Senses of the
City ran in 2001 and 2002. A total fund of £75,000 supported
some 16 projects. All were 'refugee-led' and focused,
to some degree on, experiences of London by refugees
from a wide range of countries of origin. Projects were
predominantly combined arts and theatre, with several
films and other visual arts, and many included cross-ethnic
groupings.
Senses of the City provided a snapshot of the talent
and vibrancy of refugee communities and artists, and
enabled the creation and sharing of exciting work which
would otherwise not be seen. It contributed to a strong
presence of cultural events during Refugee Week. Audiences
were, largely, overwhelmingly positive. Venues increased
in confidence to stage such work. Some of the artists
gained professional validation and secured further employment
and contracts. Several projects demonstrated artistic
excellence, and could be taken up by 'mainstream' arts.
"I consider this project as the
first… step towards a more creatively and commercially-fulfilling
future, which will affect and change everyone's perception
of what art could and should be in 21st Century London."
Scriptwriter, Pinclec Productions.
Senses of the City contributed to the wellbeing and
empowerment of participants, providing opportunities
for the exploration of identity, and increasing the
sense of involvement and awareness of community. Through
Senses of the City, professional artistic capacities
were developed and areas of artistic endeavour extended.
The projects strengthened the refugee communities themselves,
expanded links with other communities, and contributed
to broader inter-cultural understanding. Refugee-led
organisations have been motivated to engage more widely
with the rest of society through the arts and to see
themselves as culture-makers. Several projects reached
wider audiences, either amongst their own or other 'ethnic'
communities.
Senses of the City projects showed that although experiencing
exile and multiple identity inherently provides a basis
for socially relevant expression, arts by refugees need
not carry overt political messages. Several projects
used innovative approaches, challenging stereotypes
and conveying accessible, yet subtle, messages.
The "refugee-led" criterion was key for building capacity
and ensuring appropriateness and relevance to refugees
themselves. Pursuing a thematic approach provided participants
with a unique sense of collectivity, and the basis for
coherence as 'a programme'. The choice of 'experiences
of the city' - suggesting integration - was relevant
and pertinent. Collectively, the projects have stimulated
other related activity and fostered a significant community
of interest in refugee arts.
Young people are key to long-term effective 'integration'
of refugee communities. Yet, a 2002 MORI poll found
that 15 - 18 year olds are apparently least welcoming
of asylum seekers. Several refugee organisations have
an interest in inter-generational work. As schools recognise
the need not only for culturally appropriate teaching
but also the urgency of assisting inter-cultural understanding,
artists who are also refugees could play an important
role within the education system.
Integral to the scheme was London Art's desire to respond
both to projects' needs and to the wider political environment.
It instigated a number of important procedures such
as the translation of guidelines, periodic 'programme
meetings', and dedicated web pages, but organisations
still had unfulfilled expectations - particularly for
more direct support and follow-up.
Senses of the City enabled London Arts, and now ACE,
London, to keep abreast of emerging refugee artists
and the arts organisations' programmes, providing an
opportunity to channel an ever-growing interest to a
wider forum. Through the focus on increasing capacity
and raising a critical mass of interest ACE, London
has developed competence in refugee arts, providing
it with a strong basis to speak authoritatively about
policy and practice.
There is still a way to go. Refugee art has yet to make
significant impact on mainstream arts practice and venues,
and to generate wider public appeal. The paucity of
media coverage for the projects suggests a limited influence
on wider public opinion. ACE London's support for refugee
arts appears, as yet, to have had limited influence
on the public policies - not entirely surprising given
the pioneering nature of its work.
How can refugee arts reach a wider public, given that
many 'mainstream' venues are not prepared to take the
risk of staging work unless it has a track record? There
is increasing interest among venues in arts by or about
refugees and the Diaspora. Knowledge and information
about the existence and skills of practising artists
who are refugees is limited. Some venues - for example,
Watermans Arts Centre and Union Chapel - have amassed
considerable experience of working with refugees, and
have a key role in enabling the development and profiling
of arts by refugees.
While Senses of the City projects demonstrated artistic
effectiveness on significant levels, more strenuous
efforts need to be made in marketing and promoting the
work. The dilemma is that while the public context urgently
requires a greater understanding, profiling work as
'refugee' is not going to attract significantly wider
audiences or media interest, and refugees and asylum
seekers do not wish to be labelled as such. Focussing
on celebration, contribution, and 'new' forms, with
the messages coming through the content, is likely to
be most effective.
Scene from the play The Letter
© Letitia Valverdes
To achieve a greater impact and to respond to the evolving
needs of the sector, ACE, London should develop an overarching
and co-ordinated strategy incorporating refugee arts.
It should aim to influence opinion and public policy,
to improve refugee artists' access to the mainstream
and, simultaneously, develop capacity to create and
stage arts. It needs to capitalise on its significant
expertise and existing body of knowledge to build an
effective national arts and social policy for refugee
arts. The dynamic inter-relationship between the social
and arts policy, and arts practise with policy is relevant,
necessary, and mutually enriching.
Globalisation, the progressively multi-cultural nature
of Britain, the increase in anti-Islamic feeling and
hostility against asylum seekers as they are dispersed
around the country, makes now a more important time
than ever to be focusing on refugee arts within the
broader context of inclusion. Furthermore, the case
for support to refugee arts rests not only on the premise
that it is beneficial to refugees as participants, but
also on their artistic and social contribution and enrichment.
'London Arts' support was vital
not only in terms of the funding, but also the spirit
- this support has been inspirational in motivating
refugee artists to find a place for themselves in the
UK.'
Odofo African Arts.
The current enabling environment provides opportunities
to achieve a significantly greater policy impact. 'Refugee
Arts' are at the sharp edge of wider issues that much
of society is grappling with. Social policy makers and,
in particular, those addressing refugee 'integration'
and wider social inclusion, must recognise that participation
in cultural activity and the arts is not only a necessary
but also appropriate and effective. Arts organisations,
venues, practitioners and policy makers seeking excellence
and relevance should recognise that artists who have
experience of exile and refuge have much to offer that
is intrinsically 'new', socially relevant, enriching
and exciting, and there is talent that has hitherto
been masked or submerged.
Contact:
Candida Blaker.
candida@ethel.clara.net
For a full copy of the Evaluation report, see www.artscouncil.org.uk
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