“We Are Like Air: New York”
Xyza Cruz Bacani on Migrant Workers
Photos taken of Bacani’s work at The Museum of the City of New York
A home may be defined as a physical structure with four walls. However, once one venture outside its bounds, the concept of what constitutes a home becomes a lingering question. Home extends beyond the domestic space, encompassing the deep connections and relations people share and through memories attached to objects and places. In a photography exhibition by The Museum of the City of New York, what is home is pictured through the diverse perspectives of photographers and visual artists. The installation features many stories, including those of diaspora and immigrants residing in New York. Xyza Cruz Bacani, a documentary photographer and author, is one of the artists featured in the exhibition whose work delves into this subject. While working as a domestic worker in Hong Kong, Bacani began documenting the hidden lives of exploited migrant women from the Philippines, including that of her mother. Her series, We Are Like Air, reclaims the story of the migrant worker that others have told countless times. Rather than being portrayed as mere victims, the series depicts domestic workers as champions who have overcome the difficulties of leaving their families behind in their home country.
Bacani developed a personal and professional interest in labor migration after witnessing how frequently migrant workers were overlooked despite their significant contributions. She likened the treatment of these workers to being invisible, despite their importance being as essential as air. In We Are Like Air, Bacani sought to bring visibility to migrant workers, using her camera and herself as tools to tell their stories. For New York Now, she highlights the story of Farah, a Filipina survivor of labor trafficking who lives in Queens. Despite working as a teacher, Farah did not receive her promised salary and was forced to work as a part-time nanny, housekeeper, and babysitter to repay her debt bondage. For seven years, Bacani captured Farah’s daily life through her photographs. Although facing unfortunate struggles as a victim of trafficking in New York, Farah has found a new sense of home in the city after being separated from her original home, as captured through Bacani’s lens.
Liberty, 2022
In Liberty, Farah stands alongside her husband, Shipu, while a caricature of the Statue of Liberty is visible to their left, slightly ahead of them on the front lawn. The iconic statue has long been a symbol of hope and welcome for immigrants arriving by sea at Ellis Island in search of a better life. However, Farah’s arrival was marred by trafficking, casting a critical light on the very ideals that the Statue of Liberty represents. Like many other immigrants in the United States striving to achieve the “American Dream,” Farah overcame the challenges of being trafficked with determination and perseverance. Finding solace beneath the tree’s shade, she has discovered a comforting retreat where she can seek refuge from life’s difficulties. Sharing this tranquil space with Shipu has been instrumental in shaping her definition of home. Through Bacani’s lens, we gain insight into the transformative power of love, community, and resilience in the face of adversity.
Farah Wears a Hijab, 2015
Although initially a stranger to a new place, Farah was able to adapt and create a sense of belonging. One of the defining aspects of her home is the Bengali immigrant community she married into. Farah continues to embrace the unfamiliar by immersing herself in a culture that differs greatly from her own, including its religion, traditions, and customs. The photograph of Farah donning a hijab serves as a prime illustration of her wholehearted embrace of the culture. As Farah gazes into the mirror and adjusts her hijab, she appears fully immersed. Her reflection exudes confidence, and the things that led to it are apparent within. It stems from the Hijab she wears, the walls of her space, and the dazzling awaiting necklaces. In her reflection, she sees the people and memories that have shaped her home, imbued with the essence of her being. Farah’s journey unfolds with a heart full of faith as she fosters a welcoming space for others and treasures her necklaces that adorn her memories across time, finding contentment, safety, and a steady pace with hope and grace.
Farah and Shipu Party with their Bangladeshi Friends in Queens, 2018
Farah and Shipu hail from distinct cultural backgrounds that trace their roots to the Philippines and Bangladesh. However, their paths cross in New York, where they uncover commonalities that bridge the gaps between them. It is the language of food and the bonds created through conversations over meals, which transcend cultural boundaries, uniting people across cultures. As I examine the Queens Party photograph more closely, particular distinctions become more apparent. Seeing how they eat outside in front of their home by the sidewalk catches my attention. It reveals a quotidian setting familiar to Farah’s Philippine roots but also resonates with Shipu’s Bangladeshi heritage. You don’t often see people celebrating like this, in front of their residential place instead of the backyard or inside of homes. While this scenario might be familiar to other cultures in the United States, it is not as prevalent among the majority. However, it highlights the similarities between Farah and Shipu, and their shared desire to celebrate in a way that reflects their cultural background. This way of celebrating represents a defining moment for both of them, emphasizing who and what shapes their sense of home.
Farah at the Brooklyn Platform in Brooklyn, 2015
We Are Like Air by Xyza Cruz Bacani sheds light on Farah’s remarkable journey of overcoming challenges and uncertainties that New York has thrown her way, all while creating her own definition of home. Waiting for the train at the Brooklyn Platform, she’s among strangers who may have shared her experience as an immigrant in a foreign land and may have faced the horrors of human trafficking. Despite feeling a sense of belonging, Farah remains conscious of the differences among the people on the platform. Each person has their own unique story, hails from diverse backgrounds, and may grapple with distinct challenges, influencing the continuous journey to find what is home. Farah’s story, which Bacani made visible, has also drawn attention to those around her, making them visible to us as well. It leaves us to ponder about the journey they have already underdone and what their train ride will lead them as they continue to shape what home is.