“Hamsa is a documentary and educational platform with an audacious goal: motivate viewers to alleviate the Syrian refugee crisis. The short documentary highlights one family’s struggles after reaching Germany, and allows those watching to put a face to the global issues. Hamsa is a Syrian refugee and mother of three who migrated with her husband from Homs, Syria, to a small German village in September 2015. The BBC’s interview with Hamsa intrigued two English filmmakers based in New York who contacted Hamsa about telling her story.”
Read More on ALTERNET and watch the trailer below
“Mohsen’s story went viral after he was filmed being tripped up by a camerawoman as he fled police near the Hungarian border with Serbia last September. He was carrying his youngest son Zaid, then 7, in his arms at the time, and the two fell sprawling on the ground.
Footage of the incident helped bring him to the attention of a soccer training school in Getafe on the outskirts of Madrid, which found him work as a liaison officer. Zaid, now a year older, as well as 17-year-old Mohammed, who was in Germany at the time, live in the neighborhood with their father.
Mohsen’s wife and two other children remain in Mersin, southern Turkey. The family left the war-torn Syrian town of Deir el-Zor together around four years ago.
“I see my future here,” says Mohsen, whose eyes light up when talking, in broken English, about the local junior team he sometimes helps train, Villaverde-Boetticher.”
“Over the last few years, the Australian government has been leaning hard into an anti-refugee plan known as “the Pacific Solution.” Created to stop the arrival of boats filled with asylum seekers from countries like Indonesia, Iraq, Iran, and Afghanistan, the Pacific Solution is a program that reads like something out of Donald Trump’s playbook: deter refugees from trying to enter your country by capturing every single one and indefinitely locking them up in a detainment camp on a remote island. It’s cruel, but as shown in the new documentary Chasing Asylum, it has worked with shocking effectiveness. […]
In Chasing Asylum, Australian director Eva Orner breaks the veil of secrecy around the camps with a compilation of footage that was illegally recorded by whistleblowers and social workers inside the detention centers. VICE spoke with her in Toronto, before the film’s premiere at Hot Docs, to hear more about what went into the film and the repercussions of blowing the whistle on an entire country.”
Read more about the documentary on VICE and watch the trailer below
“Take any crisis that makes the headlines — the flow of refugees in the Middle East, Europe and the Horn of Africa; outbreaks of deadly or devastating viruses such as Ebola or Zika; drought emergencies in Ethiopiaand Malawi. Does journalism help to explain them? Or solve them?
These questions were asked at the Polis conference of the London School of Economics on 21 April. The day focused on the refugee crisis in Europe and the Middle East. And the title, Journalism and Crisis, was meant to reflect both the humanitarian crisis and the crisis in reporting brought about by the digital age — the “leaps in technical capability”, new finance structures and explosion of social media power that Columbia School of Journalism director Emily Bell powerfully charts.
This double meaning reverberated throughout the day’s discussions. And looking at how the refugee crisis is reported was revealing of the state of journalism. But this is not merely about journalistic self-reflection or navel-gazing. It’s about the difference journalism makes to how societies deal with crises.”
“The Guardian ran an interesting article about Gambian refugees, many of whom are disappointed to discover their lives aren’t much better in Europe than they were at home.
One small detail about these struggling refugees that stuck out to me in the piece: Migrants, worried they will disappoint their families back home, don’t post about their struggles online. “Social media is more commonly used to suggest they are living the high life.” Makes sense to me—online, many of us project a far rosier portrait of our lives than reality would reveal. Add the fact that many of these refugees’ families made financial sacrifices to send them to Europe, and it makes even more sense. ”
MAY 1 – MAY 8, 2016
MAY 9 – MAY 16, 2016
MAY 17 – MAY 24, 2016
MAY 25 – MAY 31, 2016
These migrant workers travel wherever they can find employment. Some just for a season before returning home, others from city to city or country to country constantly looking for work. The photojournalist Irving Villegas has been documenting the lives of seasonal workers in different countries
Every year about 270,000 workers come to Germany for the asparagus harvest, most of them from Poland and Romania. Without these people, it would be impossible to reap the crop because most unemployed Germans are not willing to do the job. They work every day for 10 hours, starting at 5am. They earn 27 to 57 cents for each kilo harvested depending on the size of the asparagus
In the grass, lying in the shade of a tree, a woman takes a 10-minute break. Her room key is hung around her neck so she doesn’t lose it
The field work in the sun, rain and cold in Fuhrberg, near Hanover, is backbreaking.
Bouchra Khalili: The Mapping Journey Project
Museum of Modern Art, New York, NY
April 9–August 28, 2016
This exhibition presents, in its entirety, Bouchra Khalili’s The Mapping Journey Project (2008–11), a series of videos that details the stories of eight individuals who have been forced by political and economic circumstances to travel illegally and whose covert journeys have taken them throughout the Mediterranean basin. Khalili (Moroccan-French, born 1975) encountered her subjects by chance in transit hubs across Europe, North Africa, and the Middle East. Following an initial meeting, the artist invited each person to narrate his or her journey and trace it in thick permanent marker on a geopolitical map of the region. The videos feature the subjects’ voices and their hands sketching their trajectories across the map, while their faces remain unseen.
The stories are presented on individual screens positioned throughout MoMA’s Donald B. and Catherine C. Marron Atrium. In this way, a complex network of migration is narrated by those who have experienced it, refusing the forms of representation and visibility demanded by systems of surveillance, international border control, and the news media. Shown together, the videos function as an alternative geopolitical map defined by the precarious lives of stateless people. Khalili’s work takes on the challenge of developing critical and ethical approaches to questions of citizenship, community, and political agency.
Visit MOMA for more information and to plan your visit.
From VICE News:
“Desperate to escape conflict and poverty, thousands of migrants and refugees attempt the perilous journey to Europe each year, with many crossing the Mediterranean Sea from North Africa in rubber dinghies and wooden boats.
In the wake of the decommissioning of Mare Nostrum, a search and rescue operation run by Italy, the humanitarian organization Médecins Sans Frontières (MSF), launched their own vessel, named the Bourbon Argos, to find those stranded at sea and save those in trouble on one of the deadliest routes to Europe.”