Pataka gallery exhibition by Murdoch Stephens.
By Giovanni Tiso.
The successful campaign to double the New Zealand refugee quota began with an exhibition. It opened at the Pataka gallery in Porirua, in 2013, and consisted of a collection of photographs of Afghan nationals that Murdoch Stephens had recovered at an abandoned refugee detention centre in Iran. Placed within a larger exhibition on migration, the display of black and white photographs without names or any other identifying information attached was a powerful signifier of the loss of personal and collective history that the displacement of people almost always entails.
Having become the temporary custodian of this archive – which is now housed with the Afghan Centre at Kabul University – was one of the sparks that motivated Stephens to launch his campaign and articulate the demand (‘double the quota’) which became synonymous with it. It was by no means a radical demand: it didn’t ask of the country to fundamentally alter its existing approach to refugees, but merely to expand a commitment to resettlement that was very low by international standards and had not been increased in decades. However, at a time of hardening of the borders, even such apparently modest demands can be radical in outlook and force us to look critically at our place in the world.
I thought about the collage of nameless photographs I saw at Pataka as I read Lights in the Distance, Daniel Trilling’s new book on the European response to what most of us are liable to calling ‘the refugee crisis’. Trilling suggests it might better be described as a border crisis and proceeds to illustrate a system whose principal aim is to defend Europe’s borders as opposed to protecting people’s lives. Crucially, the book delves into the extraordinarily opaque and convoluted workings of this system not by means of policy analysis and journalistic reporting but rather through the first-person accounts of actual migrants.
This approach has two distinct virtues: firstly, it makes the subject matter knowable at all, since any attempt to forensically dissect the permanent and temporary measures enacted piecemeal by European nations over the last decade would defy any writer and deter all readers; secondly, and I think more importantly, it restores the personhood of the people targeted by those measures. This has an explicitly political intent. As Trilling writes, ‘the starting point should be the migrants themselves, [whose] experiences are often treated as secondary to the question of what to do with them.’
Jamal, who fled Sudan as a teenager; Zainab, who left Iraq with her three children; Ousmane, who was born in Guinea, studied in Senegal and tried to find work in Mauritania; Caesar, who hails from southern Mali; Fatima from Syria, the Ahmeds from Afghanistan and several others meet on the pages of this book because of a thing they all have in common: having attempted to make a new life in Europe. But there are just as many things that set them apart. They all have distinct motivations, aspirations, social resources and networks of support. They all speak in a different voice. Trilling met them over the course of the years he spent covering the issue and travelling to its hot spots: the port town of Calais, Sicily, Greece, Bulgaria, Ukraine.
Often we encounter the same people in different countries and at different stages of their journey. Some of the stories end well. Others, not so well. Some others are still nowhere near a resolution of any kind. But it’s important to take note of the things they have in common.
The first one is the constant state of existential danger. People fleeing extreme poverty, war or persecution wishing to reach Europe are met first of all with the perils of the journey itself, be it as they attempt to cross the Sahara to get within sight of it, or as they sit in smugglers’ boats which are not worthy of the name – leading to thousands of drownings every year along the route from Libya to Southern Italy alone. Almost every path is potentially deadly. A visit to the migrants’ graveyard in Sidiro, Greece, bears testimony to the hundreds of people from Asia and Africa who failed to cross the Evro river to safety: some of them drowned, others froze to death during the winter months.
The danger doesn’t cease once the migrant sets foot in Europe. Trilling visits the Afghan community gravitating around Saint Panteleimon Square, in Athens, during the campaign of violence carried out by Golden Dawn. The attacks followed a chilling script:
At night, when crossing the square in small groups or alone, Afghans would be approached by a child. The child would ask them where they were from. If they said, ‘Afghanistan,’ a group of adults standing nearby would come over and assault them. Sometimes it would be kicks and punches, other times it would be a plank of wood or a broken bottle.
People without rights, without the protection of the law – often exposed, in fact, to the random brutality of the police – must constantly work to maintain a level of basic safety that the rest of us take for granted. And this is the second thing the migrants in the book have in common: save for the occasional period of confinement in a facility, camp or actual prison, they all have to spend an enormous amount of labour in order to continue to survive, to keep moving and to retain some control over their lives, whether it is by foraging for food inside of skips, re-selling state-supplied phone cards for loose change, begging, or trying to hitch a ride on the underside of a truck. This last form of work – requiring constant vigil and the ability to evade a number of protective measures – exemplifies the utter lack of both security (in a social sense) and safety (in a physical but also psychological sense) to which irregular migrants in Europe are subjected to. It takes Jamal four years to succeed in stowing himself under a truck and then onto a ferry from Patras to Venice. Having reached Calais, after months of failed attempts he finally gives up on his plan of ever reaching Britain. It takes the time of a ferry ride, if you are legally entitled.
This leads us to the third and most important shared experience of the characters in Lights in the Distance: the almost ritual erasure of identity.
The migrant who wishes to enter Europe must become undocumented in order to maximise his or her chances. If a false passport was secured, it will have to be jettisoned after use. If a temporary document was assigned, it will be destroyed before crossing into the next country, as will the SIM card in the migrant’s phone. For the policing of the borders is also a policing of identities.
The Eurodac police database allows European countries to enforce the Dublin Regulation dictating that asylum must be sought in the country where one first entered the EU. Often, however, these are also the border countries that take the longest to process applications and offer the least welfare in the interim. Thus, the migrant who plays by that particular rule and lets their point of entry be recorded on the database may be forced into homelessness while they wait indefinitely for their ‘turn’ to have their application heard. In one of the most dramatic episodes recounted in the book, one of Trilling’s interviewees tells him of how fellow Sudanese migrants camped outside Calais would attempt to burn off their prints by pressing their fingertips onto a red-hot iron – all to prevent detection by Eurodac.
Such literal acts of mutilation are the mirror of the demand placed on migrants to forget who they are, so we may forget that they exist. In what is perhaps the cruellest consequence of this demand, those who cross the border without documents expose themselves to the risk of having their death rendered anonymous and go unreported among their loved ones back home. As Trilling notes, the graves in the cemetery at Sidiro are all nameless, like the photographs in the archive found by Murdoch Stephens.
There is immense political value in allowing migrants to tell their own stories and restoring the full and often staggering complexity of their experience. Think of the prohibition for the media and NGOs to speak to the prisoners at Nauru or Manus Island, and how concealing their humanity contributes to erasing their rights. And think of the effect that a single photo had, when the lifeless body of 3-year-old Alan Kurdi shook the collective conscience of Western nations more than the mass drownings that preceded it.
The historical comparisons have political value, too. Lights in the Distance ends in the past tense, with the story of the author’s grandmother – a Jewish refugee who had first her Russian, then her German citizenship revoked between the two wars, thus was made twice stateless, undocumented by two different acts of government before finding fortuitous asylum in London on the eve of global disaster. It is a grim but instructive parallel, and a fitting conclusion for this important book.
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