“I’ll see you on the other side”: migrant journeys and the (re)formation of diasporic identities

Oceanic imagery and the female body are used as symbols in the poem to explore themes of journeys and identity (re)formation, and the connection between them. The sea appears as simultaneously deathly and generative, hopeful. This recalls previous academic work done by Gilroy and his concept of the “Black Atlantic” (1993).1 It explains the emergence of transnational and intercultural voices through experiences of the diaspora and documents the cultural dialogue that occurred between Africa, North America and the UK. I apply this concept beyond the realms of the Atlantic to a different seascape: today, the Mediterranean hosts a liquid graveyard of migrants attempting to reach Europe – echoing the horrors of the Middle Passage. Despite this, Shire states that the journey and borders encountered are:

Poetry constitutes an especially useful lens of analysis in this regard. It serves as a vehicle for self-expression, the reclaiming of personal and political agency, community building and solidarity. It is specifically relevant to Shire as sound and listening are integral to Islamic culture, and more specifically Somalia is known as a "nation of poets". Combining the predominantly pastoralist nomadic existence of Somalis with the fact that their written orthography was only realised in 1972, oral poetry acts as a signature of Somali culture and as a mode of communication across distances. By writing poetry, Shire reclaims her Somali heritage and identity whilst living in a Western world.

Internationally, migrants and stateless/ racialised people are largely excluded by a focus on nation states and their citizens, where overlapping layers of oppression render them voiceless – without access to platforms for expressing their experiences and concerns. Sound has the potential to cross and dismantle borders through space and time, where the mobility of people is increasingly blocked by security controls and xenophobic policies. It emerges as a form of resistance with the ability to restore voice to those who feel like they have lost it. Indeed, Somalis use technological mediums, including social media, YouTube and cassette tapes, to disseminate their poetry and communicate across the diaspora. These mediums capture the emotions, accents, repetitions and hesitations that are often lost in other means of research, but that are given value in poetry and music. Whilst sound appears as something constructed and orderly, noise – embodied by these accents, repetitions and hesitations – holds negative connotations of being disruptive and pointless. In this way, sounds and noises reveal important information on migrant identities and are central to narratives of inclusion and exclusion.

“I’ll see you on the other side”, Shire concludes – reflecting on the circular nature of migration. The title of the poem, at the deportation centre, suggests that at this point, she is being sent back to where she came from, back to where she started – mirroring the movement of the ocean. Placing journeys in this way at the core of attempts to understand migration would legitimise migrant experiences and give a more complete view of the formation of transnational identities and diasporas. The implications of this lie with the contestation and destabilisation of notions of nationalism, race, and ethnicity that currently depict a static conception of nations and of societies. Such work would promote and legitimise migrant voices and acknowledge their experiences, with the objective of developing more inclusive politics and policies.