They all told him to cut his hair. Clearly, it offended them. Braiding served two purposes: it quieted the family and encouraged the hair's growth.
The cousins welcomed us, embracing us into their lives with firm arms, love, and unspoken expectation.
Relatives, living and dead, decorate the walls of Mami Suzanne's home. Rhyanne watches her reflection next to them while she waits for her friends to arrive.
White dolls are common toys in Cameroon. Children often learn to braid on their synthetic hair.
Lisette carefully places two year-old Preston into his mother's fancy car.
Wilfred and Preston, brothers, catch their breath, moments after a sand fight.
Thierry in the heat of a particularly humid morning.
Somewhere between Douala and Limbe.
Tata Anne teaches history to a room of 100 students.
Mami Suzanne spends hours harvesting food on Thierry's father's land.
Tears. Boys don't understand the pain of beautiful hair. They just sit around with unmolested scalps and tease.
"I have my health" people commonly responded to "Ca va?" We saw motorcycle accidents several times a week. Yet it was witnessing Ton Ton Clarvice suffering in a hospital without pain killers after an accident with an eighteen-wheeler truck, that we finally came close to understanding.
Ton Ton Louis, tests a lightbulb for a customer in his store.
Cousin Pierre carries suitcases out of a relative's home in the village.
Cousin Judith with her son.
Two year-old Preston walked confidently into the barber shop, but began to cry when he saw the cutter. Safely in his mother's arms, Preston submits himself to a hair cut.
Rhyanne, in Mami Suzanne's living room.
Anaille naps on Mami O's bed.
Thirteen year-old Wilfred shows off his soccer skills to a group of older boys at the beach.
Mami Suzanne prepares manioc.
Judith's son enjoys a lollipop while watching his reflection in a vinyl change purse.
Wilford bathes his younger brother after an animated sand fight.
Ton Ton Emmanuel in the village gives us his address so we can keep in touch.
Mami O's kitchen.
Wilfred restrains his younger brother, protecting him from moving cars in a parking lot.
The dust we left behind in the village.
Chrystelle, a distant cousin at the beach.
- © Emily Schiffer
My partner's parents left Cameroon for New York before he was born. Raised in the US, he had limited contact with his parent’s country or relatives. In 2011, we traveled to Cameroon and spent several months getting to know his family of strangers.
A family's perceptions of foreign life rarely match the realities immigrants face. Often, a gap forms between what is expected at home and what family abroad can fulfill. I am interested in the evolving relationships between relatives: those who leave, those who stay behind, and those who are born abroad. The title of this project references “Push and Pull Migration Theory”, which examines the social factors that push someone to leave their country and/or pull them toward another.
Presented as wife, I was afforded emotional intimacy, and deeply connected with our family members. Still, as a white foreigner, I aroused a colonial legacy of wariness and suspicion. This combination of intimacy and distance forced me to consider family dynamics from various perspectives. I photographed as my partner navigated his relatives' love, assumptions, expectations, and frustrations. What began as a series of private photographs, transitioned into a project about the impact of migration on family identity and relationships.



























