading north. They are heading south.

Unlike virtually all other non-European ethnicities, SWANA - or Middle Eastern/North African (MENA), as used in the show - is grouped under "White" on the US census. It's not just the census, though. It's medical forms, college applications, just about anything with a check box for ethnicity. Efforts have been made to change this, with some success. More institutions are adding a separate category on forms - and one might appear on the 2030 census.

Four years on from the invasion, we talk to the Ukrainians who have settled in Co Kerry, why they chose to come here, the heartbreaking stories from their homeland, and dealing with the 'small percentage of haters'

But rather than walk away from his creative calling, Driven said he pivoted - teaching himself videography and landing his first paid job through a Craigslist post filming Caribbean DJ, and DJ Mad Out. "That opportunity introduced him to New York's Caribbean music scene, where he went on to work with artists such as Shaggy, Ding Dong and Kranium," she said. "Those early experiences sharpened Hillmedo's eye for authenticity, capturing Caribbean culture not as spectacle, but as lived reality," she added.

The snow day email arrives before dawn, glowing softly on my phone. Even after all these years, that early morning message still feels like a small miracle a quiet signal that the city has agreed to pause. As a child, it felt like winning a secret lottery. As an adult and a school principal, the feeling hasn't left me.

In Cologne, the family is greeted with a small but comfortable new home, and Israa enters a school where her classmates and teachers seem kind and curious to learn more about her. Over the years, however, things change. Israa begins to feel the prying eyes of others, and she begins to react against her family, in particular her father, Tarek, with whom she was once incredibly close but who now seems like a man out of time and place, wedded to traditions left behind.

From Senegal to Somalia and Egypt to South Africa, credit alert notifications from fintech apps such as Western Union or WorldRemit often set the mood for the rest of the day, week or even month. Transfers from workers within the continent and the diaspora to their relatives are often referred to as the black tax, whereby one person's salary and relative success can become the safety net for a whole extended family.

Today Americans are getting a taste of what Palestinians have experienced for decades: state terror. The escalation of state violence in the United States has been unprecedented. In the span of three weeks, two people were shot dead in Minneapolis during anti-immigration raids. Both were branded domestic terrorists. Meanwhile last week, Immigration and Customs Enforcement (ICE) agents used five-year-old Liam Ramos as bait to get his asylum-seeking father to come out of their home;

Citizens of Nowhere is a documentary short about stateless people in the United States individuals who, through circumstance or legal technicality, belong to no nation. Without passports, citizenship or legal recognition, they live in a state of uncertainty. From finding work and accessing education, to simply existing within a system that does not officially recognise them, stateless people face endless bureaucratic barriers.

Throughout many immigrant experiences, stories collected from family members can be a starting point for migrants. The memories gleaned from parents, grandparents, aunts, and uncles-who crossed dozens of borders at great risk and with immense pain-can settle into the consciousness of new host communities for decades. For the migrants, these stories and memories represent the first step into a new world and contain lifelines with the potential and promise to build new, resilient identities and a sense of belonging in often hostile environments.

Walking through Ideas of Africa: Portraiture and Political Imaginationat the Museum of Modern Art, I noticed that the exhibition didn't have definite sections or texts, and the wall labels abstained from naming the nationalities of the photographers. It was an invigorating experience to be in a show that eschews geographic boundaries set up by Western nations, as well as rejects a cause-and-effect narrative that centers Western colonialism as a framework for understanding African aesthetic production.

In my previous post, I discussed the psychological violence being imposed on the Latine immigrant community through the implementation of new and insidious immigration policies under the current administration. Since that publication, this violence has intensified in both scale and visibility. Across many regions of the United States, the public has witnessed large-scale ICE raids in neighborhoods, workplaces, hospitals, school events, and even outside immigration courts, where individuals and entire families are apprehended as they exit mandatory hearings.

Otherworldly forms greet you at the entrance to the exhibition, transporting you into a kaleidoscopic, dream-like space. A voice speaks in the background as projected images dance across the forms, animating the space. "It's been really beautiful to see her work come alive, become a landscape ... where you can traverse and kind of get lost," curator Fabiola R. Delgado says of Lisu Vega's "The Uncertain Future of Absence (El Futuro Incierto de la Ausencia)" (2025).