I’ve never been a refugee or a migrant. Sure, I’ve travelled from city to city in the UK sometimes to find work, sometimes to relocate in order to work – but never with a gun to my head, my entire family trudging through mud beside me or as a result of persecution in a place I once considered my home.
But I’m here at Kibla in Maribor, Slovenia this week representing The Mighty Creatives along with partners from 9 other EU countries to examine the refugee experience, research how cultural activity can inform that experience and who knows in the long run, perhaps inform future international policy on how cultural practice can enhance meaningful relationships between the migrant and their host community.
We’re doing this through a programme called Risk Change: a 4 year programme supported by Creative Europe Co-operation funding. Organisations from 10 partner countries in the EU aim to interact with different audiences, using a range of cultural methodologies to build connectivity between new coming migrants and settled inhabitants of multicultural communities across Europe.
It’s a tall order at the moment given what’s happening across the continent and the U.K. especially given our recent Brexit ‘decision’.
We’ve no idea what to expect this week. Of course, we have the paperwork and the schedules and all the requisites to ensure a constructive collaboration. But until we look at each other in the eyes and hear how we breathe and talk together, the documentation is just text. It’s the subtext that’s going to count this week: the verbal, nonverbal and physical communications which are going to tell us whether or not we’re on a long productive road with our colleagues at our sides or on our backs.
We kicked off our kick off meeting yesterday with an introduction to the research that all 10 partners need to do as the first stage of the project. There’s quite a bit of it too: a shed load of desk based research covering national policy and initiatives on migration; 60 participant interviews per partner and countless reports, ‘call-outs’ and actions. The list goes on and on and on and on….
It occurred to me mid-session that we could really add some value to the process by introducing colleagues to the methodologies involved in arts based educational research (ABER), a form of ethnographic research which involves using arts based processes as the means of undertaking research (not just communicating its results).
I was involved in a lot of ABER practice some years ago when I ran the Special Interest Group for the British Educational Research Association (or the ABER SIG for BERA as it was called in those acronym crazed days): so I drew on some of that work and presented it to colleagues. If you’re interested in the field, the following practitioners are as a good a place to start as any:
ABBS, P. (2003). Against the Flow. London: RoutledgeFalmer.
BAGLEY, C. (2008). ‘Educational ethnography as performance art: towards a sensuous
feeling and knowing’, Qualitative Research, 8, 1, 53–72.
EISNER, E. (1993). ‘Forms of understanding and the future of educational research’,
Educational Researcher, 22, 7, 5–11.
LEITCH, R. (2006). ‘Limitations of language: developing arts-based creative narrative in stories of teachers’ identities’, Teachers and Teaching: theory and practice, 12, 5, 549–69.
SAUNDERS, L. (2003). ‘On flying, writing poetry and doing educational research.’ British Educational Research Journal, 29, 2, 175–187.
“I’ve never been a refugee or a migrant…” or so I thought at the start of this week. Yesterday we covered a lot of ground about the concept of who ‘counts’ as a migrant and why they ‘count’.
Fortunately, we were spared conversations about definitions of migrants which much like definitions of ‘creativity’ are interminable, exhausting and inconclusive. This is because someone at UNESCO had the good sense to conjure up some definitions of what counted as international migration which all the partners were happy enough to go along with. In summary, these were:
a) Temporary labour migrants: also known as guest workers or overseas contract workers: people who migrate for a limited period of time in order to take up employment and send money home;
b) Highly skilled and business migrants: people with qualifications as managers, executives, professionals, technicians or similar, who move within the internal labour markets of trans-national corporations and international organisations, or who seek employment through international labour markets for scarce skills;
c) Irregular migrants or undocumented / illegal migrants: people who enter a country, usually in search of employment, without the necessary documents and permits;
d) Forced migration: in a broader sense, this includes not only refugees and asylum seekers but also people forced to move due to external factors, such as environmental catastrophes or development projects. This form of migration has similar characteristics to displacement;
e) Family members: or family reunion / family reunification migrants: people sharing family ties joining people who have already entered an immigration country under one of the above mentioned categories;
f) Return migrants: people who return to their countries of origin after a period in another country.
The guys at UNESCO also make the useful point that:
“Migration is not a single act of crossing a border, but rather a lifelong process that affects all aspects of the lives of those involved.”
So in hindsight (always my best friend, Mr Hindsight), perhaps I am a migrant after all… perhaps we all are, one way or another… Something to consider over the weekend as I migrate from Maribor to Ljubljana and take on the role of being another form of transient: the tourist.