[Insert excuses for irregular blogging here]
There is an idea floating around among people who study domestic work that *we* are uncovering the reality of a hidden form of labor. As a historian, that’s a little difficult for me. You see, in New York City during the Depression there was this little thing known as the Bronx Slave Market. At the market, on the corner of 167th and Jerome, black women, in their uniforms with bag lunches in tow, would congregate, and wait for white women (and occasionally white men) to come and offer them a pittance of a wage for a days work.
While the actual work happened in private homes, the marketplace for this labor happened in public. The economic (and racial…and gendered) exploitation of these women was readily on display. It was unmistakeable. Which leads me to believe that sometimes we call the things we refuse to see “hidden” as a way of protecting ourselves.
Today, the exploitative and oppressive conditions of domestic work around the world are much easier to keep secret, thanks, in part, to underground networks of forced migration and the internet…a different kind of marketplace that allows for more efficient exchange of bodies for capital.
And out of this kind of invisibility, there emerges a community of folks (investigative journalists, academics, non-profits, politicians, etc.) who seek to lift the veil on the “secret underground world of domestic labor” and the abuse against the women who do it. This is not meant to dismiss the harsh reality and the heinous violence that domestic laborers endure. It is, however, meant to demean those who are determined to speak for household laborers (or any worker really), as opposed to speaking to (or even through as artists sometimes do), the women who actually do the work. And, as I hope this blog has demonstrated, women who are more than capable (and much better at) speaking for themselves.
Which brings me to the subject of this blog: the visual series 900 Square Feet of Hidden Hope, a project by photographer Xyza Cruz Bacani documenting the women of the Bethune House Migrant Women’s Shelter in Hong Kong, a refuge for domestic workers, particularly victims of abuse from employers. The shelter provides housing, meals, counseling, legal guidance, and, most importantly, community.
What matter to me is that Bacani is also a domestic worker. The commentary she provides for each photograph uses language that reiterates the fact that she is helping us to visualize a community of which she is a part. Her photos are both a representation of the subjects of each picture, but also a sort of self-fashioning of her own identity as a worker and an activist.
Many of the subjects of Bacani’s photographs are Filipina and Indonesian women. I have talked about these migrant domestic workers in Hong Kong in a previous post. In many ways this series is the counter-discourse to that analysis of the representation of domestic work in Hong Kong. But Bacani brings so much more to the narrative than I could ever capture in words through pictures.
I first came across the series in an article I stumbled upon on twitter. The author of this article (and others like it) was interested in one woman in particular, Shirley, who suffered third degree burns to much of her body after her employer burned her with a boiling pot of soup. The article posited the series as documenting “modern slavery” and abuse of domestic workers in Hong Kong, and talks extensively about Shirley’s case.
Why is it so hard for us to simultaneously affirm the impact of oppression and the multitude of ways that we cope and resist? This is something that Bacani does beautifully. The moments she captures create such a robust narrative.
One photograph depicts a Muslim woman praying on a makeshift prayer mat. The underlying text explains that Bethune is an interfaith community. Another subject, Vanjo, is lesbian. Her photograph is an opportunity for Bacani to address the inclusivity of Bethune House as it relates to sexuality and sexual identity.
Other photographs in the series show the women cooking together, sharing meals, giving each other comfort during what is called a “sharing session,” singing Christmas songs, taking care of children, and even participating in a labor day protest.
I don’t know…maybe I’m being naive or idealistic. But when I think of the women in my family, representing four generations of domestic workers, I don’t want the exploitation of their labor or an image of them as victims to stand alone.
Though there are several photographs of Shirley depicting the burns on her body, this one is my favorite. It’s a photo of Shirley as she prepares for the case against her employer. There’s something so compelling about it. And for me, it illustrates that the Hidden Hope that Bacani describes in the title of her series is not an abstract hope. It is one that the women of Bethune House create for themselves and work towards daily.
Images of domestic workers have fascinated me for some time now. Maybe one day I will write more about it. In the mean time (and I say this with so much gratitude to Bacani for the work that she does and with the knowledge that I will come back to it soon), it remains here…on the cutting room floor.