Arts for Advocacy: Creative Engagement with Forced Displacement in Morocco

Lead Research Organisation: University of Edinburgh
Department Name: Sch of Social and Political Science

Abstract

This project will develop innovative, interdisciplinary, and participatory arts-based methods to facilitate creative engagement with forced displacement in Morocco. Morocco has become a country of transit and immigration, notably for sub-Saharan migrants fleeing persecution and poverty and for those fleeing conflict and persecution in Syria. Morocco is a strategic partner for the EU in the 'management' of trans-Mediterranean migration. Nevertheless, Morocco has featured little in recent depictions of the 'migration crisis' and has been overlooked by research. In this context, interculturality, migrants' rights, violence, and racism in Morocco urgently require new modes of critical engagement for research oriented towards the generation of new knowledge for policy-making and advocacy alike.

Researchers, practitioners, and activists support the emergent deployment of arts-based methods as social research tools to engage with displaced communities, pointing to the positive contribution and transformative power of creative arts for research and advocacy on forced displacement. However, this growing emphasis on participatory and interdisciplinary arts-based methods is usually limited to the 'global north'. In contrast, this project will adapt this methodological approach in Morocco. Four research questions drive this project:

1. To what extent and how can engagement with creative arts generate fresh insights on displacement in Morocco?
2. To what extent and how can arts-based methods enhance traditional social research on forced displacement?
3. How can engagement with arts disrupt power relations and enable co-production of participatory methods?
4. How can creative participatory methods generate synergies between research, advocacy, and capacity building?

Our four Project Partners are 1) an NGO supporting forced migrants in Morocco (GADEM), 2) a forced migrants' association in Rabat (ALECMA), 3) an artists' collective in Morocco (DABATEATR), and 4) a UK-based refugee, asylum and migration network (GRAMNet). Our Project Partners in Morocco are invested in fostering critical engagement and improving political discourse and social acceptance in Morocco. Research activities co-designed and co-delivered in Morocco in collaboration with our Project Partners include a seminar for practitioners working on forced displacement, creative arts-based workshops for members of the 'displaced' and 'host' communities, and transnational knowledge exchange forums for practitioners. Project objectives are:

1. To deploy creative arts-based methods to generate fresh empirical and theoretical insights on displacement and migration in Morocco as a case study, and to evaluate the potential for application in other ODA contexts;
2. To co-design participatory activities to enhance the capacity of NGOs supporting displaced communities in Morocco to pursue sustainable engagement, research, and advocacy programmes;
3. To enhance the capacity of grassroots migrants' associations to engage, mobilise, and support migrants;
4. To build relationships, develop partnerships, and exchange best practice transnationally between Morocco and the UK and across academia and the third sector working on forced displacement.

Led by Dr Laura Jeffery (University of Edinburgh), the team consists of researchers from across the humanities and social sciences with experiences in forced displacement, arts-based methods, NGO partnership, knowledge exchange, and capacity building within and beyond the Moroccan context. Through its inclusion of migrants and practitioners in the research process and in the development of research methods, this study builds the research and advocacy capacity of Project Partners. By deploying a multidisciplinary approach, and devising an innovative, participatory method, the project will have economic and societal impacts within and beyond the project's life cycle.

Planned Impact

This project aims to have first and foremost a direct impact on the lives of those affected by forced displacement in Morocco. It will develop and deploy innovative methods to respond to the current migration crisis and influence working practices at organisational levels. The project will foster dialogue and knowledge exchange between displaced people, activists, practitioners, academics, and policy makers, impacting upon the following groups:

1. DISPLACED PEOPLE AND THE WIDER PUBLIC. The project will generate positive societal impacts by developing new modes of creative engagement to support displaced populations.
a) Participants from 'displaced' and 'host' populations will benefit from the creative workshops to overcome currently tense and fraught interethnic relations and enhance social cohesion in Morocco.
b) Access to the project's non-academic outputs (such as the 'Arts for Advocacy' training toolkit) will enhance quality of life, cultural enrichment, and increased awareness of the current challenges.
c) Project outreach channels such as website, blog, and social media will improve understanding of issues affecting displaced communities among practitioners and civic society.
d) Migrant'Scène festival (Morocco) and exhibition and dissemination events for Refugee Week (UK) will foster community participation and engagement.

2. THIRD-SECTOR ORGANISATIONS, PROFESSIONALS, AND PRACTITIONERS WORKING ON FORCED DISPLACEMENT in Morocco and the UK. The project's innovative methods will enhance the impact and effectiveness of support structures for displaced populations:
a) The research capacity and skills of Project Partners will be enhanced through co-design and co-delivery of the project.
b) Participants will gain transferable skills in community engagement and advocacy through participation in seminar and workshops.
c) The capacity and skills of the NGO sector in Morocco will benefit from knowledge exchange events by learning about working practices deployed effectively in other ethnographic contexts to support forcibly displaced communities.
d) The enhanced research capacity of Moroccan NGOs will enable them to attract future research and development and engender community regeneration.
e) The transnational knowledge exchange of best practice will improve the organisational culture and practices of the NGO sector and enhance the effectiveness and sustainability of organisations.
f) Long-lasting relationships amongst Project Partners will be fostered through the project's multilingual and interactive website which will showcase findings and our 'Arts for Advocacy' best practice video toolkit.

3. POLICY MAKERS. The project addresses key policy issues. Project outputs (reports, academic publications, the toolkit, and other transferable resources) will be made accessible to research users, lobbyist organisations, and policy makers including (but not exclusively): Centre National des Droits de l'Homme (CNDH), Observatoire Nationale de la Migration (ONM), Réseau euro-méditerranéen des droits de l'Homme (REMDH), Migreurop, European Commission Migration and Home Affairs Department, and European Union External Action Service.
a) Increased access to user-informed research co-developed by practitioners, academics and participants will directly influence policy development at national level.
b) Morocco's recent 'Stratégie Nationale d'Immigration et d'Asile' (National Strategy for Immigration and Asylum) (2014) includes 'Education and Culture' and 'Professional Development' among eleven programmes for action. 'Arts for Advocacy' will generate new insights and knowledge to address these key concerns through its use of creative practices for capacity building.
c) Enhanced engagement with transnational practitioners based in Morocco and the UK will enable policy makers and NGOs with a lobbying remit to gain insights into best practice on forced displacement and influence future policies.

Publications

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Jeffery L (2019) Creative engagement with migration in Crossings: Journal of Migration & Culture

 
Title Arts for Advocacy website 
Description Arts for Advocacy website including documentary films about exhibitions and KEI events. 
Type Of Art Film/Video/Animation 
Year Produced 2017 
Impact N/A 
URL http://artsforadvocacy.org/
 
Title Migration. Récits. Mouvements. 
Description The exhibition 'Migration. Récits. Mouvements' is part of a large, international and inter-disciplinary research project called 'Arts for Advocacy' (2016-18) at the Universities of Edinburgh and Keele in the UK. It aims to develop innovative, interdisciplinary, and participatory arts-based methods to facilitate critical engagement relating to forced displacement in Morocco. 'Migration. Récits. Mouvements' is the result of two participatory video-photography and theatre workshops which took place in Rabat in March and October 2017. The participants were women and men from Morocco and sub-Saharan Africa with varying degrees of familiarity with visual media. The workshops were organised by the 'Arts for Advocacy' UK research team in partnership with GADEM (Morocco), and guided by visual artists Julien Fleurance and Amine Oulmakki, and actor and comedian Dabcha. Under Moroccan skies, participants, researchers and artists from different horizons met to practice photography, theatre performance and video skills and share stories together. We explored issues of togetherness, migration, displacement, loss, heritage, identity and diversity through the creation of visual artefacts. Material from these workshops - which composed part of this proposed exhibition at the Villa des Arts in Rabat - has already seen the light in two successful and well a ended exhibitions entitled 'Narrating Objects of Displacement in Morocco'. The first was during Refugee Festival Scotland at the Centre for Contemporary Art in Glasgow (June 2017); the second was at the SPACE Gallery in London (September 2017). 1. CHAIR, 2017 Dir. AMINE OULMAKKI, JULIEN FLEURANCE, DABCHA. Installations. 3 ground projections, 2'36", 5'9" & 8'3". This piece rests on protocols constructed with the participants along three axes: 1) Noticing a chair and its inscription in space, then moving towards it in a back-and-forth as candid and purposeful as possible. Experiencing memory as the conductive thread of our trajectories, between departure and destination. Used as pretext, the chair questions the referents of life's movements, their interchangeability, their fleetingness, but also their surprising similarities. 2) Embodying an animal, totemic element - its narrative gives shape to unexpected body figures. Isn't it through the invention of a spiritual double, conceived between model and icon, that we dream ourselves? 'Chair' deals with what 'animates.' Through movement, it connects anew the notions of animal and soul (from the Latin anima ("wind", "air", "breath")). 3) Inventing an alphabet of the body, which sketches the utopia of a textured community animated by a common approach to living together. Real life experiences are often far from play; they sometimes involve trauma and crisis. In the context of performance, a potentially therapeutic doubling of personalities occurs, where playful bodies part with (break free from) bruised bodies. And in the context of the exhibition, the images projected on the ground seize, in some way, the visitor's movement, making them a participant in the game of bodies: acting bodies and observing bodies in the same composition. 2. ISLI TISLIT, 2017 Dir. AMINE OULMAKKI, JULIEN FLEURANCE, DABCHA Videos, 06'6". Broadcast on 9 screens and sound installation. "Isli Tislit" is named after the Amazigh legend of Isli and Tislit, two lovers whose impossible love forced them to elope and caused them great sadness. It is said that the lakes Isli and Tislit are born out of their tears. The piece presents close-up portraits which use the camera's gaze to take the spectator as witness or make them the direct interlocutor of an interpellation, the recipient of an apostrophe, a song partner, the companion of a memory, the witness of suffering. In this dynamic, the role of gazer is split on either side of the screen, where actor and spectator face each other. In cinema, 'camera-looking' refers to the crossing of an actor's gaze with the optical axis of the camera. Here, "Isli Tislit" prioritizes emotion over technique. The human sight which goes from eye to head suddenly branches off to connect the eye to the heart. 3. MISSED CALL, 2017 Dir. AMINE OULMAKKI, JULIEN FLEURANCE, DABCHA Vide´o, 07'59". Single screen. "Missed Call" assembles phone conversations as seen and heard only from the point of view of the speaker. From phone calls to calls for help to relatives, the video tackles questions of exile and uprooting. The work conjures among other issues: the development of new forms of relationship, the management of heartbreak, the sorrow of neglected relatives, the tortuous path to regularisation, the adaptation to new cultures. 4. AND TIME BREATHES, 2017 Dir. AMINE OULMAKKI, JULIEN FLEURANCE, DABCHA Video, 4'34. Single screen. SYNOPSIS-Oussama plagued by visions. Voices and faces address his origins, suggesting a diversified genealogy. A Cameroonian father, an Amazigh mother, a grand-father from the Bassa tribe and a grand-mother from Congo speak to him in their respective tongues. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2017 
Impact N/A 
URL http://artsforadvocacy.org/exhibitions/#villadesarts
 
Title Narrating objects of displacement in Morocco 
Description This exhibition is the result of a participatory Video-Photography Workshop which took place at the 'Centre Culturel Agdal' in Rabat (Morocco) in March 2017. The participants were 16 women and men, sub-Saharan migrants and refugees as well as Moroccan nationals, all with diverse familiarities with visual media. Organised by the "Arts for Advocacy"* research team, and guided by visual artists Julien Fleurance and Amine Oulmakki, the Workshop ran over two weeks. Under Moroccan skies, participants, researchers and artists from different horizons met to practice photography and video skills, share stories and meals together. We explored issues of togetherness, migration, displacement, loss, heritage and diversity through the creation of visual artefacts. Participants focused their creative exploration on three 'objects': a cutting- object, a mobile-phone and a camera. They were involved in all stages of the process: filming, taking photographs, recording, script-writing, scenography, post-processing and editing; the texts below are also the result of collective efforts. Amine and Julien, two international artists, worked together to turn the project into this exhibition. The texts below were written with the participants. CUTTING OBJECT (14 Photographs, fine art mat paper, foamex board) The blade creates borders but can also shatter them. The blade marks identities onto the body, which can facilitate or prevent free movement. The blade identifies family, roots, cultures. The blade plunged in the re marks the skin, so that we recognise and so that we differentiate. The blade creates beauty spots but can also destroy beauty. The blade creates riches for some but can also bar access for others. In the photos, we can see a mixing of signs on the skin, Amazigh signs, Adinkra symbols from Ghana. The lines on sub-Saharan cloths also trace identities, cults, social clans. Lines on the body delineate identities, blades of light and darkness play out on the folds of the skin to enhance and obscure features. These images were taken by participants using different devices (mobile phones, cameras). From the first exercise - with a focus on the body, its parts - to the stages rehearsal of identity making - these images speak of fluid encounters (but not without frictions) between people, places, cultures. AND TIME BREATHES (Video, 4'34") Through the camera we can store histories, lives. This is a story about a journey into time, lives which give and add more sense to another life. A story of motivation which prompts each of one of us to search for a better life, for adventure. Sometimes we have no choice but to look for a better life. Sometimes we have to leave our path despite our own will, but also to forge a new path and become somebody in life, in society. We must know what awaits us on the way. Sometimes integration allows us to inhabit a new society. Sometimes it costs dearly, its distances us from our origins. It entails sacrifice. This mix of cultures, religions and languages - Moroccan Arabic, Amazing, Bassa, Lingala, French - which tie my forefathers from different horizons all the way down to me. Their histories broke into my time when I was lost. And now, time breaths again, it exhales new meanings and new beginnings. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2017 
Impact N/A 
URL http://artsforadvocacy.org/events/rfs-exhibition
 
Title Sounds from Ghana via Morocco and the UK 
Description An evening of music performed by two groups of acclaimed Ghanaian musicians: a live performance by Gameli Tordzro (www.gameli.co.uk) and a prerecorded performance by Reuben Y. Odoi (The Minority Globe). Both musicians combine traditional tunes from Ghana with contemporary musical nuances from across Africa and the West. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2017 
Impact N/A 
URL http://artsforadvocacy.org/events/rfs-concert
 
Description In collaboration with Moroccan project partner GADEM (Anti-Racist Group for the Support and Defence of Foreigners and Migrants), the Arts for Advocacy project team ran two participatory visual arts workshops in Rabat - one on photography and filmmaking, and one on physical theatre - for Moroccan and migrant participants from diverse backgrounds. Participants explored creative practice as a means to tackle social division, foster intercultural communication, and address the challenges posed by forced displacement in Morocco. 1) Researchers developed new methodological skills by going beyond existing visual methods - such as photo elicitation (in which already existing photographs are inserted into research interviews) and photo voice (in which research participants produce new photographs, in the absence of the researcher, for subsequent discussion with the researcher and others) - by applying the tried and tested ethnographic method of participant observation throughout the photographic processes. In other words, rather than either deploying preexisting photographs or sending participants away to take pictures, the researchers observed first-hand the creative processes involved in processes of shooting, selecting, editing, preparing, and exhibiting still visual images (i.e. photographs) and moving audio-visual images (i.e. films). This enabled them to gain insights particularly concerning how people decide what to capture and how they negotiate such decisions in a group setting. 2) Photographic encounters and social interactions between workshop participants facilitated intercultural exchanges and the transformation of perspectives on the Other for Moroccans and migrant participants alike, thus showing the potential of creative engagement to foster social cohesion amongst 'host' and 'displaced' communities in Morocco. This insight was shared and discussed among academics, artists, practitioners and migrant leaders in the context of our project's cross-sectors knowledge exchange forums. 3) Coproduced creative outputs from the two workshops were exhibited three times - at the Centre for Contemporary Arts during Refugee Festival Scotland in Glasgow in June 2017, at SPACE Gallery in London in September 2017, and at the Villa des Arts during the Migrant'Scène migrant arts festival in Rabat in December 2017 - demonstrating potential of creative arts to foster community participation and engagement with forced displacement both in Morocco and the UK. In particular, through the exhibition in Rabat, our project fostered new collaborations between the third sector and cultural institutions based in Morocco.
Exploitation Route Addressing migration in Morocco as a case study, Arts for Advocacy offers a transferrable method of engagement with broader relevance to other ODA countries in the Middle East and North Africa (MENA) region and beyond. 1) The Arts for Advocacy team drew on insights from our two KEI forums in order to develop a "Creative arts, migration, and advocacy" interactive online toolkit. The toolkit is freely available on the Arts for Advocacy website in three different language versions - Arabic, English, and French - in order to ensure that it is transferrable and accessible beyond the geographical focus of the project. The toolkit is aimed at migrant leaders, artists, researchers and practitioners planning to deploy arts-based methods to engage creatively with issues surrounding displacement and migration. 2) Our portfolio of creative outputs is available on the Arts for Advocacy website and can be deployed by our research partners to continue to foster engagement and advocacy concerning migration and displacement. The creative outputs are in digital form, which allows them to be digitally transferrable and enables low-cost reproduction and installation.
Sectors Creative Economy,Culture, Heritage, Museums and Collections

URL http://artsforadvocacy.org/
 
Description Arts for Advocacy promoted the social and political inclusion (SDG 10.2) of migrants and marginalised Moroccans in processes of cultural production in Morocco by facilitating the development of new transferrable and marketable arts-based skills and by exhibiting co-produced artwork in venues not usually accessible to them, including established mainstream art galleries. It also enabled local artists and practitioners to extend their international professional networks. Arts for Advocacy findings are cascaded via an online toolkit that offers guidance (in English, French, and Arabic) for other academics and practitioners similarly seeking to deploy creative methods for engagement with migration in other contexts. Arts for Advocacy sparked reflections in Morocco on the potential for arts to address issues such as migration and borders. Most notably, a colleague from one of our Moroccan project partners (the theatre collective DABATEATR) collaborated with Moroccan universities and UNESCO to secure funding for a series of thematic workshops for young artists and young researchers focusing on mobility from a (post-) colonial perspective and on the concept of Houdoud (borders). Mirroring the structure and objectives of Arts for Advocacy's two participatory workshops on photography and filmmaking and on physical theatre respectively, the Houdoud programme focuses on visual arts and performing arts, and similarly aims to create links between artistic practices and academic research in the humanities and social sciences and to bring out innovative approaches to contemporary cultural phenomena.
First Year Of Impact 2018
Sector Creative Economy,Culture, Heritage, Museums and Collections
Impact Types Cultural,Societal

 
Description Follow-on Fund for Impact and Engagement (International Development)
Amount £99,784 (GBP)
Funding ID AH/S005846/1 
Organisation Arts & Humanities Research Council (AHRC) 
Sector Public
Country United Kingdom
Start 08/2019 
End 07/2020
 
Description The AHRC International Development Summit: Mobilising Global Voices 
Organisation Arts & Humanities Research Council (AHRC)
Country United Kingdom 
Sector Public 
PI Contribution I was invited to be one of the chairs of this international event. I organised a panel and chaired it for a session called 'Mobilising the Arts: Migration and Forced Displacement'.This session is devoted to migration and forced displacement and the role the arts and humanities play in the field. There has been an increase in the mobilisation of the creative arts to contribute to current debates on migration - usually dominated by the political and social sciences. The focus of this session is to explore the ways the arts are affecting and influencing research on migration; what works has been carried out? In what ways are the arts and humanities shifting the terms of this debate? The Panel "Researching Migration & Forced Displacement: The Creative Arts as a Method" will be an opportunity to showcase and explore current research in the field of migration where the creative arts are used as a method and are central to the research process. The roundtable "Artists & Displacement: Music, Literature and the Visual Arts" brings together artists who engage with contemporary forced displacement as a theme, as a method or as critical perspective. Structured as an open discussion this second part of the session focuses on the experiences, challenges and aspirations of creative practitioners working at the forefront of forced displacement.
Collaborator Contribution The Arts and Humanities Research Council (AHRC) hosted the International Development Summit- 'Mobilising Global Voices', at the British Library, London on Wednesday 7th June 2017. The Summit aimed to showcase and discuss the unique and important contribution that AHRC-funded research (and of the arts and humanities more widely) makes to policy and practice in International Development and to cross-disciplinary and collaborative research which addresses a range of global challenges. The proposed theme of the summit - 'Mobilising Global Voices' - indicates an aspiration to add to previous events and consultations by bringing the voices and perspectives of researchers, partners, cultural and development organisations and diverse communities in Low and Middle countries more strongly into debates about how arts and humanities research might contribute to international development, and we would welcome innovative ideas for how the summit might stimulate longer term engagement with diverse global voices.
Impact A panel on migration and the arts. PANEL: "Researching Migration & Forced Displacement: The Creative Arts as a Method" CHAIR: Mariangela Palladino (30 + 10 mins) [Participants are asked to share their work on their current ESRC-AHRC GCRF projects for no longer than 7 minutes. Power point presentations are welcome. Q&A will follow, 10 minutes.] 1. Dr Michelle Keown, University of Edinburgh (ESRC-AHRC GCRF) & artist (tbc) From displacement to development: arts education as a means to build cultural resilience and community-led arts production in the Marshall Islands 2. Dr Marta Hawkins, University of Plymouth (ESRC-AHRC GCRF) Conserving cultural heritage: The resilience of forcibly displaced Syrian artisans in Jordan 3. Dr Laura Jeffery (University of Edinburgh) (ESRC-AHRC GCRF) 'Arts for Advocacy: Creative Engagement with Forced Displacement in Morocco' ROUND TABLE: "Artists & Displacement: Music, Literature and the Visual Arts" CHAIR: TBC (30 mins + 20) [Participants are asked to share their work for no longer than 5-7 minutes. These short presentations are to be understood more as introductions. The roundtable is structured to encourage and foster dialogue among artists, academics and other members of the public. A 20 minutes Q&A will follow.] 1. Natasha Soobramanien - Author 2. Saradha Soobrayen - Poet 3. Tawona Sithole - Poet/Dramaturg 4. Diana Abouali (Tiraz NGO, Amman, Jordan)
Start Year 2017
 
Description Creative engagements with migration: an international forum during Migrant Scene in Rabat 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact This knowledge exchange event, aimed at practitioners, activists and researchers working with migrants and refugees in Morocco and the UK, provided an opportunity to share lessons learned from two diverse contexts. The workshop fostered a sustainable dialogue to identify common issues and develop inclusive practices to address the challenges posed by forced displacement.
Year(s) Of Engagement Activity 2017
 
Description Displacement in Morocco and UK: best practice knowledge exchange forum at University of Glasgow during Refugee Festival Scotland 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact This knowledge exchange event, aimed at practitioners, activists and researchers working with migrants and refugees in Morocco and the UK, provided an opportunity to share lessons learned from two diverse contexts. The workshop fostered a sustainable dialogue to identify common issues and develop inclusive practices to address the challenges posed by forced displacement.
Year(s) Of Engagement Activity 2017
 
Description Photography and filmmaking workshop in Rabat for Sub-Saharan African migrants and Moroccans facilitated by photographer/filmmakers Amine Oulmakki and Julien Fleurance 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Study participants or study members
Results and Impact Photography and filmmaking workshop in Rabat for Sub-Saharan African migrants and Moroccans facilitated by photographer/filmmakers Amine Oulmakki and Julien Fleurance
Year(s) Of Engagement Activity 2017
URL http://artsforadvocacy.org/people/
 
Description Physical theatre workshop in Rabat for Sub-Saharan African migrants and Moroccans facilitated by photographer/filmmaker Amine Oulmakki and performance artist Dabcha 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Study participants or study members
Results and Impact Physical theatre workshop in Rabat for Sub-Saharan African migrants and Moroccans facilitated by photographer/filmmaker Amine Oulmakki and performance artist Dabcha
Year(s) Of Engagement Activity 2017
URL http://artsforadvocacy.org/people/