Author/illustrator Erik Thurman is an award-nominated creator who specializes in long-form comics journalism and nonfiction comics about current events. On August 1st, 2016, the political comics/cartoons website The Nib published his comic on the Myanmar Rohingya refugee crisis, which can be read in full here.
More than 500 children live in the refugee camp at Calais, France, which is today a growing town at the mouth of the Chunnel. The majority of these children are unaccompanied by parents or guardians. Life in the so-called “Jungle” is painful and tentative for them: According to Help Refugees, 129 children could not be accounted for in April following the sweeping demolitions of homes in the refugee camp in March.
The architecture of forced displacement is the subject of “Insecurities: Tracing Displacement and Shelter,” an exhibit at the Museum of Modern Art. The exhibit will assemble work by architects, designers, and artists responding to the global refugee crisis.
Read the full article here
Coming from the south, migrants flee the vestiges of wars that have left entire nations in ruin. From the east, they escape a life of indefinite military servitude and violent conflict. From the west, they evade destitution and governments that arbitrarily jail whomever they please.
Some arrive by choice, others by force. But Libya is the purgatory where most migrants prepare to face the deadliest stretch of the Mediterranean Sea.
Click here to see the full project.
“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. ”
The short documentary Stitches is the story of a man who finds peace in knitting —after establishing a life in exile as an Afghan refugee during the Soviet–Afghan War. The subject is the filmmaker Abdullah Abo Jassin’s uncle, who writes, “His story connects in a way with all what my family has been through over the past decades.”
(via The Atlantic)
“The artist Francis Alÿs is exploring the idea of a film about children playing in the refugee camps he visited in northern Iraq at the end of February. The Belgian-born, Mexico City-based artist was on his first research trip to the region, where he filmed and took photographs of children playing games such as marbles and hopscotch in Camp Kabarto and Camp Shariya.
Kabarto is home to 5,000 families, mainly from the Yazidi sect, who were forced to flee when Islamic State attacked Sinjar in 2014. It is estimated that 3,300 Yazidi families (17,000 people) from Sinjar are living in Camp Shariya.
The Baghdad-based Ruya Foundation invited Alÿs to visit Iraq to explore the possibility of creating a work about the refugee camps as part of Creativity for Survival, a wider project and series of workshops run by the foundation in response to the humanitarian crisis. Before visiting the camps, Alÿs hosted a workshop with artists and art students in Baghdad.”
Read more (via The Art Newspaper)