Frame by Frame: M.I.A's 'Borders'

Borders by M.I.A. : A Frame by Frame Visual Analysis

All frames pulled from original video. Timeframe of visual included in the pictures. Some frames may have been omitted based on critical discretion and relevance. Not necessarily in order of appearance, although largely in that order. This analysis will not go deeply into the biography of the song-writer or the lyrics although some attempts of contextualization will be done- this is a focused visual analysis. The usage of the words "migrant" and "refugee" are not used inter-changeably. Refugee is only when the legal, recognizable status is afforded. Before that the persons depicted are called migrants. 

FRAME 1: Title. 'Borders'. Straight Line. Dull greyish-blue background. 

                                     

Here, the border is depicted as a straight line, as it is often seen. The messiness and horrors of crossing borders is never imagined in popular imagery of them. M.I.A. could be blasting the irony of such mainstream depiction. 

FRAME: M.I.A. in spotlight, camera focused on her. Dressed in glistening bronze collared shirt and hat, almost matching the expanse of sand behind her. Backgrounds largely blurred. Two linear rows of figures far behind her, and lower than her on the sand running. Unclear how they really look. Through the blur in the background, fences are noticeable on the left, sparse number of trees arranged on linear slopes. Fences are on top of these slopes. The only other person situated on "top" other than the fences, is M.I.A. 

In seeing this, one is reminded of linear perspectives defined as: "Linear perspective is a rendering technique used by fine artists to create the illusion of depth on a flat surface. It is the most basic form of perspective in which parallel lines appear to converge in the distance at a vanishing point on the horizon line." The line of migrant persons running on either side depicts such a linear perspective. To briefly historicize linear perspectives as Robert Tally does in his work 'The Spatial Turn'- it is also a technique that was spread with the running of global printing press, capitalism and European colonialism. M.I.A. seems to be depicting that we usually imagine the turmoil of migration and the lives of migrant persons as being distanced from us, in linear perspectives, in shallow depth, out of focus and not our concern. M.I.A. stands in the forefront and confronts us, although it is still unclear as to why only she is able to do so. 

FRAME 3: Angle shifts. Still unclear how the persons running look. They are now shown as two parallel, linear rows. The camera now seems to be placed on top of where we saw the fences. There is a lower barricade on the other side. No fences. Easier to surmount than the fences. On the other side, more sparse land and scattered trees. Tiny blotches of water visible where the persons are running; non-consumable. 

Here, the migrant persons running seem to form a similar shape to the barricades itself. The borders seem to be malleating them. This depiction is also shown as if the barbed wire fences themselves are looking at the migrant persons, watching as they run to seek refuge. It also depicts the cruel sun, expansive lands to cross with nothing but sand and some sparse trees, and no consumable water in sight. 

FRAME 4: The linear, parallel rows continue. We have an idea about the border crossing now. The migrants have reached the fences and they are climbing over them. Yet again, we do not visually see their faces. 

The migrant persons have now climbed on the fences and they are moving as a collective, forward, maintaining their parallel lines. However, the screen has moved slightly closer to them now, although their faces remain invisible to us. In this frame, M.I.A is not on the barbed fence herself, climbing. The next set of frames make her location more clear. 

FRAMES 5, 6, 7: M.I.A.'s face continues to remain in focus. We still do not see the faces or expressions of the other migrants. The linear lines are changing across the pictures, in the background. The migrant persons eventually make the formation to read the word "LIFE" [See Frame 7]. 

     

M.I.A. seems to be located outside of the fences, almost immune to that part of the crossing (although in later scenes, we see her on one). As before, the spotlight is on her, and it is only her voice that we here. At this point, the deliberation could be that it is only she who is representing them, one refugee- as M.I.A. or Maya Arulpragasam herself is. Historicizing and taking into context her own experience, we see that Maya is Eelam Tamil who was a refugee at the age of 9 itself, migrating from Sri Lanka to London. There is something disconcerting about only being able to see her face while the others are invisibilized. However, the intention here seems to be for us to reflect on our perceptions of migrants. When we see think of them, do we think of their faces, their identities and their names? 

In that spirit, in the final frame over here, we see that the migrant persons climbing the fence have formed the shape of the word 'LIFE'. I read this as M.I.A.'s depiction of them claiming their right to life. While the Universal Declaration of Human Rights and other glorified international organizations continue to laud the right to life, the human rights discourse and universalism, and while they have various programmes for refugees- barely does it sustainably aid the right to life with basic dignity of the migrants, the border crossers and the legal "refugees" who eventually make it. 

FRAME 8: M.I.A stands on top of what looks like a pole with cameras on it. The other migrant person on the screen is below her. 

Here, a signpost of the border seems to have been reached. The most remarkable significance here is that of the camera. One easily thinks about how data policing, spy forces, security regulations exist at borders and polling booths. I am reminded of the borders that are portrayed in the film 'Sleep Dealer' directed by Alex Rivera. There as well, cameras are portrayed in two contexts with respect to borders. One is at the Mexico-U.S border itself to police whoever crosses it. Another is within a Mexican village whose natural water supply is restricted to a dam and to get even a packet of water, there is security supervision along with the technical installation of cameras. 

The message is clear. Borders are closed. Nations are watching one another, as their more vulnerable are constantly in danger. 

FRAME 9: M.I.A. points to the fences and makes a handgun gesture. 

This simple frame is powerful on a basic level. While the lyrics are talking about a figurative gun blow to the systems that are in place, M.I.A. is also pointing to the fences as if to shoot the fence/border itself. By shooting the system, she is attacking the border. It is also worth thinking about the role of violence in revolutions, and how such violence is perceived differently from state violence, despite the former being more targeted towards systems, ideas and property; the latter being targeted at human beings. 

FRAMES 10 & 11: A human pyramid is formed. The color that the migrants are wearing are the same as the sand expanse. M.I.A. is in orange, in the front, on top. 

This pyramid formation is perhaps the most powerful, yet most heartbreaking depiction in the video so far. The human pyramid looks like a ship that has been pushed to the shore with the ship's anchor and flag being the only thing of colour, and the rest swept by sand as we see with the sand coloured robs all the other migrant persons are wearing except M.I.A. She also refers to how onlookers often refer to migrants and refugees as "boat people" and the figurative is shown literally here, necessitating a human reaction from any viewer. 

FRAMES 12, 13, 14, 15: In Frames 12, 13 and 14, M.I.A. stands in the water, which is of low depth. In Frame 12, the boats are converged to almost make it look like a single boat. In Frame 13, they slightly diverge. In Frame 14, they fully diverge and seem to go in different directions. In the final frame here, M.I.A. is right in between the boats, and she splashes water towards the camera. 

 

The position of M.I.A. over here is interesting. Once again, we see that she is the only one in focus. However, this time, the other migrant persons all of whom seem to be men which is more clear now are more visible and they are approaching her. It seems closer to a collective effort now. She is in the front, able to stand in water, and confront us by directly addressing the camera, with her voice. They do not glance at her or the camera, looking on, but they know enough to diverge from her when she is there. 

This could mean that they are impliedly backing their efforts. Alternatively, it could mean that they are not recognizing a woman refugee. Another alternative is that many refugees are zombie-like in their portrayal, as walking people completely numb of life and "civilization". While this deserves separate commentary in itself, there are a number of depictions that M.I.A. allows us to consider over here. It seems pertinent to her that the viewer's opinions are shaped by what they see and perceive, and hopefully, question themselves about. Further, the divergence of the boats here could also mean that the collective has to now split and seek refuge at different places. 

Even more significantly, M.I.A.'s t-shirt over here makes a reference to Jesus- and perhaps, her standing in the water is a biblical symbol thinking back to how Moses walked through the water as the ships behind him diverged and he was able to walk across. Moses is known for splitting the water so people could walk through, and here too, we see a splitting of the boats. 

FRAME 16: Various boats are pinpointing at M.I.A. who stands at the center. 

The narrative of recognizing M.I.A. is closer over here. All the boats are pointed at her and the rowing paddles are pinpointed at her. The formation seems to be an offensive one, as if to attack her with the paddles pointed at her. This compels one to consider the narrative about the additional hardships of a woman refugee that M.I.A. could be attempting to show from her own experiences. 

FRAME 17: M.I.A. is now among the migrant persons, on the boat. They all lie down. 

Finally, the migrant men and M.I.A. are on the same level. There is no spotlight on her anymore. They lie down together and M.I.A. has almost morphed into the boat as one of them, barely visible herself in a distinct way. There is a narrative that can be traced over here. Initially, we can barely see the migrant men. They keep getting closer for us to confront as the frames pass by. As we keep getting closer to them, M.I.A. also gets closer to them, and almost becomes one with them. 

FRAME 18: Close-up shot of migrant persons. They are either south asian or black men. 

Throughout the video, two questions persist quite pressingly. One is who these migrants really are and if we will ever see them. The other is- as soon as it becomes clear that these migrants are all mostly black and/or brown men, where are the women and children? Other than M.I.A., no women or children are portrayed in the video. 

For most of this video, M.I.A. seems to be portraying perceptions and stereotypes. Here too, she may be doing the same thing. The stereotype of migrants as being black men, usually Muslims coming from Arab regions, or South Asian dark men makes it more comfortable to villainize them- as it does not stand in opposition to the narrative of "protect women and children". Therefore, M.I.A. could be indicating to this irony. An alternative reading is that M.I.A. is showing her own experience partially on how isolated a woman migrant might feel and the double binded experience of being both a migrant and a woman.

FRAME 19: Shot of shoes. 

The only time that shoes are visibly focused on in the video is this picture. This is likely to be intentional. It is unclear if these shoes belong to M.I.A. or one of the migrants. The pants seem to be something that M.I.A. was wearing. Nevertheless, the focus on the shoe if it is M.I.A. might be to differentiate her position from the other migrants. If it is that of another migrant's, it could also signify the turmoil that they have been through in depicting the dirt and tire of the shoes. Yet again, the migrants are oblivious to the camera, disoriented, and looking away like zombies. 

FRAME 20: M.I.A. wears a t-shirt which reads 'Fly Pirates'. 

This t-shirt that M.I.A wears gained a lot of controversy, as seen in the previously linked 'The Atlantic' article. It imitates the Fly Emirates logo and shirt, but is titled 'Fly Pirates'. This is decidedly a subversive take on the international, luxury air travel tagline. While migrants have to take to land on their feet, water and other natural and state forces against them, the rich from the same places cross borders with inbuilt TV on airplanes. Further, the word "pirates" is especially interesting owing to the history behind pirates. The historian, Timothy Brooke in his book 'Vermeer’s Hat, Indra’s Net and the Dawn of Globalisation' speaks about the history of how Europeans based the genesis of international law on attacking pirates. The pirates over here were those whom the Europeans wanted to steal from and colonize. The Europeans invented international law at its genesis to attack those it wanted to attack or colonize. Till date, it is those whose land is taken away and those who are displaced who are referred to as pirates and thieves. 

FRAME 21: Migrant survivors sit on the shore rocks wearing golden blankets. 

The blankets over here seem to fairly obviously signify the emergency blankets that migrants often need to brave through unpredictable and ferocious weather changes and other physical inflictions. However, the gold colour here does not seem to be an accident and is yet another symbol of our capitalized hypocrisies. M.I.A is narrating a commentary on how these blankets are glorified and made as fashion symbols, how we view what is their survival as our mere objects of luxury, that which is to be bought. 

FRAME 23: A non-linear, wavy line is formed by the migrant persons as they walk through the water. 

Finally, by the end of the video, we see that the linear line changes. This might signify that the borders are being disrupted, they are being crossed and the linearity is broken. However, the migrants do not seem to have a boat or any tools or protection for their last stretch. Hence, by the end of the journey, denoting the sheer exhaustion and loss of resources, M.I.A. shows the migrants having to walk through the water. 

FRAME 24: As the wavy trail goes forward, a group of other migrant persons head the other way round. On a closer look [figure expanded], they are laughing. 

The very final frame in the video is this one. Here, there seems to be a criss cross.  One group of migrants seem to be entering what the other group seems to be leaving. The group that the camera trains itself towards is the one where the migrants are visibly laughing, as if having reached their destination. If we see closely enough, some are even looking into the camera. 

One wonders if this is M.I.A.'s depiction of how borders work. They never really end even once they are crossed. It is undetermined if the place one is heading towards will also make you leave, or if it will welcome you. This is the painful, honest portrayal of migrants and their lives, the risks associated and the subjectivity and identity that they claim beyond their suffering.