Abstract
AbstractIn this article, we analyse the social reproduction of post‐Soviet migrant labour. Our inquiry builds on artwork by Olga Jitlina and Anna Tereshkina and by Mahpora Kiromova dealing with the effects of migration on family relations in Central Asia and the South Caucasus. We have braided the artwork with strands of social reproduction theory to examine the transnational household as a set of relationships that enables post‐Soviet and global capitalism to draw value out of unwaged work and to reproduce the differentiated (i.e. gendered and racialised) labour force. Our focus is on the tropes of family, weddings, love, and violence. The analysis of these tropes draws attention to the intersecting effects of globalised capitalism, local structures of value, the state, and patriarchy in post‐Soviet political economy. Through them we detail the fundamental co‐constitution of production and social reproduction, but also show that practices of social reproduction can be reservoirs of resistance and potential change.
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