Refugee art in the spotlight

Although arts activity led by and engaging with refugees has been taking place in the UK for many years, the emergence of a clearly articulated strand of arts practice working with refugees and asylum seekers is a relatively recent phenomenon, emerging during the 1990s and gathering momentum from 2000 onwards. A key factor in this growth has been the government’s dispersal policy, by which asylum seekers are housed across the UK: broadly speaking, the wider distribution of arts activity these days mirrors that dispersal. Our research has found that much of the work focuses on using cultural engagement to foster interaction, and to develop the skills and capacity of individual refugees and refugee community organisations. A relatively small number of arts organisations focus on the needs and professional development of individual refugee artists.

Participation and community cohesion

Participation in the arts has been used to address a broad range of social impacts. Many organisations involved in our research felt that utilising arts-based processes provided a means of communication that overcame the language barriers present when working with refugees and asylum seekers, at the same time helping to build participants’ communication and language skills. Furthermore, arts projects were felt to have had a beneficial impact on building positive relationships between host communities and refugees and asylum seekers. Many of the participatory programmes reviewed during this research focused on assisting refugees and asylum seekers to develop the skills and understanding they need in order to cope with their new life in the UK. In addition, engagement in the arts has been clearly demonstrated as contributing to the mental and physical health of participants.

Many of the organisations working in this field prioritised capacity-building and skills development within refugee community organisations and with individuals. In some cases this was through formal training, such as structured volunteer programmes. In other cases, ‘on the job’ training took place. The main effect of these approaches was to raise individuals’ confidence levels and stimulate their interest and engagement in personal development, ultimately leading towards fuller roles within society.

Negative and sometimes inaccurate reporting on refugee and asylum issues has in some cases hampered possibilities for the development of positive relationships between individuals and communities. Several organisations, both within the charitable/voluntary sectors and within the arts, have sought to address this by creating work that helps to increase understanding of the issues involved.

In common with other refugee professionals, artists arriving in a new country have to rebuild their careers and establish new networks and contacts. Given the high levels of demand for the specific training and networking initiatives that have been developed for refugee artists, it is evident that these provide valuable opportunities. ‘Refugee Week’ is a national event that showcases the talent and expertise that many refugees bring to the UK. In recent years, some of the commissions for Refugee Week have provided a space for artists to adopt a more experimental approach, subverting notions of refugee identity. Having said this, remembering cultural heritage remains an important focus for many refugee groups.

Working in partnership

Due in part to the lack of a nationally co-ordinated strategic approach, patterns of support vary across the UK. In some areas, arts and refugee development posts have been established – for example, in Scotland where the Scottish Refugee Council arts development post is part-funded by the Scottish Arts Council, and in the South East where Arts Council England, South East and Refugee Action have developed a partnership post. This approach has been effective in developing a closer working partnership between the cultural sector, refugee agencies and the voluntary sector, including major charities.

In other areas, local authorities and cultural and refugee community organisations have sought to develop regionalised strategic overviews, such as in the work of Exodus in the North West or Refugee and Asylum Seeker Arts Agency in the West Midlands. In London, Arts Council England regional offices have led a strategic approach. The few dedicated funding programmes that support organisations’ core costs and provide opportunities for the exchange of knowledge, skills and ideas, have made a significant impact on the field. However, as legislation changes, these are decreasing, and funding by key foundations is also drawing to a close.

Breaking down barriers to development

A high level of specialist expertise in this complex area has developed amongst organisations nationally, although it also appears that in some cases projects are being initiated with insufficient groundwork or research. There have been some initiatives that provide a space for people to share skills and gain mutual support, but people working in this area would like more such opportunities. The lack of consistent evaluation across the sector also curtails the dissemination of learning and good practice. The limited levels of impact assessment also weaken the possibilities of strategic advocacy for the work. Hence, whilst there has been some recognition of the value of cultural activities in working with refugees and asylum seekers, on a national level there is no strategic engagement with the refugee sector.

In order to engender greater cultural and community engagement and connectivity, a UK-wide strategic approach is needed. The role of culture in addressing issues of community cohesion has been recognised by the Government, as shown in Public Service Agreement 21 recently issued by HM Treasury. The recommendations set out in our research report aim to provide a framework that will help to secure the role that cultural interventions can play in addressing social agendas, recognising and sustaining the creative contribution made by refugees.