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Trying to understand the topic, the feelings and themes of the participants means I have to look at my own story of migration.

My family story is a story of migration. My fathers family is a mix of European , Asian and African ancestry. Our surname is testament to migration. Family myth goes that the first Dennis was a frenchman who had his surname anglicised upon arrival to the Natal colony 200 years ago. Our Asian heritage is the result of indentured servitude that my ancestors toiled under. Moving from India (and possibly China)  to Madagascar to South Africa.

My own story involved me moving from South Africa to Japan and now the United Kingdom. In some way tracing the routes of my ancestors but moving reverse to Europe and Asia.

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Walk : Poplar Works to UAL Stratford Campus

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Walk : Poplar Works to UAL Stratford Campus

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Contributed by Charlotte and Megan

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Permit to posters (shared from Marias padlet)

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Permit to posters (shared from Marias padlet)

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pg. 26 is how to ask for permission.

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'Ten Artists on What Social Practice Means to Them' (Medium.com) (Shared from Megans padlet)

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'Ten Artists on What Social Practice Means to Them' (Medium.com) (Shared from Megans padlet)

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- I see social practice art as an accessible and engaging way of highlighting these issues while actually bringing people along on the journey.
- We operate in the margins, in uncertain places; at its best, socially engaged art has the capacity to coax new shared understandings out of the darkness and confusion we’re facing at the moment.

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Term: Socially Engaged Practice (TATE) (Shared from Megans Padlet)

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Term: Socially Engaged Practice (TATE) (Shared from Megans Padlet)

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- any artform which involves people and communities in debate, collaboration or social interaction
- participatory element... is key, with the artworks created often holding equal or less importance to the collaborative act of creating them.
- can be associated with activism because it often deals with political issues
- artists' aim could be to help this community work towards a common goal, raise awareness and encourage conversation around issues

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Rationale for the Traces project formualted as a group but written by Megan Eames

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Rationale for the Traces project formualted as a group but written by Megan Eames

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The final presentation of our proposal for the Traces project.

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Digital
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Physical
- text
- magazine
- edit an exhibition catalogue

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- Migration Museum
- Fashion & Textile Museum
- Museum of the Home
- Foundling Museum
- East End Women's Museum
- Migration Mapping

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Working on a basic proof of concept for the digital exhibition.

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"Stories of Migration: Contemporary Artists Interpret Diaspora" at the Textile Museum | Indigo Arts

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Indigo is a gallery of international Folk Art located in Philadelphia, PA.

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Fibreglass mannequin, Dutch wax printed cotton textile, net, possessions, astronaut helmet, moon boots and steel baseplate

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D iversity in Nature

SEPTEMBER NEWSLETTER

Media's Border Logics: Reflecting on Platforms to the World Symposium

By Juan Llamas-Rodriguez

The instigating force for the event was the belief that media's "border logics," their simultaneous making and unmaking of boundaries, deserved closer scrutiny. Read more...

Symposium Programs. Photo by Adrian Tapia

The Waiting Room: Rethinking Latency After Covid-19

By Neta Alexander

We increasingly rely on machines and infrastructures whose logic is not clear or accessible to us-this new short essay explores three categories of buffering laid bare during the pandemic: pathogenic, infrastructural, and emotional. Read more...

Left: Photo by Neta Alexander. Right: Photo by Logan Weaver on Unsplash

Featured Datasets

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D iversity in Nature By Juan Llamas-Rodriguez The instigating force for the event was the belief that media's "border logics," their simultaneous making and unmaking of boundaries, deserved closer scrutiny. Read more... By Neta Alexander We increasingly rely on machines and infrastructures whose logic is not clear or accessible to us-this new short essay explores three categories of buffering laid bare during the pandemic: pathogenic, infrastructural, and emotional.

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Preview: Thursday 26 Sept 6:30 - 8:30PM
Exhibition: 27 Sept - 27 Oct 2019
Open Hours: Wed-Sun 12 - 6PM
Out Of Service presents a new commission by London-based Lebanese artist Aya Haidar. Haidar produces embroidery work on found textiles relating to home, diaspora, memory and imagination, collaboration around shared concerns is a key part of her practice.

New work has been developed over a 9-month period through conversations, workshops and time spent with campaign groups, community organisers and cultural workers all working with a focus on domestic and immaterial labour.

Installed at Cubitt are a series of embroidered works all made in Haidar's home, sewn onto dusters, muslin cloths and bin liners. Working with textiles in this way, as 'home productions', produces discrete pieces that work to counter the nostalgic notion of the 'domestic.' Instead, Out of Service positions the domestic as a political site and its proximity for Haidar to artistic work, to affect, repetition, care work, paid/unpaid, cleaning, parenting, the working body.

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Cubitt, established in 1991, is one of London's oldest and most established artist-run cooperatives. With 32 artist studios, gallery and event spaces, operating on and off site. Read more

Curatorial Fellows 2020-21 Read more

The leaks, spills, stains, invisible work, workers, bodies and their movements, the anecdotes of Haidar and others, have been recorded, stitched and presented. These serve as a partial-portrait of domestic space as work place, office, studio, nursery; where one lives, works, socialises, leaves.

Out of Service continues Cubitt's Structures That Cooperate programme, a 15 month series of exhibitions, events, workshops and research departing from Cubitt's position as an artist run cooperative and how this can shape and support collective concerns as cultural workers.

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Aya Haidaris a London based Lebanese artist whose practice develops artworks through conversations around shared interests and concerns relating to home, diaspora, memory and imagination - often using embroidering, craft and collage. Past works have focussed on the recycling of found and disposable objects making works that explore loss, migration and memory, with a personal connection to the history of a region [the Middle East] explored through the histories contained within personal objects/belongings. Recent solo exhibitions include: Wish You Were Here Athr gallery, Jeddah (2017) and Behind Closed Door s New Art Exchange, Nottingham (2011). Recent group exhibitions include: New Art Exchange Open, Nottingham (2019), Refusing to be still (2018), The Clocks Were Striking Thirteen (2018) Athr Gallery (2017), I Spy with My Little Eye, Mosaic Rooms, London (2015)

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Preview: Thursday 26 Sept 6:30 - 8:30PM Exhibition: 27 Sept - 27 Oct 2019 Open Hours: Wed-Sun 12 - 6PM Out Of Service presents a new commission by London-based Lebanese artist Aya Haidar. Haidar produces embroidery work on found textiles relating to home, diaspora, memory and imagination, collaboration around shared concerns is a key part of her practice.

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The Tenement Museum celebrates the enduring stories that define and strengthen what it means to be American.
A hidden gem of New York City, our two historic tenement buildings offer visitors a chance to explore the historically recreated homes of immigrant, migrant, and refugee families who lived in city tenements between the 1860s and the 1980s through interactive guided building tours, as well as walking tours of the iconic Lower East Side neighborhood of Manhattan.

Check out what's happening at the Tenement Museum! Join us for this season's holiday virtual tours and events.

New Exhibit!

Our new family story explores the lives of Joseph and Rachel Moore, a young Black couple starting anew in a post-Civil War New York City.

Launching Christmas week.

Neighborhood Walking Tours

Get to know the city by visiting historical sites and learning about the people and neighborhoods of the Lower East Side through our walking tours. Tours are available for both individual ticket holders or private groups.

Videos and Blogs

From digital exhibits and behind-the-scenes articles to our award-winning podcast, find yourself immersed in the stories that make the Museum so unique and gain a fascinating, in-depth historical look at life on the Lower East Side.

Group Visits

Host a private in-person or virtual experience with us! Your guests will be guided by expert educators through the recreated spaces of our historic tenement buildings and the lives of the families who lived there.

School Field Trips

Bring your class to the Tenement Museum! We offer specialized 1-hour programs for all students grades K-12, whether they're exploring our historic tenements and surrounding Lower East Side neighborhood in-person or virtually.

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Immigration Museum NYC | Tenement Museum

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The Tenement Museum shares stories of the immigrant and migrant experience through guided tours of two historic tenement buildings in NYC.

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Words by Amy Foster Taylor

My third and final visit to HMP Downview, it felt bitter sweet. I loved working there and getting to know the women, and it felt sad that just as we are getting more comfortable with each other, my involvement in this part of the project has ended. Yet I was also really looking forward to the Procession itself, where we would represent the women and also be joined by those that had since left Downview.

I joined the Processions volunteering team with no preconceptions. It sounded like an amazing project, but other than meaningful interactions with the women, there was nothing I particularly wanted to gain from the experience. Also, coming from a business background, I initially didn't see the link between this project and my practice. However, as the Processions project has developed, so has my personal work and MA project ideas. Central to this, is the idea of reinstating human values. Ordinarily I would apply this notion to a business setting, but my work with Lucy, Jo & the Processions team, has affirmed that recognising human values within all parts of society is really needed. The majority of my friends, like the majority of society, work within roles that value profitability above everything else and neglect people and the planet. Broadly speaking, I am interested in how we can reinstate the essence of humanity within our society.

Before attending prison for the first time, I was really shocked to learn that only 5% of prisoners in the UK are women, and over half of these women have suffered domestic violence. Not only is this completely heartbreaking, but it really shows how the system can fail those who are most vulnerable. Yet the Processions project also highlighted something else - how a seemingly simple act could have an impact on multiple women's lives.

Part of my interests lie within systems thinking and studying where it is best to intervene within a problematic system. The Making for Change workshop to me, was an incredible place to alter the course for women, who are often within a self-perpetuating cycle. Many of the women I spoke to had achieved qualifications through it, and were looking forward to progressing a career in these fields afterwards. One woman was looking forward to assisting her daughter, who wanted to study fashion design. And most impactful for me, was a young woman who had ignited an entrepreneurial spirit and a desire to open a vintage tea room, selling flowers and up-cycled vintage clothing that she would create using her newly found sewing skills. She wanted to go back to school and explore new paths to learn, such as working with other organisations that aid vulnerable women - be it, an east London bakery, or a drama group. Hearing her talk so passionately, it felt like such an achievable goal, and one that could also completely transform her life. She is confident, determined and empowered.

Not only does this carefully considered and effective approach create change in the long-run, but short-term, it provided a really positive and inspiring space. I found that despite being within a prison, the workshop was an area where everyone felt equal. We connected as women to women, rather than volunteer and prisoner. In fact, the use of language really affirmed that. Writing the word 'prisoner' there, is the first time I have used that word since being part of the Processions group, and it feels quite uncomfortable for me. In the workshop all women felt comfortable and it allowed for really great conversations in an enjoyable and upbeat space. It wasn't about us and them. The nature of the Processions project is around women's right to vote. No matter our background, we were just women who knew what it felt like to be women, and we could instantly connect on the most basic human level. Inspired by each other, and drawn together by a desire to create.

It's worthwhile noting that it wasn't all women, as some of the volunteers were men. This to me was so important. Movements shouldn't be exclusionary; everybody should be part of the conversation, and everybody was welcome to try their hand at new experiences. It reaffirmed that we are all just human, wanting to make the world a little more positive. If the women feel empowered to create an alternate path for themselves with the skills they have learnt and the conversations they have had, then that is incredible. But personally, I feel so inspired and fulfilled knowing that on a Friday, after coming in to the Workshop feeling exhausted or not bothered, the women always left feeling positive and empowered. It highlights how using creativity is not just a force for good, but a force that unlocks a world of opportunity. No matter the scale or approach, our actions really do make a difference.

Speaking of 'scale', the march was yesterday! I felt like we had been in a little bubble at Downview, and I actually forgot the reason for this project. As noted above, I had already felt so happy participating in the workshop, without considering that the work we were doing had a purpose. The Procession was incredible. It was such a happy day where women came together from all walks of life, to celebrate one another. We were all on a complete high! Of course, I felt really sad that the women from Downview missed out on such an amazing experience, but having got to know them, it was an absolute honour to represent them and their beautiful work. One of our banners had the words "A New Start" embroidered, which was truly the case for the amazing women that had since left Downview, and marched with us during the Procession. It truly was a day of celebrating women and change in all forms - from the women 100 years ago who fought for the right to vote, to the women that shape our societies today.

Thank you to Jo, Lucy and the team for such an incredible experience, and not only one that I will never forget, but one that will continue to inspire me throughout my life.

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MA Fashion Futures student Amy Foster-Taylor reflects on her involvement in Processions 2018

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Words by Amy Foster Taylor My third and final visit to HMP Downview, it felt bitter sweet. I loved working there and getting to know the women, and it felt sad that just as we are getting more comfortable with each other, my involvement in this part of the project has ended.

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The Migration Museum explores how the movement of people to and from Britain across the ages has made us who we are - as individuals and as a nation. We stage an adventurous programme of exhibitions, events and education workshops from our venue in the heart of Lewisham Shopping Centre, south London.

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UN Migration is committed to the principle that humane and orderly migration benefits migrants and society

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NUNO Corporation, Japan creates innovative textiles combining traditional aesthetics with the latest computer and synthetics technologies.

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We work directly with over 1,000 women on 11 islands across Indonesia, helping weavers to form independent cooperatives, to recover the skills of their ancestors, to manage their resources sustainably, and to express their culture identity while building their financial security.

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We work directly with over 1,000 women on 11 islands across Indonesia, helping weavers to form independent cooperatives, to recover the skills of their ancestors, to manage their resources sustainably, and to express their culture identity while building their financial security.

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Maria Teresa Leal, known as Tete to her friends, is a force to be reckoned with.The founder, driving force, and visionary behind COOPA-ROCA, the Rocinha Seamstress and Craftwork Cooperative in Rio de Janeiro, Brazil, she has powered this group of artisans from home sewers and craft workers to creative partners with some of the foremost fashion, interior and installation artists around the world. An arts educator by training, mentored by the famous educator and theorist, Paulo Freire, she founded COOPA-ROCA in the early 1980's.

Visiting the family housekeeper in the favela (read urban slum) on the weekend, Tete was encouraged by the residents, to establish free Saturday craft classes for the children of the favela. Bored with teaching art to the children of Rio's elite, she was excited and enthused by the eagerness of the children of Rocinha. Intercepted by the mothers of the children one day, as she was delivering a bag of textile scraps to her class, she was persuaded that they could put better use to the scraps of fabric than their children. Tete watched as the women fashioned all manner of homewares from these unwanted scraps of fabric, working with techniques like patchwork and fuxico, and so the sparks of what would become COOPA-ROCA were ignited.

The craftwork produced by the artisans became the idea behind organizing the women into a cooperative. Focusing initially on organizing and evaluating the women's skill set, a small production force was developed to produce decorative craftwork by reviving traditional Brazilian craft techniques. Impressed by the range of skills and techniques the women knew, Tete began prompting the women into improving their techniques and standardizing their workmanship. At first selling the simple hand crafted home wares at local markets, over the years Tete has built the cooperative into an internationally recognized creative powerhouse, partnering with designers such as Osklen, Lenny, Cacharel, Paul Smith, Agent Provocateur, Lacoste and C&A. COOPA-ROCA have also worked with installation artists Ernesto Neto and Tord Boontje, and decorated lounges at the Salon di Mobili Milan, Rio and Sao Paulo fashion weeks, and the New York Craft Fair.

The mission of the cooperative is to provide work to the female residents of Rocinha, arguably the largest favela in South America, with somewhere around 180,000 residents, allowing them to work from home, and contribute to the family income without neglecting their domestic duties, hence improving their quality of life. The cooperative has approximately 150 members along with some important partners in the fashion and interior design, and installation art markets. Partnerships have been developed through commitment and dedication to networking, along with Tete's ongoing determination to promote the work done by the cooperative of artisans. A fierce advocate for COOPA-ROCA, she does not allow anyone to take advantage of the artisans.

The development of 'special' projects has strengthened the cooperatives network as well as served to promote the sustainability of the cooperative in the long term. Projects have included a special presentation at Selfridge's department store in London in celebration of the year of Brazil, which included a magnificent fuxico shirt for Paul Smith. Fuxico is a type of patchwork made from circles of fabric gathered into the centre and connected together. The shirt involved hundreds of tiny red white and blue striped, and solid fuxico circles, patched together into the design of a Union Jack, and attached to the back of a men's white cotton shirt. A fashion show in Paris in collaboration with Cacharel, had the cooperative reworking and reinterpreting the collection, by embellishing items with tiny deconstructed patchwork pieces, crochet and macramé. The Cooperative has also collaborated with renowned installation artist Ernesto Neto on several exhibits, including covering giant egg shaped structures with little knots, a technique of hand tying strands of fabric onto a mesh base, producing a giant hand knotted carpet texture of sorts. Also working with Tord Boontje, most notably on a wonderful hand crocheted light fixture known as the Come Rain, Come Shine Chandelier, produced from a base of tiny crochet circles linked together and covered in hand made, deconstructed flowers raining down from the ball of crochet to amazing effect.

There have been many challenges in the development of the cooperative, however COOPA-ROCA continues to expand their commercial partnerships while increasing the scale of production and the number of its members. Now moving onto a new stage in their development, they are set to launch the COOPA-ROCA brand, by producing a small collection of mixed fashion, accessories and interior items for sale through their own e-commerce site, in time for their latest commercial collaboration with the Milan Salone del Mobile, opening in mid April.

For more information, please visitwww.coopa-roca.org.br/en
Sass Brown is a researcher, writer and blogger on all the different expressions of eco fashion, from slow design and heritage craft skills to recycle, reuse and new business models. Her book, Eco Fashion, published by Laurence King, has been translated into Italian as well as Spanish, and showcases some of the best expressions of eco fashion around the world. To learn more about Sass, please visit www.ecofashiontalk.com

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Maria Teresa Leal, known as Tete to her friends, is a force to be reckoned with.The founder, driving force, and visionary behind COOPA-ROCA, the Rocinha Seamstress and Craftwork Cooperative in Rio de Janeiro, Brazil, she has powered this group of artisans from home sewers and craft workers to creative partners with some of the foremost fashion, interior and installation artists around the world.

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The Stuff That Matters: Textiles Collected by Seth Siegelaub for the CSROT, 2012, installation view

Seth Siegelaub cuts a rare and anachronistic figure - a modern-day polymath who has, over the course of 50 years, been a gallerist-impresario, publisher, bibliographer and collector. Textiles, and specifically their written history, have been an enduring interest of his since the 1960s, and - under the moniker of the Centre for Social Research on Old Textiles (CSROT) - he has been amassing a library of objects and books in earnest for close to 30 years. 'The Stuff That Matters: Textiles Collected by Seth Siegelaub for the CSROT' comprised 200 artefacts from this collection of 650 antique textiles and 7,000 books on the subject, themselves catalogued in a vast bibliography he published in 1997 as the Bibliographica Textilia Historiae.

Siegelaub and the exhibition's curators - Sara Martinetti, Alice Motard and Raven Row director Alex Sainsbury - grouped the textiles with bibliographic fastidiousness by period or function. The overall design of the exhibition was the work of 6a Architects, who created expansive white cases and other elegant parerga, yet there was a vivid sense of Siegelaub's personal engagement with his subject, both through the yellowed pages bearing his handwritten notes and sketches, and the printed annotations throughout. The woven artefacts were interspersed with excerpts from books that cast light on their manifold commercial contexts, methods of facture and cultural statuses - background became foreground. Eighteenth-century floral silks were, for example, laid alongside tracts like John W. Parker's The Useful Arts Employed in the Production of Clothing (1851), whose diagram showing 'the hats of our ancestors' found a parallel in a nearby gallery of tribal headdresses from Africa, Asia and Oceania.

The exhibition focused on the role of the fragmentary textiles and texts as evocative metonyms, standing for irretrievable places and times. A host of specialist terms peppered the labels, for which a glossary was provided: chasubles (i.e. liturgical vestments) 'in silk damasks and passementerie' were hung in a row, suggestive of the wardrobe of chivalric knights. The abundance of fabrics began to resemble a dandified cornucopia, similar to the fineries imagined by Oscar Wilde as belonging to Dorian Gray - indeed, Wilde more or less lifted these descriptions from books like those Siegelaub has collected. If Dorian's love for objects was that of the aesthete, Siegelaub's project is determinedly one of setting textiles in historical context (the collection itself sprung from the wider project of the bibliography). In the catalogue, he tartly observes that textile collecting for its own sake is as 'bourgeois and "apolitical" as you can imagine'.

The staging of this show in Raven Row reflects Siegelaub's intellectual eclecticism: his own short-lived gallery in 1960s New York dealt in oriental rugs alongside conceptual art and, as Clare Browne (textiles curator at the V&A) relates in her catalogue essay, the exhibition invokes the history of Spitalfields. The gallery building, which is located in this area, once housed silk merchants' shops, and the surrounding neighbourhood was the heart of Britain's silk trade. Moreover, Siegelaub's meticulous archiving demonstrates a serial attitude akin to the methodology of the conceptual artists he championed in the late 1960s. It further recalls his use of the printed page as an exhibition site in now-legendary projects such as the Xerox Book (1968), for which seven artists (including Carl Andre, Robert Barry and Lawrence Weiner) were invited to contribute a work in the form of 25 consecutive pages reproduced by photocopier; an equivalent 'catalogue-exhibition' comprising writing by six critics was published in a 1970 edition of Studio International. Despite Siegelaub's departure from the art world in 1972, which has become a biographical cliché akin to Marcel Duchamp's abandonment of art for chess, his subsequent enterprises (which include a database of literature on Marxist and socalist writing) remain philosophically affiliated with Conceptualism.

Just as in conceptual art, objects themselves are rarely the whole story, referring to actions beyond themselves, the textiles and books in 'The Stuff That Matters' succeed in presenting indexical slices - poignantly abbreviated glimpses - of other societies. These mass together into a collective cultural record or what the classicist Charles Segal, with regard to myth, memorably describes as a cumulative 'megatext'.

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Seth Siegelaub cuts a rare and anachronistic figure - a modern-day polymath who has, over the course of 50 years, been a gallerist-impresario, publisher, bibliographer and collector.

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Taken from Traces group member Megan Eames

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Taken from Traces group member Megan Eames

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Recurring concept in exhibitions revolving around migrant experiences is the idea of "home". Recreation of a life left behind but also filled with items from the new space/country/city. It's a shelter in the practical sense but also a space for new dynamics to emerge those of assimilation and resistance.

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Take a seat in Rose Sinclair's interactive, digital Caribbean Front Room.

Rose tells the story behind each object, bringing them to life through her memories and expertise in Caribbean textiles and craft.

Pour yourself a glass of rum, press play on the Blue Spot Gram and immerse yourself in this loving recreation of the mid-century Caribbean Front Room.

Explore two interactive views of Rose Sinclair's Caribbean Front Room installation:

A mythical space

The Caribbean front room has become a mythical space; a space remembered for its ornamentation, colour-clash and kitsch.

It's a space that could be changed to suit any occasion; from funerals to christenings, wedding receptions to dances and even as the initial gathering place for many churches.

It's a space to host visitors and special guests. A space for listening to the cricket on the Blue Spot gram or playing dominoes and drinking rum.

It's also remembered as a space for making where women would gather, chit chat and craft. They made to decorate their homes and clothe their families, often in textiles groups like Dorcas clubs where skills and stories were shared across generations.

Objects carry with them ways of knowing and this installation focuses on the hidden legacy of the handmade crafting practices of the women of the Caribbean diaspora in the UK.

Stories of crochet, smocked cushions, embroidery and knitting, and how these decorated objects brought people together and contributed to their wellbeing.

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Take a seat in Rose Sinclair's interactive, digital Caribbean Front Room. Rose tells the story behind each object, bringing them to life through her memories and expertise in Caribbean textiles and craft. Pour yourself a glass of rum, press play on the Blue Spot Gram and immerse yourself in this loving recreation of the mid-century Caribbean Front Room.

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Patterns of migration against the common narrative that people move to Western countries.

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Taking the past with you. Wearing your history and narrative. Constant movement, shelter meaning defensive wear.

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When Hussein Chalayan Turned Furnishings Into Fashion

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We look back to A/W00, when the avant-garde designer staged a DIY happening with impeccable finesse – and turned a coffee table into a dress