The kindness of strangers: exhibition celebrating solidarity towards refugees

Museum With A Home at the School Life and Education Museum in Athens

I’ve been working with Oxfam on a story celebrating the kindness and solidarity of ordinary people towards the men, women and children who are seeking peace and sanctuary in Europe.

It’s a story of the Museum Without A Home, a touring exhibition showcasing every-day objects that ordinary people have donated to refugees to make them feel more welcome. 

I loved this project: it’s such a creative and beautiful way to remind people that refugees are people like us, to celebrate those who are trying to make them feel a bit more at home in their host countries – and to encourage other people and governments to follow suit and support dignity and safety for all.

After touring in various cities across Europe, including Leicester and Cambridge, the exhibition was supposed to come to London and be displayed at City Hall and Parliament, then move on to Oxford and Cardiff. But because of the sex scandal which engulfed Oxfam, the plans had to be cancelled. Oxfam was hoping for lots of media coverage and support from MPs, NGOs and members of the public. It was not to be. But Positive News still agreed to run a short piece on it and I wanted to tell a bit about the Museum here too:

A cooking pot, a pair of running shoes, coloured crayons, a skipping rope. These are some of the everyday objects that have been ‘exhibited’ in the Museum Without A Home. The touring exhibition, which can be viewed online here, celebrates acts of kindness by ordinary people towards the men, women and children who are seeking peace and sanctuary in Europe. 

The museum was originally created by the Greek section of Amnesty International and Oxfam to acknowledge the solidarity of the Greek people towards refugees. Organisers also hope to call on people – including political leaders – worldwide to support dignity and safety for all.

In autumn of 2016, the entire city of Athens was transformed into a  “museum” showcasing real objects that residents donated to refugees to make them feel welcome. Each object was accompanied by personal testimonies of the people who donated the objects and the people who received them.

Next to the photo of a board game reads the caption: “Stelios lives in Piraeus. When his school teacher proposed to the class to collect toys for the kids in the port of Piraeus, Stelios offered one of his favourite board games. He then found out that the game had reached the hands of Ishmael, a boy his age.”

Accompanying an image of a kettle reads the caption: “Vasso lives and works in Konitsa. Mafida from Syria is being hosted in the same region. When the two women met, Vasso offered a water kettle to Mafida so that she can easily heat water to wash her baby.”

Since 2016, the exhibition has travelled to Belfast, New York, Belgrade and Canada, as well as Leicester and Cambridge. Since it came to the UK, organisers displayed alongside the Greek objects several items that have been donated by the British public. Among them were a cooking pot and a quilt sewn by people from Witney, Oxfordshire, who hope to sponsor a family from Syria.

“This is a celebration of small acts of welcome and generosity, that make all the difference to refugees as they rebuild their lives in the UK,” said Sally Copley, Oxfam’s head of policy, programmes and campaigns. “We are calling on the government to extend its own hand of welcome by allowing refugees to reunite with their families in the UK.”

How to tell the refugee story?

Khalid's story/PositiveNegatives

Migration and the refugee story are one of the most important issues of our age and will be there for a long time. Migration, the movement of people, has always existed. “The current crisis isn’t about people being refugees and migrants, the crisis is that we think of such movement of people as a crisis,” said Mohsin Hamid, author of The Reluctant Fundamentalist in this issue (June 2017) of New Internationalist. He is right.

  

The way the media reports on migration and the refugee story has a huge impact on how people react to them and on public policies. So, as a journalist, I keep asking myself how to best report migration. How to produce fair and balanced pieces that counter the stereotypes and misinformation, but also how to keep telling these stories in ways that are engaging and innovative.

These are so many stories about refugees and migrants out there that people become numb and turn away from them.  Yet, it is our job as journalists to keep telling those stories again and again, and to keep telling them in ways that cut through the compassion fatigue and reach our readers.

Over the past months, I’ve been looking at examples of various creative ways  to do that - some are journalism, others not.

Here are just a few, illustrating or responding to three different issues in reporting migration:

• Most refugee stories have been told in Europe in two ways: one that instills fear with unfactual or biased reporting; the other that shakes the public awake through sorrow and shock. But there is a middle ground: stories that put a face on the numbers, that humanize the immigration statistics, that show that refugees are just people like us, thrown into exceptional circumstances. And the best stories are those told by refugees themselves.

- My favourite is “A Perilous Journey: Stories of Migration” an exhibition of literary comics based on testimonies from refugees. They were created by PositiveNegatives, a wonderful non-profit, which produces literary comics, animations and podcasts about contemporary social and human rights issues, including conflict, racism, migration, trafficking and asylum.  Concentrating on contemporary real-life stories from Syria and Iraq, we follow two men and two women on their long difficult journeys fleeing conflict and persecution.  Nadia’s Story, for example, tells of a pregnant Yazidi mother, fleeing ISIS controlled Iraq with her two young children. The last panel of each story is a real photograph of the refugee, reminding us that these are real people and real stories. It is very effective and moving.  The exhibition is at SOAS’ Brunei Gallery Room: 1st Floor Gallery until June 24. Really worth a visit!

Hasko'story/PositiveNegatives

- Then there is the series of short radio episodes produced by BBC Radio 4’s The World at One, following a Syrian family from the Jordan refugee camp where they had lived for two years to Greece, then across Europe to Germany. Reporter Manveen Rana documented the twists and turns of their journey in a series of short reports – showing the good and the bad, the hopes and the challenges.  Her reports are honest, fascinating, moving, though provoking and surprising.

- Last summer, short hand-written messages were left in public places - inside coffee shops, in between the pages of books in libraries, on benches in parks and tied to lampposts and railings - or written on white boards in tube stations. They were messages of hope for a better life, written by refugees from Nigeria, South Sudan, Syria, Afghanistan, Iraq and other countries - part of a campaign by humanitarian aid agency Mercy Corps, aimed at changing the attitudes and perspectives of people around Syrian refugees and the migrant crisis in general. The campaign was particularly effective with young people, who shared the messages on Instagram and Twitter. 

 

“Sometimes it is really hard to put yourselves in the shoes of these people because it seems so distant but when I read the note it really made it sink in that this girl was not any different from me,” said Rebecca Alexander, a 21-year-old student, who saw the note of a 15-year-old Syrian refugee, hanging from a tree in London's Regent’s Park.

• People are tired of refugee stories because stories of suffering are exhausting. Stories of empathy are empowering. As are those who show refugees not just as “victims”.

- For example, millions of people shared the image of Syrian refugee Alex Assali feeding homeless people on the streets of Berlin, but very few might have read his story in a newspaper.  

When Assali, 38, woke up in his small Berlin flat one autumn morning two years ago, and checked his email, 1,000 messages waiting for him. The day before, a friend had uploaded a photograph to Facebook of Assali feeding homeless people on the streets of Berlin. The caption below read: “Acts of kindness: A Syrian refugee mans a food stand for the homeless, to ‘give something back to the German people’.”   The image went viral - it was shared more than 3,000 times on Facebook and nearly three million times on Imgur. Al Jazeera produced this interactive story, giving Assali’s backstory, and that story got no trolls, according to Yasir Khan, senior editor of digital video at Al Jazeera English.

- Then there was the “Iam a refugee" campaign, launched last summer to celebrate the contribution refugees have made, and continue to make, to life in the UK. Plaques, inspired by the English Heritage blue plaques, were placed on buildings across the UK, where selected refugees have worked or studied. The idea was to show the diversity of the refugee population and the experiences they have had, as well as the creativity, skills and knowledge that they bring to the UK.

• Stories on refugees should try to portray a range of backgrounds and experiences, even contradictory, to help the audience get a fuller picture. And it's a good idea to let refugees tell their own stories.

For this year’s Refugee Week 2017, the Higgins Bedford Art Gallery and Museum is launching ‘Voices - Different Pasts, Shared Future’, an exhibition featuring oral histories from refugees, asylum seekers and other migrants from Syria, Iraq, Rwanda and Palestine. Some of the stories are from women who are detained at Yarl’s Wood Immigration Removal Centre. The exhibition also includes a wonderful tapestry of objects which people have brought from their countries of origin. The objects are printed, then partly stitched by volunteers from the community and women from Yarl’s Wood. “These Voices transform personal memories into collective memories impossible to ignore,” says Josepa Munoz, the artist behind the project. 

There are too many interesting and innovative projects and ways to report on the refugee story to feature here, but feel free to add those you like…

Translating Global Refugee Movement to song

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Listen to this unusual, fascinating and deeply moving experiment: four decades of global refugee movement translated into a three-minute music video. 

Brian Foo, a New York City-based programmer and visual artist who calls himself a 'data-driven DJ,' has generated this song using refugee data from the United Nations from 1975 to 2012. 

"The quantity, length, and pitch of the song's instruments are controlled by the volume of refugee movement and distance traveled between their countries of origin and asylum," Foo writes in a blog post, explaining the methodology behind the video. 

“The song composition is entirely algorithmic and is composed of the following building blocks: 
• Each year between 1975 and 2012 correlates to a 4-second segment in the song. 
• The annual global aggregate volume of refugee migration controls the quantity of instruments playing. The higher the volume of refugee migration, the more instruments are added to the song. 
• The annual average distance of refugee migration controls the duration and pitch of the instruments. Longer distances yield instruments that play longer and lower-pitch notes (e.g. long distances: , short distances: ). 
• The annual amount of countries with 1000+ refugees control the variety of instruments playing, where the more countries with 1000+ refugees, the more variety of instruments are playing in the song.” 

Foo decided to limit the song to these four components and not add additional context, such as the reasons for displacement, civil wars, invasions, coups, elections, as he believed it would add too much complexity. He wanted “the listener to intuitively and viscerally experience the sheer volume of displaced populations and the distance they travel from their home country.” And you can really feel this: the song starts gently, then sweeps you along and makes you dizzy as the numbers of refugees grow.

Four seconds in the song correlate to one historical year. In 1975, which is the first year of Foo's visualization, there are about 1.6 million world refugees. Fifteen years later, the number of world refugees has increased by 900 percent and the refugee movement has become truly global. 

 His song was largely inspired by The Refugee Project, an interactive web project and map of refugee migrations since 1975. For more context behind some of the numbers for each year, go to The Refugee Project website and click through their interactive temporal map. And for more information on Foo’s song, click here.