 As migration, how do border regimes operate? What are the varied lived experiences and ways of longing for home? How do diasporic communities and subjectivities engage with and produce the world? What are the connections between movements such as Black Lives Matters and the refugee crisis today? What is power and how do we resist it? As part of the MA program in migration and diaspora studies at SOAS, students were encouraged to use their creativity to interrogate these questions and many others by drawing on their backgrounds, languages, and toxic talents. These pieces show how artistic processes can meaningfully inform and reach and shape our ethnographic research and our teaching. But mostly they urge us to think beyond ethnographic traditional methods to challenge how we see and convey the reality around us. Hi, I'm Ash. I'm Susanna. During our African and Asian diasporas course, we had a project that encouraged us to use art and creativity to reflect on and analyze different theories that were taught throughout the class. We used it to understand not just how art can be used to represent and analyze migration, but also how the process can affect engagement and what it might mean to use different types of mediums. For this project, I submitted two pieces of artwork that express my sentiments on identity and transnationality. The first image illustrates a literal recreation of the sense of duality that I feel regarding my identity. So it encapsulates the various tangled emotions that intertwine to create numerous layers of identities within the duality of a person, whereas the second one is a bit more abstract and is a bit more expressive. It offers a visual representation of my psyche and it breaks feelings of uncertainty and chaos. The paintings constitute as a series. They do not aim to assert or document a particular reality of being refugee in a certain place and time. They rather express an imaginary outburst that is generated from within the bodies themselves. I aim to announce a departure from the conceptualization of the refugee lives as the superfluous. The paintings desire to convey an imagination of the exiled body as the revolutionized human. That is, the exiled body itself as the source of political outburst, which humanity and political consciousness can potentially be constituted outside of the structures of sovereign state, jurisdiction, or humanitarianism. I decided to create a fake magazine to give space to black women in Italy that decided to be proud of the air and to feel empowered of their choice on how to present their bodies. I decided to create a fake magazine due to discriminations towards black people, due to racism, due to the lack of knowledge of the reality of the black community in Italy. With my colleagues from the program, Flora Mahali and Ash, we work as curators of the exhibition to create a space to effectively display migration with visual arts. Together, I think these artworks offer a very powerful example about how we can rethink pedagogies in a way that allow our incredibly diverse body of students to bring themselves into their learning instead of being forced to adhere to a homogeneous academic and yet often written canon. The art showcased in this exhibition is really the fruit of this engagement, this passion of the MA and undergraduate students of migration and so on, and is also the result of the wonderful work of the curators, Ash, Mahali, Susanna and Flora. The artwork and the exhibition that has been put together has really exceeded any expectation, and I really hope you're going to enjoy it.