Book Review: Drawing Deportation

Drawing Deportation by Silvia Rodriguez Vega paints a clear picture of the often-overlooked experiences of children of Latinx immigrants in the United States who faced the fear of deportation threats. This is Rodriguez Vega's first book; in it, she showcases drawings from the children she studied in Arizona and California. As someone who grew up undocumented in Phoenix, Arizona, Rodriguez Vega skillfully intertwines stories, experiences, and art, providing a unique perspective that helps us better understand how immigration policies directly impact the most vulnerable children.

Drawing Deportation is a valuable resource for scholars and researchers interested in analyzing art as a methodological approach. Between 2008–2010 and 2015–2017, Rodriguez Vegas conducted interviews, surveys, observations, and visual studies of more than 300 children's drawings, 51 of which are in the book, theater performances, and journals in Phoenix, Arizona, and South-Central Los Angeles. The purpose of analyzing these visuals was to demonstrate how art can serve as an emotional outlet as well as a means of coping with stress and anxiety caused by living under the constant threat of deportation. The children's drawings, paintings, and other artistic expressions share glimpses of their inner worlds, making their struggles and fears tangible.

Rodriguez Vega's main argument is that art serves as a form of resistance for those who live under harsh antiimmigrant policies and is helpful for immigrant children to cope with and heal from traumatic events such as familiar separations and deportations. She provides a comprehensive chronological background that helps readers understand the systemic issues that underlie the experiences of immigrants, making Drawing Deportation not only a reflection on personal stories but also a critique of the U.S. immigration system and its policies. The author connects what to the naked eye may look like insignificant drawings to various structural forces that inspired these drawings in the first place. In other words, Rodriguez Vega sets the stage by discussing the historical context of migration that shamefully allowed Arizona to earn the notorious identity of the “ground zero for anti-immigrant policies” (p. 37) and how Obama and Trump both built upon this foundation.

Art allows children to hold onto hope without neglecting the realities of their situation. To underline this, Rodriguez Vegas shares the story of Danny, a 12-year-old boy who embraces “radical optimism” and “lives without illusions” (p. 95) of the difficulties that come with creating a more just society, such as combatting discrimination and reforming immigration policy. Rodriguez Vega also challenges readers to reconsider their perceptions of immigration and the power of art as a form of healing. Due to children's experiences with “familial disintegration, violence, and racism” (p. 30), Rodriguez Vega analyzes the relationship between hope and art's therapeutic effect on children, claiming art is a coping mechanism in stressful times, which “lowers children's stress hormones … and allow[s] for their body and mind to enter a parasympathetic state” (p. 116). The art-healing praxis is supported by several children's stories, such as Victor, who drew an image of Sheriff Joe Arpaio in full S.W.A.T gear holding a sign saying, “I love Mexicans” (p. 117), or Carly, who drew pictures of diverse people celebrating world peace. Both examples serve as a reminder that imagining the world you hope for can be liberating, especially during difficult times.

Drawing Deportation critiques U.S. immigration policy for continuously harming youth development and well-being. Rodriguez Vega stresses the immediate need for immigration policy reform and the establishment of a well-funded family reunification program that prioritizes parents of both documented and undocumented children. Drawing Deportation also critiques the U.S. education system and calls for “art programs to complement traditional school subjects” (p. 139), which promote teacher-education programs to enhance children's creative strengths. Rodriguez Vega underscores the significance of teachers who comprehend the legal intricacies immigrant children face and encourages educators and researchers to employ artistic and expressive techniques when working with children. Using this book as a guideline would be a fruitful and innovative first step.

One critique of the book is that, at times, it can be academically dense and may overwhelm readers who need help understanding the legacy of anti-immigration policies in the United States. However, Drawing Deportation requires the reader to consider art as a form of resistance, not simply storytelling. Whether in George Floyd Square or Gaza City, art has inspired people to act and stand up for their beliefs and rights throughout history. By focusing on the perspective of immigrant children, their identities, and the profound impact of their art, the book offers readers a deeper understanding of the humans behind the headlines. It is an excellent addition to both childhood and immigration studies not only because it speaks to the intersection of these two fields but also for its methodological approach that centers art as a methodological tool and as a tool of resistance. It is a must-read for scholars, activists, and educators interested in immigration and pursuing creativity in the face of adversity.