Military bases in the United States (US) can play a role in supporting the mental, emotional, and physical health of military-connected children and families, especially during the process of deployment. According to the American Academy of Pediatrics Clinical Report in 2013, up to 2 million children in the United States have been exposed to a wartime deployment of a loved one in the past 10 years. Many service members have returned from combat deployments with symptoms of post-traumatic stress disorder, depression, anxiety, substance abuse, and traumatic brain injury. (Siegel & Davis, 2013). The US public and its policymakers are increasingly concerned about the health and well-being of the children and families of uniformed service members facing prolonged and multiple wartime deployments. The article further discusses how the mental health and well-being of spouses, significant others, children (and their friends), and extended family members of deployed service members continue to be significantly challenged by the experiences of wartime deployment. The medical system of the Department of Defense provides a series of health and mental health services for active-duty service members and their families, as well as activated National Guard and Reserve service members and their families. (Siegel & Davis, 2013). This research seeks to present a sample of interventions and support mechanisms tailored to the unique needs of military-connected families. By examining the challenges and strengths observed within the military community, this research can contribute to resilience and improve the overall quality of life for military-connected children and families. Drawing from personal experiences while residing on a military base and insights gathered from military friends and family, the research aims to identify effective strategies for enhancing the well-being of the military community through mental, emotional, and physical health interventions.

The deportation of Southeast Asian refugees, particularly Cambodian Americans, has profound implications for family relationships in the United States. This research explored the impact of forced removal and family separation on parent-child relationships, socio-economic outcomes, and the well-being of Cambodian American families. As a first-generation Cambodian American, the researcher brings a personal perspective to this topic, aiming to shed light on the experiences of affected families and advocate for policy changes. The study addressed gaps in existing research through a comprehensive literature review and qualitative interviews with affected individuals and family members. By synthesizing information from diverse sources, the project aims to provide valuable insights into the challenges faced by Cambodian American families affected by deportation and advocate for positive change in their communities. Research conclusions underscore the urgency for policy reform that considers the lasting impact on families, and the need for enhanced community support systems. These insights also advocate for a more compassionate and informed approach to immigration policies that honors the human rights and dignity of all individuals.

The title of this project references Stuart Hall’s memoir, Familiar Strangers and encapsulates the experience many artists have when portraying family members they have never met but feel like they know through photographs. Drawing from Tina Campt’s definition of the haptic–how viewers touch or are touched by family photos–I look to Black artists’ uses of photos to express their relationship to themes of family, diaspora, memory, and history. How do Black artists use hapticity and embodiment to engage with family photos and produce alternative ways of conceptualizing identity? How do they view family photos as sites of memory activation? Why and when have these artists returned to family photos as source material? This focus on hapticity reveals how Black visual artists recreate, re-enact, and revise family photos in their work to produce micro-histories that might otherwise be lost. I analyze artist statements, arts and culture literature, and academic articles to identify individual artists’ approaches to family archives. The featured 19 artists span the African diaspora, and I use Safia Elhillo’s home is not a country as a framework to situate the socio-political contexts of their work, which include the legacy of transatlantic slavery, transnational migration, diaspora, colonialism, racial apartheid. Many of the artists have gained significant attention as they portray family history and collective memory in their practice. This work can guide future exhibitions and continue the ongoing conversation on family photography in Black visual art.