Home/Land

Marion Arnold is Lecturer in Art History and Visual Culture in the School of the Arts, English and Drama at Loughborough University Marsha Meskimmon is Professor of Art History and Theory and Associate Dean, School of the Arts, English and Drama, Loughborough University.

• Introduction: Home, Land, Homeland and Home/Land Marsha Meskimmon and Marion Arnold Section I: TerrainChapter 1: Contested Terrains: In Search of a Place Called HomeBerni SearleChapter 2: Unsettling: The photographic work of Sue Ford and Anne Ferran Helen EnnisChapter 3: Embodying OthernessKaren Frostig Chapter 4: Myth, trauma and memory in the Angolan landscapes of Jo RatcliffeLiese van der Watt Chapter 5: The Story of a South African Farm: Vlakplaas photographed by Gillian Edelstein, Jo Ractliffe and Renzske ScholtzSvea JosephyChapter 6: Loughborough International Artists’ Residency: Three responses to placeJean Brundrit, Sarah Ciurysek, Nina MangalanayagamChapter 7: Conspicuous Consumption: photographs of pleasure and loss, personal and public, in an Australian snowfieldDenise FerrisSection II: DwellingChapter 8: A place-called-homeSuze AdamsChapter 9: Be/longing and the suburban dreamscapeRosy MartinChapter 10: Photography, Building and Dwelling: Fiona Tan’s Empty HouseKathryn BrownChapter 11: The Archaeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Yassaman AmeriStaci Scheiwiller Chapter 12: home. not home. (bayt. laysa bayt.)Andrea ShakerChapter 13Another Way of Telling: Tracey Derrick’s EarthWorks: The Lives of Farm Labourers in the SwartlandMichael GodbyChapter 14: Kitchen AccountsMo WhiteSection III: MigratingChapter 15: Hélène Amouzou: Citizenship through PhotographyDanielle LeenaertsChapter 16: Where are you from? A ‘Lost White Tribe’ – the Eurasians of Sri LankaMenika v. d. PoortenChapter 17: Against erasure: dance-writing with the Russian ballerina Anna RobenneAstrid von RosenChapter 18: Books on a White BackgroundAliza LeviChapter 19: There is no place like home. Explorations of a dislocated self and its home in Emily Jacir’s Where We Come From /(Im)mobilityClara ZarzaChapter 20: On Reflection: spatial and metaphoric encounters with home and land, here and there, now and thenMarion ArnoldSection IV: LocatingChapter 21: As a woman, my country is... : On imag(in)ed communities and the heresy of becoming-denizenMarsha MeskimmonChapter 22: Speaking out towards full citizenship: strategies of representing complex lesbian identities through photovoice projects in South AfricaJean BrundritChapter 23: Women’s Citizenship and Identity in Stó:lō Territory: a collective essay from the University of the Fraser Valley’s Lens Project (British Columbia, Canada)Stephanie Gould, Jacqueline Nolte, Shirley Hardman, Sarah Ciurysek with Jessica Bennett, Andrea Smith, Jennifer JanikChapter 24: Dis-locating the colony: Utopia, dystopia and heterotopia in Svea Josephy’s Twin TownsLize van RobbroeckChapter 25: Whither the Roots? Photographing the Erased Home Nicky BirdChapter 26: ‘Know me! But, remember that this is only part of who I am’: a participatory photo research project with migrant women sex workers in inner-city Johannesburg, South AfricaElsa Oliveira and Jo VeareyChapter 27: Making Waves on International Women’s Day: Cameroonian Women’s DynamismFlorence AyisiPost-script: AfterwordHome-Land (one hyphenated word as a figure) Notes on ContributorsList of Illustrations

'This volume will prove valuable to anyone engaged with photographies, feminist art histories, South African visual studies, memory studies or issues in the humanities or social sciences of migration and citizenship.' Irene Bronner, De Arte