Lisa Gilman is Professor of Folklore and Director of the Institute for Immigration Research at George Mason University, former Editor-in-Chief of the Journal of American Folklore, and former Fellow with the Refugee and Forced Displacement Initiative at the Woodrow Wilson Center. She published The Dance of Politics: Performance, Gender, and Democratization in Malawi (Temple University Press 2011), My Music, My War: The Listening Habits of U.S. Troops in Iraq and Afghanistan (2016), the co-authored Folklore and Ethnomusicology Fieldwork Methods Handbook (Indiana University Press 2019), and co-edited Africa Every Day: Fun, Leisure, and Expressive Culture on the Continent (Ohio University Press 2019) and UNESCO on the Ground: Local Perspectives on Intangible Cultural Heritage (Indiana University Press 2015). She produced the documentary Grounds for Resistance and the Dzaleka Art Project.

“This is an excellent and important book that makes a significant contribution to the studies of migration, refugees, resettlement, and the creativity of people facing forced migration.” • Amy Shuman, The Ohio State University

• List of FiguresAcknowledgmentsIntroduction: We Are All HumanPart I: The Dzaleka Refugee Camp in MalawiPart I IntroductionChapter 1. Trésor Nzengu Mpauni and the Tumaini FestivalChapter 2. Elisha BeyaChapter 3. AngelaChapter 4. Francois BangweChapter 5. Toussaint Farini and Salama AfricaChapter 6. Primo Luanda BaumaChapter 7. Umoja Women CraftChapter 8. NellyChapter 9. Tuze Manirakiza and the Indengabaganizi Dance TroupeChapter 10. David and Jonathan Bin WakandwaChapter 11. SylvanoChapter 12. Gabriel NdayishimiyeChapter 13. Divine Irakoze Part II: Syrians in TürkiyePart II IntroductionChapter 14. Alaa AlkhatibChapter 15. Muhammed Nor YaserjiChapter 16. The Önder Center for Cooperation and DevelopmentChapter 17. The Earthquake and the Önder Center for Cooperation and DevelopmentChapter 18. Haneen Choir NetworkChapter 19. Nermin BiravviChapter 20. NUN Kültür Sanat (NUN Culture and Arts)Chapter 21. YOLO Art Center and CaféChapter 22. Omar AlkilaniChapter 23. Sohir Yaghi and KnitstanbulChapter 24. Farah TrablsieChapter 25. Sham AlsaloumChapter 26. Omar Berakdar and ArthereistanbulPart III: Uyghurs in FrancePart III IntroductionChapter 27. Dilnur Reyhan and European Uyghur InstituteChapter 28. Jalilova GulbaharChapter 29. Erpan ToghrulChapter 30. Merdan EhteliChapter 31. Jineste TohtiChapter 32. UmutChapter 33. MirkaChapter 34. NafiseChapter 35. Gul-ayChapter 36. Vodka Conclusion: Arts, Culture, Leaving, and BelongingReferencesIndex

Lisa Gilman is Professor of Folklore and Director of the Institute for Immigration Research at George Mason University, former Editor-in-Chief of the Journal of American Folklore, and former Fellow with the Refugee and Forced Displacement Initiative at the Woodrow Wilson Center. She published The Dance of Politics: Performance, Gender, and Democratization in Malawi (Temple University Press 2011), My Music, My War: The Listening Habits of U.S. Troops in Iraq and Afghanistan (2016), the co-authored Folklore and Ethnomusicology Fieldwork Methods Handbook (Indiana University Press 2019), and co-edited Africa Every Day: Fun, Leisure, and Expressive Culture on the Continent (Ohio University Press 2019) and UNESCO on the Ground: Local Perspectives on Intangible Cultural Heritage (Indiana University Press 2015). She produced the documentary Grounds for Resistance and the Dzaleka Art Project.

“This is an excellent and important book that makes a significant contribution to the studies of migration, refugees, resettlement, and the creativity of people facing forced migration.” • Amy Shuman, The Ohio State University

• List of FiguresAcknowledgmentsIntroduction: We Are All HumanPart I: The Dzaleka Refugee Camp in MalawiPart I IntroductionChapter 1. Trésor Nzengu Mpauni and the Tumaini FestivalChapter 2. Elisha BeyaChapter 3. AngelaChapter 4. Francois BangweChapter 5. Toussaint Farini and Salama AfricaChapter 6. Primo Luanda BaumaChapter 7. Umoja Women CraftChapter 8. NellyChapter 9. Tuze Manirakiza and the Indengabaganizi Dance TroupeChapter 10. David and Jonathan Bin WakandwaChapter 11. SylvanoChapter 12. Gabriel NdayishimiyeChapter 13. Divine Irakoze Part II: Syrians in TürkiyePart II IntroductionChapter 14. Alaa AlkhatibChapter 15. Muhammed Nor YaserjiChapter 16. The Önder Center for Cooperation and DevelopmentChapter 17. The Earthquake and the Önder Center for Cooperation and DevelopmentChapter 18. Haneen Choir NetworkChapter 19. Nermin BiravviChapter 20. NUN Kültür Sanat (NUN Culture and Arts)Chapter 21. YOLO Art Center and CaféChapter 22. Omar AlkilaniChapter 23. Sohir Yaghi and KnitstanbulChapter 24. Farah TrablsieChapter 25. Sham AlsaloumChapter 26. Omar Berakdar and ArthereistanbulPart III: Uyghurs in FrancePart III IntroductionChapter 27. Dilnur Reyhan and European Uyghur InstituteChapter 28. Jalilova GulbaharChapter 29. Erpan ToghrulChapter 30. Merdan EhteliChapter 31. Jineste TohtiChapter 32. UmutChapter 33. MirkaChapter 34. NafiseChapter 35. Gul-ayChapter 36. Vodka Conclusion: Arts, Culture, Leaving, and BelongingReferencesIndex

Lisa Gilman is Professor of Folklore and Director of the Institute for Immigration Research at George Mason University, former Editor-in-Chief of the Journal of American Folklore, and former Fellow with the Refugee and Forced Displacement Initiative at the Woodrow Wilson Center. She published The Dance of Politics: Performance, Gender, and Democratization in Malawi (Temple University Press 2011), My Music, My War: The Listening Habits of U.S. Troops in Iraq and Afghanistan (2016), the co-authored Folklore and Ethnomusicology Fieldwork Methods Handbook (Indiana University Press 2019), and co-edited Africa Every Day: Fun, Leisure, and Expressive Culture on the Continent (Ohio University Press 2019) and UNESCO on the Ground: Local Perspectives on Intangible Cultural Heritage (Indiana University Press 2015). She produced the documentary Grounds for Resistance and the Dzaleka Art Project.

“This is an excellent and important book that makes a significant contribution to the studies of migration, refugees, resettlement, and the creativity of people facing forced migration.” • Amy Shuman, The Ohio State University

• List of FiguresAcknowledgmentsIntroduction: We Are All HumanPart I: The Dzaleka Refugee Camp in MalawiPart I IntroductionChapter 1. Trésor Nzengu Mpauni and the Tumaini FestivalChapter 2. Elisha BeyaChapter 3. AngelaChapter 4. Francois BangweChapter 5. Toussaint Farini and Salama AfricaChapter 6. Primo Luanda BaumaChapter 7. Umoja Women CraftChapter 8. NellyChapter 9. Tuze Manirakiza and the Indengabaganizi Dance TroupeChapter 10. David and Jonathan Bin WakandwaChapter 11. SylvanoChapter 12. Gabriel NdayishimiyeChapter 13. Divine Irakoze Part II: Syrians in TürkiyePart II IntroductionChapter 14. Alaa AlkhatibChapter 15. Muhammed Nor YaserjiChapter 16. The Önder Center for Cooperation and DevelopmentChapter 17. The Earthquake and the Önder Center for Cooperation and DevelopmentChapter 18. Haneen Choir NetworkChapter 19. Nermin BiravviChapter 20. NUN Kültür Sanat (NUN Culture and Arts)Chapter 21. YOLO Art Center and CaféChapter 22. Omar AlkilaniChapter 23. Sohir Yaghi and KnitstanbulChapter 24. Farah TrablsieChapter 25. Sham AlsaloumChapter 26. Omar Berakdar and ArthereistanbulPart III: Uyghurs in FrancePart III IntroductionChapter 27. Dilnur Reyhan and European Uyghur InstituteChapter 28. Jalilova GulbaharChapter 29. Erpan ToghrulChapter 30. Merdan EhteliChapter 31. Jineste TohtiChapter 32. UmutChapter 33. MirkaChapter 34. NafiseChapter 35. Gul-ayChapter 36. Vodka Conclusion: Arts, Culture, Leaving, and BelongingReferencesIndex