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The slow humanities, this article argues, can make valuable contributions to the study of migration narratives. A slow take on literary representations of refugees and migrants has two distinct but related dimensions. On the one hand, the figure of the slow refugee introduced here challenges theories of migration which emphasize movement. On the other hand, the slow approach to literary representations of forced migration focuses on various forms of narrative empowerment. My readings of the novel What is the What (2008) by Dave Eggers and Parwana Amiri's work My Pen Won't Break But Borders Will: Letter to the World from Moria (2020) demonstrate how collaborative and allied forms of storytelling help restore narrative agency and authority, moving beyond the exemplary, documentary, and ambassadorial functions of vicarious storytelling. Instead of speaking on behalf of others, or even worse, for others—the default case in many conversations on migration—the literary representations of refugees discussed in this article emphasize the need to tell and share stories with others, for the benefit of everyone. In this sense, they help establish a level telling field, initiating a debate on the terms and conditions of fair conversation on forced migration. [ABSTRACT FROM AUTHOR]

The foundation of the MMRC in November 2019 as the first Music and Minorities Research Center worldwide raised a lot of questions concerning theories and methods in ethnomusicological minority research. At the core of the lively discussions among the international advisory board of the MMRC were definitions as well as guiding principles. While the varying definitions of the term “minority” are a theoretical issue, the guiding principles of research are very much connected to methods. Adelaida Reyes was a key figure in these discussions but also in earlier ones that happened at the time of the foundation of the ICTM Study Group on music and minorities. Drawing from her work this article deals in its first part with the term “minority”, the historical perspectives of its use and meanings. The second part is concerned with methodological issues with a special focus on future perspectives, that include dehierarchisation as well as decolonisation of ethnomusicology. The article pays tribute to the foundational work of Adelaida Reyes and many of her peers in the early development of ethnomusicological minority research, which helps scholars of today to pay attention to power relations as well as intersectional approaches in ethnomusicological minority research. Thus minority research proves to have the potential to influence the discipline ethnomusicology in general. [ABSTRACT FROM AUTHOR]

This Special Issue analyses how forced migrants' and non-citizens' kinning and de-kinning practices and their struggles of 'doing family' constitute navigations of citizenship. Forced migrants and non-citizens need to manoeuvre an intersecting net of different bureaucratic, political and legal, but also kin-related social and cultural regimes. In their encounters with state authorities, bureaucrats, and humanitarian workers, and through the material cultures these engender, forced migrants and non-citizens are marked and categorised – often with wide-ranging consequences for themselves and their significant others. This Special Issue traces how legal and bureaucratic inscriptions derive from, but also shape forced migrants' and non-citizens' familial status and intimate ties to fictive, legal or consanguineal kin. Centring on migration and displacement to and in Europe and the Middle East, we combine analytical debates from anthropology, gender, migration and citizenship studies. Collectively, this Special Issue suggests that the nation-state and its migration regime are experienced in relational ways, and impact on migrants' ability to care for and be in relation with significant others. [ABSTRACT FROM AUTHOR]

The slow humanities, this article argues, can make valuable contributions to the study of migration narratives. A slow take on literary representations of refugees and migrants has two distinct but related dimensions. On the one hand, the figure of the slow refugee introduced here challenges theories of migration which emphasize movement. On the other hand, the slow approach to literary representations of forced migration focuses on various forms of narrative empowerment. My readings of the novel What is the What (2008) by Dave Eggers and Parwana Amiri’s work My Pen Won’t Break But Borders Will: Letter to the World from Moria (2020) demonstrate how collaborative and allied forms of storytelling help restore narrative agency and authority, moving beyond the exemplary, documentary, and ambassadorial functions of vicarious storytelling. Instead of speaking on behalf of others, or even worse, for others—the default case in many conversations on migration—the literary representations of refugees discussed in this article emphasize the need to tell and share stories with others, for the benefit of everyone. In this sense, they help establish a level telling field, initiating a debate on the terms and conditions of fair conversation on forced migration.

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