Feminism and Transmigration

This week's topic is about the relationship between women and nation.  In her writing, deriving from Marshall’s definition of citizenship–its civil, political, and social aspects--Yuval-Davis examines gender in the active response to citizenship and membership in the nation and communities the person belongs to. She argues that the “dualistic nature” of women’s citizenship is what distinguishes women from men.  By dualistic nature she means “on the one hand, women are always included, at least to some extent, in the general body of citizens of the state and its social, political and legal policies; on the other hand, there is always, more or less developed, a separate body of legislation which relates to them specifically as women” ( p. 404). Therefore, according to Yuval-Davis, only when women and men are both characterized in a “dual manner as reproducers as well as producers of the nation”, might there be a change in the “principle of the sexual division of labor and power” (404). 

Yuval-Davis’s point resonates with the writings of authors from the book Mapping Transitional Feminist Media Studies.  While their topics on women are varied, the configuration of these writings is  the argument:  transnational procedures are not equal to genders and racial statuses. Specifically focusing on issues of transmigration,  the book offers pro-active feminist views by examining gender inequality in the transmigrant context, one of the most treacherous circumstances for women who are searching for a place in which to settle their lives. 

The film Flowers from Another World explores the inequalities and difficulties that women have faced when immigrating to the remote village of Santa Eulalia.  As Nair points out, being alienated from their communities, the women like Patricia and Milady lack necessary securities. That is why the characters have a strong sentiment of connection with each other. Although there are sharp distinctions in their characteristics and a huge gap in their life experiences, they easily become friends. This immediate relationship can be read as an implication of the notion of the division idea between us (the outsiders ) and Others (domestic villagers). These characters’ alienation is emphasized through their desires to connect with people of their communities. Patricia challenges her harsh mother-in-law criticism of her friend coming from her hometown. Milady’s attempt to contact with her family and friends in Cuba is to satisfy her “sense of belonging.” 

Obviously, Milady’s instability and vulnerability is not only the result of her immigrant status. Her relationship with Carmelo also reveals the powerful relationship of gender and neo-colonialism.  At the very beginning of the film, Milady’s sexual appearance is in tightly fitting yellow clothes attracts everybody in the village.  Moreover, Carmelo’s respectful and considerate behavior to her makes her image distinguished from that of poor Patricia with her passive childish husband. Yet, she is soon controlled by Carmelo. She is almost locked in the house, and later is violently hit by Carmelo in front of villagers. Nair argues that Milady leaves the village because she cannot be part of the new community, in contrast to Patrica who overcomes the challenges of transculturality. From the perspective of neo-colonialism,  I would argue that Milady’s flight results from her will against the whites' domination rather than a failure to transition into the community. In another word, the case of Milady illustrates the argument of book Mapping Transitional in the sense that transitional processes are not only "gendered" but also differentiated within the gender category depending on different racial groups.