RefugeeArtsConsultation Wondeseebnn

Refugee Related Arts:
A consultation into the evidence of need

and feasibility of a national conference and
website for refugee-related arts in the UK
By Stella Barnes, Emily Hunka & Almir Koldzic
Commissioned by Arts Council England
2009
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Stella Barnes, Emily Hunka & Almir Koldzic, 2009
Contents
1. Background Information 3
2. Research Methodology 6
3. Findings: Overview and Consensus 7
4. Summary of Regional and Online Consultation 9
5. Recommendations 13
6. Legacy 15
7. Proposed Project Models 16
8. Managing Organisation’s Roles & Responsibility 17
Appendices
1. Consultation meeting in London, 22nd May 2009 22

2. Consultation meeting in Newcastle, 20th July 2009 29
3. Consultation meeting in Leeds, 24th July 2009 36
4. Consultation meeting in Glasgow, 28th July 2009 42
5. Online Survey, Respondents 46
6. Online Survey, National Website 48
7. Online Survey, National Conference Content 53
8. Online Participants – about themselves 66
9. Refugee Related Arts Consultation Plan 74
10. All participants’ data 76
11. Charts and diagrams 82
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1. Background
Refugee Arts Infrastructure Research
Rationale
Our research project relates directly to the 2008 Hybrid report The Arts and Refugees,
History, Impact and Future commissioned by the Baring Foundation, Arts Council
England, London and the Paul Hamlyn Foundation. The report and associated research
set out ‘to trace the history of the arts and refugees in the UK over the past 20 years, to
identify trends in practice and funding, to report on the outcomes of this activity and to
make recommendations for its future support.
The report authors Belinda Kidd, Samina Zahir and Sabra Khan made a number of
recommendations. This research relates to the following recommendations in particular:
4.1.2 A suitable organisation should be commissioned to develop internet-based

support that includes current databases of high quality, participation-led projects,
relevant contacts (artists and project managers), toolkits and other forms of support for
those newly engaged in this field and for refugee sector organisations looking for
potential partnerships and ways of utilising the arts.
4.2.1 The Arts Councils should work with partners to support specialist agencies
that provide peer support for artists who are refugees, whilst encouraging these
agencies to maintain their strategic focus by signposting their members towards regional
and national professional support agencies such as the Independent Theatre Council, [a-
n] and others.
4.2.2 Suitable agencies should be encouraged to establish a mentoring programme

between professional refugee artists and host artists, based on art form and/or field of
interest and that engages key organisations/agencies in supporting the relationship.
4.2.4 In addressing these recommendations, all partners should recognise the need
to broaden their networks to achieve an effective engagement with the many refugee
arts and cultural groups that operate on an informal basis and are not necessarily
reached through existing refugee agency structures or arts networks.
4.3.4 The Arts Councils should work with the Refugee Council and Refugee Action to
support a central networking function to develop mutual support and good
practice in the arts and refugees sector. This should not supplant regional networks but
act as an overall network of networks. Activities might include a biennial conference,
regular national networking meetings between key people in the field, such as UK Arts
Council officers with responsibility for refugee issues, Refugee Council arts development
officers and refugee artist support agencies.
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As a small team of researchers, we devised and implemented a strategy ensuring the
voices of stake-holders are heard in the next phase of strategic development in policy
and practice related to arts and refugees. It is the intention that the research findings
below will influence any national initiatives that set out to meet the aims of the Hybrid
report in particular 4.3.4, so that plans directly reflect the views of those who are most
likely to benefit.
We were also particularly interested in exploring how stake-holders could be directly

involved in planning future strategies thereby enabling some of the most marginalized
artists and communities to be influential in the future development of the arts’
infrastructure.
Aims:
• To discover and represent the views of stakeholders in the future planning of

infrastructural support related to arts and refugees such as national events,
professional development and communication and information tools
• To organise and conduct a number of consultation seminars in different areas of

the UK to gain views and ideas from stake-holders
• To focus discussions in particular on aim 4.3.4 and test out and collect
suggestions for the proposal to hold national conferences
• To present findings to potential funders and project directors/organisers with the

intention that future plans will reflect the view of stake-holders
Research Team
Stella Barnes - Head of Arts in Education at Oval House Theatre; founder of Flight
Paths - arts in education training programme for exiled artists; former Chair of Refugees
and the Arts Initiative. Stella is an experienced arts practitioner, researcher and
evaluator with ten years experience running arts projects with young refugees and
professional development programmes for artists and education practitioners.
Emily Hunka - Associate Director GLYPT and Chair of Rewrite (both organisations
specialising in arts development with young refugees). Emily is a writer, director, arts
practitioner and leader of the renown ‘Voices’ project- and a specialist in working with
young refugees in discreet and inclusive settings.
Almir Koldzic - UK Coordinator for Refugee Week. His experiences include managing
various arts and refugees initiatives; developing a national strategy and new identity for
Refugee Week; co-curating various exhibitions and events, and most recently initiating
“Simple Acts” - a UK-wide campaign on refugees. Almir has also written short stories
and translated a number of books and publications.
Process
We have developed a series of consultation tools (see below) to be used with a range of
stake-holders from a number of regions. We have also developed participatory
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consultation techniques and approaches to make the consultation accessible to a range
of people from different professional backgrounds.
We have particularly targeted our face to face consultation with organisations and
individuals in the key regional locations of Newcastle, Greater London, Leeds and
Glasgow. In each, we set up seminars and one-to-one meetings to collect opinion and
suggestions from stake-holders. For those who were unable to participate in the face to
face consultation we created an online questionnaire, which was live for three months
from June to August 2009 (see Appendices 5, 6, 7 and 8).
Schedule
March – April 2009 Development of research tools, strategy and seminar

locations/invitations
Creation of online questionnaire
April – July 2009 Research seminars interviews and workshops
Online questionnaire goes live
July/August 2009 Preparation of research findings and presentation to

funders/agencies etc.
Stake-holders included:
• Exiled artists from a range of cultural origins and representing a range of art
forms
• Arts organisations and practitioners with experience of arts practice related to

refugees including those who work in youth and education related setting as
well as those who work in professional arts contexts
• Arts practitioners with an interest in this area of work but with little experience;
• Students in universities with an interest in this area of work
• Young refugees and asylum seekers and those from more established
communities who attend arts projects
• Teachers, FE and HE lecturers with an interest in this area of work
• Refugee Community Organisations that have engaged in arts projects or who

have this ambition
• Local authority officers
• Regional Arts Council officers
• Refugee Sector Organisations
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2. Research Methodology
• Participatory consultation at five events in four cities involving 65 people.
Participants responded to an open invitation to attend, which was publicised
through a range of local networks including:
- Refugee Community Organisations
- Arts Council
- Refugee Council
- Local Authority
- Universities & Colleges
- Artists networks
- Regional cultural networks
- Refugee Week
- Arts organisations
• The consultation sessions utilised a range of participatory techniques including:

- Small group activity using grading chart for conference content
- Individual visioning exercise to gather ideas for conference form and to
ensure contribution from each individual.
- Creating space for anonymous recommendations and comments in
written form
• This approach enabled each participant to have a voice, prevented sessions from
being dominated by a few vocal participants, and allowed for diverse views and
ideas to be shared without fear of criticism.
• An online questionnaire exploring website and conference/event possibilities,

including an invitation to make additional comments. 75 people responded online
only. The remaining 65 responses were from people who also attended seminars
(See Appendix 5-8)
• Interviews with individuals with the experience of strategic development and

management of various arts projects
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3. Findings: Overview & Consensus
Website
3.1 National/Local interface. There was concern that a website only focused
nationally would be of limited value - “geography is always an issue – e.g.
resources available in London…are of little practical use in the North East”.
Instead, there was interest in a website with both national and local focus; Local
and regional pages would feature issues of concern and interest, which could
include promoting local artists and local network meetings, highlighting local
events, lists of local resources, funding opportunities and so on. These might link
to a national hub which would profile content of national significance and would
feature good practice regionally that may be of broader interest. “Don't reinvent
the wheel! Look at what's being done on a regional basis and how these can be
linked /supported/developed to come together as a national portal. Information
must be kept up to date on an ongoing /long term basis - a database of out of
date contacts is useless!”
3.2 Content and Priorities: It was considered that forums, chat-rooms and blogs
were “of limited value as they take away from the real interaction” and that
“…many of us are suffering from blog/forum/social network overload”. Instead,
there was a call for the website to feature listings of resources, case studies of
projects, toolkits and good practice guidelines (70.3% online respondents graded
this aspect as important). Whereas debate was considered to be an important
part of any conference/event, it was not considered that the website was an
appropriate place for ongoing discussion; “ Websites are useful for telling people
what is happening, who is where and who is doing it” was instead the greater
focus.
3.3 Management: Concern was expressed over the potential management of the
website. Respondents thought that there should be clarity over who would
manage the site, updating it regularly and supporting its ongoing function.
Comments indicated that “[websites] often start with great intentions but fizzle
out over time because [organisations] do not have the time and capacity to
manage them”.
Conference
3.4 Form: From many respondents, there was a lack of support for a conventional
conference, which might fall into traps of being “bureaucratic” with “dry,
meaningless speeches and power-point presentations.” There was a strong desire
for an arts-led event that both is exciting and risk taking. Participants did not
want to be ‘talked at’ by “politicians, public figures, policy makers”. However,
there was interest in a high level of debate: “raising debate to a new and higher
level by [asking] questions that raise our consciousness,” and “the sense that the
conference is prepared to challenge the status quo” or “different perspectives that
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are not afraid of genuine debate”. Many felt that debate and discussion through
art would be most effective and powerful: “Art shouldn’t be like wallpaper; if it’s
done it should be a way to challenge and make an impact.” It was also
considered important to have a good mix of practice and theory, with significant
time for discussion and networking. “I could meet with other refugees who have
similar problems…we could share experiences and create a partnership.”
3.5 Venue: Many respondents thought that “The building is important. The
space needs to reflect the flavour of the day” and therefore would be imperative
for any event to take place in an arts space, a “great environment with artistic
impact” as opposed to a conference centre or more formal venue. Participants
spoke of choice of venue marring previous conferences, disliking events in a “big
hall, cold room”. Utilising arts venues was seen by respondents as an
opportunity for involvement of artists curating the space, exhibiting work,
performing and presenting.
3.6 Ownership: There was strong support for leadership by artists, especially exiled
artists. A ‘top down’ approach, where a large organisation takes the lead, without
full support of artists, was not popular. There was particular concern that refugee
artists or young people would be alienated by such an approach, or
“overshadowed by ‘expert’ voices”. Respondents talked with concern of a
conference that might include “no diversity or inter-culturality” in its leadership,
that “one of the root problems…is lack of opportunities for refugee voices to be
heard.” Consequently, it was suggested that they should have a stake in the
organisation of a conference, to ensure “strong refugee voices.” The event may
be curated by artists, and involve active participation, rather than passive
‘receiving’. This may include creating artwork or taking part in workshops. It
was also suggested that the event could act as “support [for] people who are
working in isolation”. When asked who the conference should be for, there was
strong feeling that it should be geared at individual artists from refugee
backgrounds and arts organisations, rather than being a media or training event.
3.7 Setting: When considering the interplay between the local and national, it was
clear that there is no particular parity between regions. There are very few
networks that have been sustained either within regional areas themselves, or
nationally, and there is a danger of any conference/event becoming ‘London
Centric’, due to inexperience of strategic/artistic events regionally – “A national
level [event] means only higher level of organisations are heard.” Respondents
did not want “events and conferences that are always based in London”. Instead
there was a call for “all regions [to be] represented in meaningful ways”
3.8 Outcome: Any conference/event should have a balance between improving

practice, sharing methodology, projects, successes and challenges of
stakeholders/delegates and having an impact on policy and local or national
strategy. Responses included a desire for “actual practice shared”, “major arts
institutions making a commitment to support refugees and asylum seekers to
build audiences”, “listening to voices that are rarely heard.”
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4. Overview of Regional & Online Consultation
London
4.1 11 participants attended the 2 London consultations. Amongst these, there was
good representation from refugee artists.
4.2 There was a general impression that participants had past experience in
conferences/events focusing on refugee related arts, with a high level of debate
already taking place. Many participants felt a bit ‘jaded’ by a number of
initiatives over the past few years that have not been ‘owned’ by artists
(particularly refugee artists) or which have not resulted in any policy/strategic
change: “a national conference might not be the answer. We want something
that is not just putting on a show of importance.”
4.3 There was a strong demand for an alternative or ‘reinvention’ of conference or

event, with an emphasis on event. A conference was an unpopular concept, with
a general consensus that it had “all been done before”; some had bad experience
of previous conferences – “Long talks with no end”, “Talks in a jargon that no-one
catches”, “Feeling all the money has gone on glossy brochures and reports that
no-one will read or do anything about”, “too stuffy and formal” Instead, their was
a preference for “using visual art, drama music and the spoken word” and
categorically to “Make it about ART”. As one respondent put it “Creativity is about
taking risks ... something that takes people out of their comfort zone”.
4.4 Participants felt that it was important for the project to have a tangible legacy,
with sustainability for the sector and life beyond the project. There was a concern
that the project would repeat mistakes made by previous events, where after a
‘showcase’ event, networking, funding, and local and national policy did not effect
change.
4.5 There was a particular preoccupation with sustainable funding, arising out of
experiences of the lack thereof. It was felt a conference/event should be
addressing this agenda as this was considered a significant priority for the future
of this work.
Newcastle
4.6 27 participants attended the Newcastle consultation, from a range of backgrounds,
including refugee artists, local authority stakeholders, academics and
representatives from Arts Council England and larger arts organisation.
4.7 Newcastle described pockets of good practice over a diverse range of settings,
with a sector that is relatively new and not well networked.
4.8 There was keen interest in the consultation to make these local networks stronger,
as well as an investment in infrastructural support. It was felt that “progression
for North East Relationships” was important, with “inspirational techniques and
skills to be shared across [local] communities”.
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4.9 There was limited experience of conferences or events in the refugee-related arts
sector or diversity and inclusion as a whole. Instead of wanting a larger-scale
national event, there was a consensus that a local event/festival would be more
desirable.
4.10 It was considered that refugee artists did not have a strong ‘voice’ or stake-hold
in work and were not empowered. Any initiative should seek to empower them.
Leeds
4.11 The Leeds event was attended by 19 people from varying backgrounds, including
refugee artists, arts and refugee sector organisations.
4.12 A focus on ‘voice’ was particularly marked in Leeds. There was a feeling that
events or conferences were in danger of not recognising and including voices of
refugees and asylum seekers. Respondents wanted to be “involved and heard”
rather than listen to “someone talking about theory instead of experience –
government policy makers, NHS managers…” It was felt that a national
conference, or indeed any national infrastructure for refugee related arts, would
need to include and “actively seek out practitioners from all levels (funded and
unfunded)”. There was unanimous agreement that there should be a regional
network, which would have specific aim of supporting and further developing
refugee related arts first and foremost in their area.
4.13 It was considered that artistic “moments” would be crucial in any event. Many
respondents talked of moments of performance – dance, drumming artwork,
theatre – that touched and inspired people: “Zimbabwean dancers who
mesmerized the Sheffield audience MAGIC”, “I remember a Kurdish asylum
seeker saying after an occasion when all the Kurds in the room began to dance “I
have not been as happy as this moment since I came to the UK””
4.14 The idea of a website was viewed positively, provided it was properly managed
and its potential for showcasing refugee art and performance was properly
exploited
4.15 There was strong preference for a regional (rather than national) structure;
practical grassroots assistance for local groups was felt to be helpful. Much
thought was given to how these structures might operate, focusing in particular
on liaising with individual groups and artists, speaking directly to local authorities,
Arts Council, Regional Development Agencies, businesses, schools, colleges and
so on. It was thought that small events going on throughout the year would
benefit the sector much more.
4.16 Some participants considered it important that there was an underlying political-
artistic agenda that needs to be addressed in any event or conference: “The arts
are one of the most successful channels by which people from minority cultures
and ethnic backgrounds can contribute to the life of a multicultural society…no
project to develop refugee art in the community is likely to succeed without
political backing at local regional and national levels.”
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Glasgow
4.17 8 participants attended the Glasgow meeting, mainly from arts organisations.
4.18 With regard to the conference content discussion, there was a strong feeling from
one group in particular that all topics that could potentially be explored were
familiar, which may reflect Glasgow’s familiarity with similar events and initiatives,
compared to Leeds or Newcastle.
4.19 Like London, Glasgow largely rejected the idea of a traditional conference, instead
desiring something more radical on one hand (encouraging debate, challenging
ideas) and more practically artistic on the other (an opportunity for exploration of
art and art on display, “feeling the impact of art”. A ‘traditional’ conference with
“too many people in a large auditorium” “speakers talking about
complex/theoretical issues that were hard to understand” was not popular.
4.20 The participants agreed that instead of developing a series of national events, the
project should first aim to support the development of regional networks (e.g.
Scottish ICAR - which could be used as a model by other regions). Once
established, the regional networks would work on organising meetings, seminars,
events etc as well as inter-regional exchange days, while at the same time
working on developing a “piece” (e.g. exhibition, seminar etc) for the national
conference (that would take place in year 3 of the project). The national
conference should have a clear focus and end with an action plan. It should
feature inspiring speakers and presentations, and could be organised in
partnership with a university in order to strengthen the theoretical elements of
the conference and secure cheap accommodation for travelling participants.
4.21 The participants thought that a national website featuring all the proposed
elements could be costly and difficult to manage. They suggested that instead it
could serve as a portal for the regional pages, highlighting the most interesting
and relevant projects and activities; and that it should be well designed and
simple to use.
Online Consultation
4.22 An overwhelming number of respondents felt that the most useful function of a
conference would be for networking and forming artistic partnerships. In the
online survey, 44% of respondents requested good networking opportunities: “It
would be very useful to look at ways of creating future partnerships” a conference
should “help me make contact with RAM artists living and working in my area” “an
opportunity to network and share information” “context and contacts with leading
artists who happen to be refugees now in the UK” for example.
4.23 Empowerment of refugees was a strong theme online, both in terms of

empowerment for refugee artists and more general support for refugees,
practically – funding for example – and enabling refugee voices: “I would like to
hear more from refugees themselves – what they feel needs to be done and how
best to attract refugee participants…to arts events.” “It is important to hear from
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artists who are refugees about what they think and want”. For one respondent,
the conference could be so crucial a tool in this respect “[I would hope to gain] a
lot since I am an artist who has to work in a factory”.
4.24 Online respondents were similar to regional consultation in their desire for a non-
formal non-traditional conference. A conference should be “a forum for
showcases and fun!” “I envisage such a conference to include
exhibitions/performances and a participatory arts element, partly to enliven the
day, and importantly because I think experience is the most valuable learning
tool”
4.25 Keen interest in ethics and representation emerged from the online questionnaires.
The importance of definition (of ‘refugee’, ‘migrant’ and so on) and allowing
conversation around identity and ownership to be explored was highlighted.
4.26 Respondents wanted the website to be a communication and networking tool, with
opportunities for showcasing work, with “interactive mapping” of regional and
national activity. It was thought that “the website should enable two-way
communication/networking, rather than one way from a central body. “[it should
be] a resource for good practice development.”
4.27 There was considerable concern about how a website would be maintained and
managed: “A national website would be great but to have value it would need a
full time person to update it.” How regularly and over what time period…will it be
maintained and updated? In our experience these things often start with great
intentions but fizzle out over time…” were just two of the responses in this vein
4.28 Several people commented on the need for a website to be accessible to refugees.
Some thought the site “should be built and maintained as far as possible by
asylum seekers and refugees”, while another cautioned “Great idea and
heartening that resources are being used in this way. You’ll need to keep your
ears open though because so many refugee arts projects exist without funding or
mainstream support or publicity.”
4.29 Reflecting response from regional consultation, online respondents wanted the
website with “links to regional websites” and “regional or local pages”.
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5. Recommendations
Website
5.1 Structure: There should be a centrally managed national website with links
to local and regional pages, and content uploaded centrally and regionally. This
would give scope for stakeholders to network locally and feed into a larger
network on a national level, and encourage local groups to take control and make
commitment to the national strategy.
5.2 Management: There would need to be a clearly defined relationship between

central and local management of the site, and a focus on liaison between national
and regional bodies.
5.3 Commitment: Regional groups would need to make a commitment to set up and
maintain their regional pages / sites and to contribute to the national pages / site.
5.4 Content: Priority should be given to listings of resources, sharing of practice and
local listings. Debate and sharing of practice etc. can happen as an ongoing
process on-line. Content would be focused on providing information, links,
resources and sharing from local angles, but with national pages for everyone.
Conference/Event(s)
5.5 As a response to strongly communicated and widely held opinion against a series
of national events, this project will need to create the interface between the local,
regional and national. The project must respond to a range of need, experience
and readiness to contribute. This is in response to feedback that the
“conference[should be] in several locations simultaneously to aim for grassroots
participation”, there “needs to be a sense of working towards and contributing to
a national strategy development”
5.6 A national project could be used as an opportunity to strengthen regional

networks. This may include organising meetings, seminars, and events on a
regional level. A network could also look at the possibilities of linking up with and
improving the work of regional Refugee Week groups, bringing in new partners,
widening interest in this area of work and so on. Such an approach would allow
for a ‘stepped’ format, where local, regional and national activity builds through
the life of the project.
5.7 Refugee artists and practitioners should have a significant stake-hold in the
project. Steps should be taken to ensure involvement through steering groups,
involvement in the management structure and the opportunity to showcase and
share work. Appropriate funding for fees, travel expenses and childcare need to
be considered in light of this.
5.8 The project should be considered in stages, building towards a national event in
the third year. This will allow for an accumulation of knowledge and experience,
putting local groups in a position to share material and ideas of depth and
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significance. This would answer a desire for a “Series of smaller events” and a
“layering” effect, building gradually over the length of the project.
5.9 Regional participation in the project would involve:
a) The initiation of a regional network
b) The involvement of different tiers of for example large arts’ institutions
strategic bodies (Arts Council England, Local Authorities etc.), smaller arts
organisations, exiled artists and arts practitioners
c) Organising a series of artists exchange days locally, regionally and cross-
regionally
d) Commitment to contributing to the national event in the third year of
the project
e) Commitment to contributing content to the national pages of the website
5.10 Networks could link cross-regionally to encourage shared learning. (for example
Manchester may link with Leeds, London may link with Norwich, Newcastle may
link with Glasgow).
Each region could be linked with an academic institution, with a focus on research
and development in the field of applied/community arts. This link could provide
invaluable in-kind resources such as personnel (students and academics) research
support and venue/hosting support. It would attract academic interest and
strengthen the theoretical elements of the project.
5.11 The final stage of the project should be a national event /conference, which would
take place in the third yea. It would be developed and coordinated by a central
body but with the input of regional networks. It could be organized in partnership
with a university, would have a clear focus / theme and would aim to a) provide
space for sharing of experiences and ideas b) showcase/ raise the profile of
relevant works and organisations c) encourage and raise genuine and challenging
debates. It is recommended that the following themes are prioritised:
• Interculturality and intercultural work (the highest scoring theme on online

feedback by a long margin)
• Participatory and youth arts
• Showcasing/exhibitions/performances and post show debates
• Using arts as an awareness raising tool
• Arts as a tool for integration
• Ethics and representation
• Seeing work created in other national contexts
• Advocacy in the arts; training and professional development for artists and
practitioners
• Simulating the refugee process through arts’ processes
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6. Legacy
6.1 The legacy of the project should be planned from the offset and should be
considered a significant priority. This reflects input from respondents that while
a website and event are valuable, they are ‘empty gestures’ if the work is not
enabled to continue or thrive. Therefore, the project should build a legacy
strategy into its core, from its inception, which may include:
• Encouraging the interest of funders in future developments
• Encouraging involvement of training bodies
• Building relationships with policy makers and strategic bodies
• Producing documentation, both academic and practical
• Considering how the national event in Year 3 will focus on the future for
refugee-related arts
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7. Proposed Project Models
YEAR ONE
LOCAL
Local Exchange Local

networks are set up in networks build Local pages (i.e.
various regions with Local towards a what's happening,
A national
different tiers of networks local arts Local Refugee Week
Event is steering group
involvement, e.g. arts begin making exchange events). Local
profiled on the is set up with
organisations, larger Cross event at the networks ensure that
local pages of cross-regional
arts institutions, Regional end of Year 1 an appropriate system
website. participation.
individual artists, arts links. (defined by is set up for managing
council officers, local the needs of and updating local
authority officers. the region). pages.
National
National
Coordinator Event is
Coordinator National
begins building profiled on the National website is set
begins coordinator visits
strategic and national pages up with local pages.
working on events.
policy links and of website.
strategy.
relationships.
NATIONAL
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YEAR TWO
LOCAL
Possible Event
Continuing the growth of local Proposal is made to development profiled on
Continuing
network and development of the national steering Local networks of bi-regional local pages
development of
ideas for involvement in national group. contribute to exchange of website.
local pages.
exchange event. national pages. event /
project.
Website coordinator National

Coordinator sets up
profiles content of coordinator
steering group and
national significance begins building Events profiled on national
begins collecting input
in consultation with strategic and website.
for national event for
local groups / policy links and
year three.
regional networks. relationships.
NATIONAL
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YEAR THREE & LEGACY
LOCAL
NATIONAL EXCHANGE EVENT (all regions come

Continuing the growth of local
together in a central British area. This event would
network and development of ideas
be a series of days (minimum of 3) showcasing,
for involvement in nationa LOCAL NETWORKS ARE
exchanging, workshopping and sharing the results of
exchange event. Proposal is made SELF-SUFFICIENT
2 years' work.
to national steering group.
NATIONAL EXCHANGE EVENT (event publicity and content WEBSITE SEEKS

profiled on local and national pages). SUSTAINABLE FUNDING
NATIONAL
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This model is dependent on:
• Significant and appropriate infrastructural support from strategic bodies at
regional level and some financial support e.g. Arts Council (regional), Local
Authorities, & Museums, Libraries and Archives for local events
• An active and sustainable network in each participating region with sustained
participation from stakeholders
• A body in each region with responsibility for local web pages on the national site;
• A lead person or organisation in each region who will coordinate the local network
and be responsible for liaising with the national steering group
• Further fundraising for the National Exchange event in year 3
• A national body or individual with overall responsibility for managing the project
• A national body or individual with overall responsibility for managing the website
8. The Managing Organisation’s

Roles and Responsibilities
1. Draw up project plan/proposal
2. Draw up and implement budget
3. Establish ‘buy in’ participation from regions against criteria
4. Implement contractual agreements with regions (lead person or organisation and

strategic bodies)
5. Create web structure to incorporate local and national pages, working with a web
designer/manager
6. Monitor and support local developments, communicating with stakeholders on a

regular basis
7. Provide a strategic overview
8. Fundraise for Year 3
9. Take the lead in organising a national event for Year 3 with input from regions
10.Facilitate a steering group
11.Ensure stake-holder ownership of project
12. Attend local events
13.Legacy and strategic development
19
Appendices
1 Consultation meetings in London on 22nd May 2009
1.1. Participants
1.2. Conference content grading
1.3. Discussion following conference grading
1.4. Who is the conference for?
1.5. Roles & responsibilities
1.6. Imagining
1.7. Desired outcome of conference? (to offer and take away)
1.8. What should the conference achieve?
1.9. Web questionnaire
1.10. Open discussion
2 Consultation meeting in Newcastle on 20th July 20009
2.1 Participants
2.2 Conference content grading
2.3 Discussion following conference grading
2.4 Who is the conference for
2.5 Roles & responsibilities
2.6 Imagining
2.7 Desired outcome of conference? (to offer and take away)
2.8 Web questionnaire
2.9 Open discussion
3 Consultation meeting in Leeds on 24TH July 2009
3.1 Participants
3.5 Imagining
3.6 Web questionnaire
3.7 Open discussion
3.8 Detailed comments from a participant at the Leeds workshop
4 Consultation meeting in Glasgow – 28th July 2009
4.1 Participants
4.3 Other suggested topics for the conference
4.6 Imagining
4.7 Web questionnaire and comments
5 Online Survey - Respondents
6 Online survey - National Website
6.1 Grading of ideas for the website

6.2 Chart featuring the most valuable website ideas
6.3 List of additional online comments re the national website
20
7 Online Survey – National Conference Content
7.1 Grading of potential topics for the national conference

7.2 Chart featuring the most valuable conference topics
7.3 List of additional online comments re national conference
7.4 What would you hope to gain by attending the conference?
7.5 What could you offer at the conference
8 Online Participants – about themselves
9 Refugee Related Arts Consultation Meeting plan
10 All Participants Data
11 Charts and diagrams
21
Appendix 1: Consultation meetings in London on 22nd May 2009
1.1. Participants
Mowes Adem, Writer & coordinator, Horn Reflections
Eleanor Cocks, Rewrite
Sheila Hayman, Visual artist and programme leader
Margareta Kern, visual artist
John Morales, theatre practitioner and workshop leader
Catherine Mummery, Music for Change
Katie Moritz, Waterman’s Arts Centre
Eithne Nightingale, V&A
Zory Shakrokhi, Visual artist
Nadine Wood, Serious
1.2. Conference content grading

(How interesting and how familiar is the topic?)
1. Ethics and representation

2. Traditional / heritage arts & refugees
3. Showcasing / exhibitions / performances and post show debates
4. Using arts as an awareness raising tool
5. Seeing work created in other national contexts
6. Intercultural work
7. The ‘refugee’ label in arts
8. Participatory arts
9. Young people / education / youth arts
10. Arts as a tool for integration
11. Advocacy in the arts (fighting the battles)
12. Arts being used to challenge hostility
13. Simulating the ‘refugee’ experience through arts processes
14. The mainstream arts context / larger arts institutions / barriers to artists (do refugees
access the big institutions?)
15. The diversity agenda
16. Training professional development for artists and practitioners
Rank in order of importance (see pie chart document)

Arts organisations 42
Individual artists from refugee 39
backgrounds
Policy makers/funders 37
Bigger arts institutions 36
Refugee Sector (Refugee Council etc) 30
Refugee Community organisations 29
Individual artists who engage with this 24
work.
The Media 14
Academics/training institutions 14

(More information about reasons for grading topics in terms of importance, and taking names of
other people who may be interested in contributing towards the project)
22
- Access to arts institutions: - often it is as simple as travel, public transport. If the agency
has enough money we need to improve physical access.
- Share case studies of the ways organisations have supported access to the arts.
- Larger institutions working with smaller organisations – to hear about those successful
partnerships, where there has been an improvement in all types of access.
- The contributions people can make: - in the V&A, objects by refugees. Maximising
resources.
- There aren’t enough opportunities for these people – financial access should be a key
concern.
- Reliance on short-term funding is becoming a real problem.
- Progression and change – there’s a sort of static situation where refugee artists are stuck
in the same place and not progressing. These artists are always dependant on someone
to help them. Can they become independent??
- National agendas: Olympics – how to get funding out of other agendas.
- Cross boundary: Different agencies coming together to share knowledge and experience.
- Arts advocacy: - the other way around, the arts can be used as a tool to advocate.
- Showcasing / exhibitions / performances and post show debates: A conference is not a
good space for representing art, if it’s an ‘added extra’. A curator should be responsible.
Art shouldn’t be like wallpaper; if it’s done it should be a way to challenge and make an
impact.
- Diversity agenda: How do you engage with 2nd and 3rd generation? Which label applies to
them?
- The mainstream arts context / larger arts institutions / barriers to artists (do refugees
access the big institutions?) Phraseology – organisations might say ‘we’re doing the world
music scene’ (for example) but not consult with smaller organisations and networks across
the scene.
- Quite a complicated exercise – the topics could be put into subgroups?
- Migration and gender could be a good umbrella title – not seeing of that being spoken
about
- Mainstream arts – there are a lot of contemporary artists who are working on migration as
a theme, so it would be quite interesting to showcase / present this idea.
- UCL – T.J. Demos – Zones of Conflict: Migration and Contemporary Art
- The media would only represent a superficial view if invited to the conference. Would this
defeat the object?
- We should go for an approach which involves the people closest to the work i.e. artists
and arts organisations.
- A conference would only work if the people who need to be ‘advocated’ to it were engaged
in the first place.
- If it’s too broad it doesn’t achieve anything – framing the conference with correct issues
will be meaningless if people invited to speak at the conference represent ‘tokenism’ and
are the usual suspects.
- Conferences often attract the same kinds of people. In general refugee artists do not
attend but they are important.
- We don’t want the ‘same old conference’ again. Does it achieve anything? A national
conference might not be the answer. Will the people who go make a difference? Instead,
a number of small events? Don’t want something that is just putting on a show of
importance.
- Is the conference the best way of working?
- Media is deemed to be important to get the message across
- Academic institutions could include universities, colleges, etc
- Media have the power to communicate messages to the community.
- Mixed views – arguably all important!
- If you’re going to attract artists, the conference needs to be a bit more creative… and the
people therefore need to be a bit more creative.
23
(Imagine that a conference is developed through collaboration between a managing organisation
and stake holders. To ensure that the process of organising and planning the conference
continues to represent stake holders what recommendations would you make to the funders and
organisers? How would the relationship between stake holders and organisers work? Practical
suggestions!)
- Interested in discovering how this dialogue being conducted today (and soon to be
conducted in other cities) continues once we’ve handed in the recommendations that
we’ve received; to ensure that there is the potential for this dialogue to continue.
- ACE are interested on how the structure of conferences and networking can be arranged
so that people can benefit from this work.
- How can people that we haven’t reached this time be accessed next time?
Feedback
- SB: It’s more challenging to access refugee artists and get in contact with them. It’s hard
to contact newly arrived artists because there are no big networks: there are some
networks, but nothing across the arts. In 99 there was a big push to find new artists –
this dwindled about 4 years ago. Prior to then, a lot of refugee artists were established,
but now the problem is finding the new!
- If there is a diversity scheme to support them they will use it… if they know about it!
- It’s about accessing the right networks so artists can come to us.
(Most important points)
- More people with refugee backgrounds need to be involved.

- More refugee organisations involved, e.g. 1/5 people present here today are from a
refugee background.
- Audit of services
- Appointed administrator
- Effective communication, outreach, word of mouth…
- Why are people declining offers to participate?
- Refugee organisations are not that joined up… people are working in isolation.
- Refugee Week conference needs to be recognised! There is important knowledge to be
shared.
- Hillingdon had a massive street party event, but Hounslow don’t do anything.
- Grassroot RCOs work in isolation – they’re no joined up.
- Strong communication strategy that connects people and an audit needs to be
implemented.
- Facebook, Twitter – interaction message boards.
- Database of related organisations.
- Going along to meetings, reaching out, building relationships – not just sending an email.
- Lots of outreach is needed!
- People skills: - being able to network in the first instance. The people who are arranging
the conferences need to be expert communicators and networkers!
- Perhaps use other languages?
- Actually consulting refugees and finding out what they think, what they want – make them
involved, and make sure they are at the conferences! It’s their voices that need to be
heard.
- It would be great if the Barring Foundation / Paul Hamlyn bring together ‘big players’ in
the arts at a senior level to discuss how institutions can respond / are responding, apart
from one-ff, short-term projects.
- Outcome: Market place event – something different – artists pitching for work to be
developed.
- Mapping
24
- Consultation sessions
- ‘One minute’ say – video your opinion
- Seek proposals for presentations
- Steering group – members representing stake-holders
- Identifying an organisation within each region to feed back
- Concern that there will be too much consultation and not enough action.
- Website to get people’s feedback and to connect
- Replacing the ‘national conference’ with a series of regional events (interactive through
website)
- Small focused event for the artists and practitioners to have a practical dialogue directly
with policy makers and funders – practical outcomes – How to get there: A good planning
committee made up from funders, policy makers and artists (artists and expert freelance
practitioners must be paid).
(Other points)
- Not just a database of potential financial support – but having a cross reference to
organisations that have received money, that has been through that process, so that we
can engage them in discussion and find out how the process works, what was their
experience.
- Tips for applying to a certain fund.
1.5. Imagining
(Imagine a moment at a conference {real or imaginary} where they are inspired, excited,
challenged or thoughtful and describe the moment using words and images – what is happening,
what they are doing, what others are doing… then imagine the complete opposite – a moment
when they are bored, frustrated, disengaged, excluded…)
Negative:
- Thinking ‘what has this got to do with me and my work’

- Any panel discussion
- Remit old debate
- Competitive atmosphere
- Any PowerPoint presentation
- Anybody reading something aloud that we can all read for ourselves
- And anyone saying ‘target’ or ‘outcome’
- Electric shock
- Limelight hogging
- Repetition
- Too stuffy and formal
- All theory, no action. Too much jargon
- Patronising
- No introductions
- Person leading conference lacking sincerity, passion, enthusiasm, energy
- Limited information or irrelevant information
- Series of keynote speakers that are supposed to be strategic but are just institutional and
they run on by 20 minutes so there’s only 3 minutes for questions which are always about
funding.
- Every speaker is saying the same thing (picture of sleeping bored person)
- Listening to policy maker or funder giving lectures that I can find on the internet.
- Long talks with no end
- Talks in a jargon that no-one catches
- Feeling all the money has gone on glossy brochures/reports that no-one of importance will
neither probably read or do anything about
25
Positive:
- Feeling alive, engaging and it being a dialogue.

- Using visual art, drama, music and the spoken word.
- Inspired by passion, enthusiasm, new insight, lively discussions, and fruitful ways of
working.
- Relaxed atmosphere.
- Varied activities and time to reflect and take it all in.
- A performance, or a demonstration, or energetic, passionate people that bring the
conference alive.
- Who’s the expert? - Putting practitioners in charge.
- People who lead conferences who inspire everyone in the room, who make you challenge
your own inhibitions.
- Having experts present, to inform and stimulate creativity.
- Games to get ideas flowing.
- Make it about ART.
- Creativity is about taking risks. There should be some risk, or something that takes
people out of their comfort zone. Allowing something new to happen within a conference.
- Interactivity with music, art, drama, audience – at a conference.
- Making a conference more ‘hands on’.
- Networking with someone that can develop a relationship, and confidence.
- Informal chat, people coming and going, speaking and being recognised, being part of the
process, using music… something informal and unexpected.
- Food!
- A combination between party and demonstration, rather than a stereotypical conference.
- Recognising how different people respond: some like getting involved, others like to take a
backseat, listen and watch a PowerPoint presentation.
- Making it culturally relevant: - making the conferences more about the participants.
- Inclusively and structure needs to be relevant.
- Including a variety of perspectives, from a range of people from different walks of life!
- Conversation between 3 service users and a very good chair who drew out individual
stories and wider issues. The conference attendees were ‘spectators’ and could later ask
questions. The stories/experiences were moving and inspiring, it worked better because it
was a conversation not a presentation and drawing out wider issues ensured that it
related back to our work.
- Hearing how someone made a project/event happen…inspiring me to try something new.
- Seeing a devastatingly gripping showcase performance making someone (funder) to jump
out crying “I want to fund this project/activity”
- “Confess- Rest” Where the artist will have the opportunity to share some creative – games
and dynamics to show them (policy makers/orgs) how important the impact of our work in
the community and society is – by their own experience
- Witnessing young people from refugee communities voting for the arts programme in
projects they want to see happen with them or for their peers.
1.6. Desired outcome of conference? (to offer and take away)
Offer
- ESOL case study examples

- Media case study examples
- Writers’ workshop
- Passion!
- Addressing the cultural Olympiad and recognising it as a big funding opportunity
- Ideas and resources of how to work with bigger cultural organisations
- To collaborate with other artists
26
- Games, activities etc. If there is a mix of people, specific activities to understand each
other and to get a flavour of what affect the workshop have on people.
- Don’t make the event to square and rigid
- Something that can change the atmosphere in a room – i.e. entering a creative labyrinth
- Kick start the fact it’s going to be different by having something artistically amazing i.e. an
installation mixing art forms.
- It’s vital that artists are involved in the heart of this.
- Something that grows – an installation that is added to by participants
- Research Contact: UCL T.J Demos ZONES OF CONFLICT Migration and contemporary art
- Good food provided by local refugee catering contacts
- Serious case study re good practice music education
- A story or poem (Mowes)
- Music in Detention: A demo music workshop (John 07828 065624)
- Grand Union: Case studies presented by young people from refugee families or artists
talking from experience (020 7375 1122)
Take away
- Gain knowledge of intercultural work – and more practical examples, in participatory work
- Sense of new worlds to explore!
- Waterman’s has done big projects across the city that involves refugees, schools, etc
- Learn new ways of planning and delivering projects – different people, different ways of
working, how you can expand work into different areas.
- Offer ideas and resources about how to open up a large cultural institution.
- Model of combined organisations.
- Successful case studies.
- Information and advice.
- Space for mistakes.
- Take away ways of working, partnerships… conferences that pushes thinking.
- Projects can push institutions an awful long way, but there is a bigger framework to
consider, meeting between the policy makers and the stake-holders.
- Decibel scheme – a lot of emphasis on diversity, we can look at how refugee artists have
accessed that scheme. Have these schemes been useful or could they be useful?
- How do artists move forward? To write the ‘Grants for the Arts’ application in a language
you’re not familiar with is not practical!
- Take networking from the conference.
- List of organisations and names – break out sessions are the most useful for networking –
small groupings, sometimes the random connections are the best.
- Small networks are better. We want to take away unusual connections
- A book of stories – something creative to get you thinking.
- Contacts for future work X 3
- Cross sector – unusual connections
- Networking
1.7. What should the conference achieve?
- It needs to make an impact, not just be lip service.

- Attract a new partnership, and an artistic relationship
- At the end of the conference, we want something to happen. An agreed outcome, an
activity initiated at the conference, developed at the conference – “a conference-born
initiative!” i.e. not to produce just another conference with “the same old stuff”
- Ways forward for more effective partnership projects.
- Greater work opportunities for ‘refugee’ artists.
- Make links between regions, and organisations, companies and artists at national level,
with possibility for international links.
- More commitment to exiled art from funders and arts organisations
- Inspiration for projects/collaborations between organisations/artists (linked to case
studies/best practice)
27
- New collaborative projects
- Broaden understanding and break mainstream margins/barriers through showcasing work
of artists.
- Improvements in quality of work by practitioners and organisations.
- Raise awareness of the overall ‘refugee’ debate.
- New connections between issues as well as people
1.8. Web questionnaire (See web questionnaire doc)
- Grade 10 suggestions about what might be useful on the website

- Any suggestions for the website?
- Describe connection to refugee arts
- Planning to launch the questionnaire online: any suggestions for improvement? (No)
1.9. Open discussion (Recommendations, comments, feedback…)
- What is the overall aim of the conference?

- To get clarity from stake-holders to see what needs to be addressed, such as stronger
networks, stronger influence…
- Who is the conference targeted at? Refugee artists? Refugees? Organisations?
- It is a national conference – it needs to be small enough to be a meaningful experience for
people.
- Who should be invited?
- This is something we’re trying to determine. Who do you think should be invited? So
far… practitioners, refugee artists, people from bigger arts institutions… who else needs to
hear the voices? Policy makers, funders, refugee organisations such as Refugee Council…?
Should people apply?
- What is the art for? To change the world, make people feel better, what…?
- The ACE does has a diversity plan: are organisations being forced to do this work or is it a
conscious choice?
- Where should it be? In a different place each time? Should it be central?
- £150,000 available – should last 3 or 4 years.
- It needs to be an annual conference plus a website.
- It needs to involve art organisations that work with refugees.
- Is it about developing artistic practice or is about reaching out the net?
- There is a conference for something else to be recommended… making things more
accessible and opening up…
- Funding shouldn’t be given to the organisation but to the artist: - it should be about
professional development.
- DC: ‘We would like to combine our muscle with your brains’
- There will be different views: it is open to different ways of thinking but with an extremely
small amount of money.
- The recommendation to have conferences and website came out of a big consultation – so
it is representing what has been said.
- A conference is fine as long as it does this…
- There are possibilities that things come out informally from these conferences, such as
networks, the sense of ‘belonging’ to a cause, an organisation, ideas can be explored, etc.
- It’s through the interaction that we start thinking more in-depth about it.
- The building is important. The space needs to reflect the flavour of the day. A conference
hall makes it very ‘conferency’. Where you hold it sends a message about what it is.
Showcasing and performance will get lost in the wrong venue.
- Circus tent?
- Non-artists will come and experience ‘our world’ and see if they like it.
- Entrance fee needs to be taken into account.
- No ‘death by flipchart’!
28
- Think it would be great if whatever comes out of thinking/strategy that Barings/PHF bring
together ‘big players’ in the arts at a senior level to discuss how institutions can
respond/are responding apart from one off/short term projects.
Appendix 2: Consultation meeting in Newcastle on 20th July 2009
1. Participants
Janine Ness Crisis

Simon Constable Blue Rain Productions
Daniel Larson Sidhu Blue Rain Productions
Oscar Watson NECDAF
Kathlene McCreery
Sneita Kaur Refugee Voices
Alexandra Heley The Sage Gateshead
Louise Taylor The Sage Gateshead
Bex Mather The Sage Gateshead
Philip Hoffman Live Theatre
Peter Adegbie
Rowenna Foggie NESMP
Manoute Seri WABEHIA
Kay Hepplewhite York St John's Uni
Tidson Ndhlovu
Patyo Mari Mungwande
Dana Ahmadi
Joseph Kamanga
Jenny Young Sing Up
Mai Twynham Plumleaf Community
Giles Carey NCC Arts Development Team
Ali Flanagan NCC Arts Development Team
Padma Rao ACE NE
Nicholas Baumfield ACE NE
2.1. Conference content grading (see pie chart/conference grading doc)


29
Interesting
1. Ethics and representation X15 1) Ethics and representation

2. Traditional / heritage arts & refugees 2) Traditional / heritage arts &
X15 refugees X2
3. Showcasing / exhibitions / 3) Showcasing / exhibitions /
performances and post show debates performances and post show
X12 debates X6
4. Using arts as an awareness raising tool 4) Using arts as an awareness raising
X15 tool X4
5. Seeing work created in other national 5) Seeing work created in other
contexts X4 national contexts X10
6. Presentations by visiting practitioners 6) Presentations by visiting
X7 practitioners X5
7. Intercultural work X17 7) Intercultural work X1
8. The ‘refugee’ label in arts X4 8) The ‘refugee’ label in arts X3
9. Participatory arts X12 9) Participatory arts X2
10. Young people / education / youth arts 10) Young people / education / youth
X12 arts X4
11. Arts as a tool for integration X11 11) Arts as a tool for integration X3
12. Advocacy in the arts (fighting the 12) Advocacy in the arts (fighting the
battles) X6 battles) X7
13. Arts being used to challenge hostility 13) Arts being used to challenge
X12 hostility X5
14. Simulating the ‘refugee’ experience 14) Simulating the ‘refugee’ experience
through arts processes X9 through arts processes X7
15. The mainstream arts context / larger 15) The mainstream arts context /
arts institutions / barriers to artists larger arts institutions / barriers to
(do refugees access the big artists (do refugees access the big
institutions?) X6 institutions?) X5
16. The diversity agenda X7 16) The diversity agenda X6
17. Training professional development for 17) Training professional development
artists and practitioners X9 for artists and practitioners X5
1. Ethics and representation X4 1) Ethics and representation

2. Traditional / heritage arts & refugees 2) Traditional / heritage arts & refugees
X1 3) Showcasing / exhibitions /
performances and post show debates 4) Using arts as an awareness raising tool
4. Using arts as an awareness raising tool 5) Seeing work created in other
X2 national contexts X3
5. Seeing work created in other national 6) Presentations by visiting practitioners
contexts 7) Intercultural work
6. Presentations by visiting practitioners 8) The ‘refugee’ label in arts X2
X6 9) Participatory arts X1
7. Intercultural work X1 10) Young people / education / youth
8. The ‘refugee’ label in arts X8 arts X1
9. Participatory arts X1 11) Arts as a tool for integration
10. Young people / education / youth arts 12) Advocacy in the arts (fighting the
X2 battles) X1
11. Arts as a tool for integration 13) Arts being used to challenge hostility
12. Advocacy in the arts (fighting the 14) Simulating the ‘refugee’ experience
battles) X2 through arts processes X1
13. Arts being used to challenge hostility 15) The mainstream arts context / larger
X1 arts institutions / barriers to artists (do
14. Simulating the ‘refugee’ experience refugees access the big institutions?)
through arts processes X1 16) The diversity agenda
15. The mainstream arts context / larger 17) Training professional development
arts institutions / barriers to artists for artists and practitioners X3
(do refugees access the big
institutions?) X10
16. The diversity agenda X3
30
17. Training professional development for
artists and practitioners X1
Not interesting / familiar Not familiar
Group one
• All cities are doing a different thing - glass ceiling raises the stakes
• Ongoing nature of work – big events don’t have an impact on consciousness – limited role.
People who attend event are already converted
• There needs to be time to lead up to an event
• Multiple levels – different functions
• Funding bodies need to there
• Need to represent refugees
• Arts need higher profile
• It’s to complex to achieve in a short time
• Conference doesn’t replace core funding
Group two
• Money to attend conference is an issue for some
• Thing generally happen in London. R&AS miss out because of cost
• Diversity is a new thing in Newcastle – the view of diversity here is a bit primitive
• A conference is in danger of being meaningless to a large majority of people
• Refugee artists need to represented
• Clarity is needed about who it is for
• The conference should be performance based, creative, making, watching
• It should be free – or sponsored places
• It should challenge the way we think though critical debate
• The conference should not feel segregated, not just BME focused. It should involve people
form other venues who do not specialise in BME work.
• It should involve the bigger organisations
• Who is it for? And what do we want to do? (Questions of importance) There needs to be
lead up work. The focus could be on how we better make the case for this work locally by
learning and interacting on a national level.
• It should raise the profile of the work, give ownership.
• It should be for anyone who wants to progress the questions.
• Big organisations are sometime fearful – How do we empower arts organisation?
• Should young people be there? (Lots of people said this)
• People do not always have the confidence to participate, there are barriers. Refugees are
focussed on survival, finance etc. But if people are empowered they get confidence. We
need a strategy to involve the least empowered people and empower them.
- People who should be involved; - policy makers, funders, delivery organisations,

practitioners, partners from other sectors, participants and their extended families, the
general public.
- There should be representatives from all sectors of the community and refugee
community to clarify content of the consultation events.
- “Should come from the people for the people”
- We need a conference / festival that is multi-layered – enable funders / policy makers to
talk, practitioners to share best practice, participants to show / share their activities,
artists to showcase, public to engage.
- The event has to have some element of refugee and asylum seeker involvement in
planning, development and delivery. We don’t want a large organisation having sole
responsibility. Please don’t forget refugee asylum seekers – there are enough skills, ideas
31
and drive to develop such events – they just need support. Shouldn’t they lead on
something that is about them? I don’t want the situation where they feel the event is not
about them and a large organisation / group of people tick their diversity boxes.
- There should be a presence of young people.

suggestions!)
Feedback
2.5. Imagining
Negative:
- Being talked at for hours by ‘experts’, public figures, politicians, theoreticians, but not
‘wishy washy’ either.
- Dry sessions without debate, notes from sessions not sent around afterwards, too much
PowerPoint and not enough discussion, limited or no interaction, no space, poor light,
discussion sessions not facilitated well, no young people, no diversity, and no combination
of attendees from different cultures.
- Thinking: ‘why am I here?’ and ‘same old sandwiches...’
- Unable to relate to the given information.
- Struggling to ‘network’ when you don’t know who anyone is or where they come from
(organisation) / being at a conference with no delegate list.
- Going to events / projects that are about refugees and asylum seekers yet no one from
the community has been involved.
- Being told that they don’t have resources to involve Refugee / Asylum Seeker community
– all you need to do is invite people!
- Being ‘brow beaten’ by members of a breakout group for questioning the status quo of
funding.
- We need to support younger artists more.
- Being bored – being talked at and receiving too much information.
- Endless speeches with ‘feedback / Q&A’ – might as well read a set of emails!
- Event feels like a tick box token exercise.
- In a big hall with dry, meaningless speakers / PowerPoint presentations.
- Feeling like the other attendees are there to have a day off work!
- Events/conferences that are always based in London.
- Events/conferences that are facilitated by a social research / fundraising consultancy
- Not creating an impact, not feeling part of the wider context.
32
- Feels bureaucratic; - presented by politicians / bureaucrats.
- Too much choice! Lots of very interesting workshops / discussions and not being able to
choose which one to go to – feeling like you might be missing out on something better
when you’re in your chosen session.
- No time to network / talk / meet people when there is a cram packed schedule, you can
find yourself going from one session to another in isolation.
- Too much information.
- Cold room, boring presentations, don’t know anyone… ‘Why am I here? Help!’
- Power status re-enforced by some speaking on behalf of others without mandate.
- National can sometimes mean only higher levels of organisations are heard.
- Sometimes views can come across as being radical off-putting. Messages to be delivered
with tact.
- Refugees and asylum seekers are continuously talked about as a homogenous group
rather than a group of individuals.
- Patronising and boring monologue-like speeches.
Positive:
- Welcoming, refugee voices, artists, networking, work shopping best practice, clear and
focused.
- Sparks challenge, information, warmth, joy, learning, relationship building, actual practise
shared, welcoming, inclusive, busy, reflective, supportive, meaningful, young, active,
encouraging action, forward-looking facilitation, inspiring, passionate presenting…
- Major arts institutions make commitment (from their own funds) to support artists who
are refugees or asylum seekers and to build audiences amongst refugee and asylum
seeker communities.
- Learning about African heritage presented in an interesting and entertaining way.
- Watching a performance by refugee related professional artists in collaboration that blows
the audience away.
- An event that allows artists to illustrate their point through art / performance.
- Listening to the voice of those who rarely get heard.
- Being in a room filled with interesting, like-minded people talking about really interesting
projects…
- Sharing knowledge, experiences and ideas.
- Learning about changes and advances in the sector. Legislation, funding, etc.
- Practical activities, group contributions.
- Group emails to be sent to willing participants – to keep in touch with each other.
- Young people being given the opportunity to tell delegates what’s important to them, what
they’ve valued from a project, what’s they’ve gained from a project – then to share the
work they’ve created.
- An event which incorporates a fantastic mix of sector professionals and members of the
public enjoying fantastic showcases.
- Learning new skills.
- Events that allow the opportunity to be creative.
- Being in a stimulating location surrounded by all kinds of art forms – visual stimulation,
music, theatre, performance, art works being demonstrated by refugees and practitioners
from all over the UK.
- Inspiring the young and the old.
- All regions represented in meaningful ways
- Presented by talented, intelligent artists, practitioners, and young people.
- A conference where everyone has got new and interesting ideas.
- A lively atmosphere that demands contribution; - the practical participation and sharing of
work.
- Learning new practice from a variety of artists.
- Listening to ideas for projects and events from the refugee and asylum seeker community.
- Presenters who have the drive, passion, skill and ability to present.
- Listening to a truly inspirational speaker talking from personal experience.
33
- Sharing ideas with other people that understand my background and culture.
- Opportunity to get to know and participate actively and practically with other participants
and sensing that something will change as a result - not just a good time for those who
attend but leading to concrete proposals and actions. An event which succeeds in drawing
the thread together coherently – example from relevant good practice you can actually
learn from.
- Not too rigid a structure – human / friendly / considerate.
- Discussion sessions.
- Good food!
- Opportunity to meet good contacts/networking opportunities.
- Inspirational, challenging, reflective…
- A flexible schedule / timetable with choice.
- Space and light.
- Running to time.
- Well organised.
- A combination of information, performance, fun and discussions with friendly people!
- Raising debate to a new and higher level by raising questions that raised our conscience to
a new level – the use of language is important to bridge the gap between the mainstream.
2.6. Desired outcome of conference? (To offer and take away)
Offer
- Need people who are locally based participating

- Accessible, inclusive
- Database of everyone that has been involved in the consultation
- Involving people from inception and led by them in the event
- Alongside event planning a parallel activity of strategic planning
- Regions doing pre-work with participants leading up to the event
- Communicate links to government policy
- How can we stimulate learning and debate and develop stronger communication
mechanisms to make the case?
- Developing a regional strategy leading to a national strategy
- Concrete proposals leading to genuine activity
- Integrity – not exploiting artists
- Developed by the refugee artist
- Involvement of people who have no status – whose asylum claims have been rejected,
and they are illegal’s
- Refugees and asylum seekers involved in the planning, development and delivery of the
project
- Target as many funders as possible to attend
- Responsibility to identify new local artists and showcase them on a local and national level
- Central database of artists and organisations held and maintained by regional ACE offices
- Consultation with refugee / as organisations is a must, as well as ACE, a National Steering
Group
- Exciting venues and spaces!
- Perhaps a 3 year festival with one or more theme / focus each year, bringing art funders,
and key regional deliveries together each year. A continuous sense of events
- Not in London
- We need a central website as a resource; case studies, tool kits, forums
Take away
- Contacts for the future

- Practical skills from experienced practitioners
- An artwork (painting / print, etc) that I could buy and take away
34
- Group memories
- Friends, knowledge, experience
- A shared understanding
- Opportunity to be part of change
- Inspired thinking and arts practise
- New and different views and ideas
- Inform regional practice and thinking
- Inspiration
- Networking opportunities
- A new approach to making arts accessible
- Inspiring work and ways for refugees to make a living within the legislation and rules
- Information about artists profiles
- Information about development resources
- Where to go for funding to support activities
- Learning new techniques
- Useful contacts for future projects
- Knowledge of and contact details for artists / practitioners in my region
- Greater knowledge of funding opportunities
- Knowledge and assurance that funders have listened to us, what our needs are and what
we do with it
- Assurance that the work is being taken seriously and that the funding will follow
- The sense that the conference is prepared to challenge the status quo – the attitude of the
British government which creates and perpetuates problems for asylum seekers and
refugees. This issue goes beyond the arts – thus the importance of artists from AS and
Refugee community driving the process.
2.7. Web questionnaire (see online web questionnaires)

- Planning to launch the questionnaire online.
Expanding
- We need to consider how we will link this work with ongoing events.
- Can there be a conference in several locations simultaneously to aim for grass root
participation?
- There needs to be a sense of working towards and contributing to national strategy
development.
- Progression for North East relationships; inspirational techniques and skills can be shared
across communities, e.g. sharing practice of projects.
- We need to interact with events in other cities, so we can challenge each other and learn
from one another to raise our standards.
- The regions could be represented at a national event and separate organisations practising
amazing work within each region could have a responsibility for contributing towards the
event.
- This can be a national event; - activities / projects in each region are unique according to
the make up of communities in that region. This shouldn’t be lost in a regional event;
each region has its own identity and this should be reflected at any national event that
might take place.
- Make more use of black history month.
- A diverse festival / event which connects venues.
- City wide; - the work may have been created locally or nationally or internationally.
- Regional events with a national road show.
35
- I think a moving / travelling event should be considered, perhaps regional that could
include local selected artists – as well as those from other regions travelling like the
refugees. Break the country into regions. Perhaps we can learn some lesions from the
1930s when refugee artists etc left Nazi Germany and found sanctuary in the UK?
Communication
- Sharing practice; - both national and regional examples.

- Relationship building locally – sharing opportunities.
- Collect content from the community (schools, community groups, etc)
- Outreach into the community and into education to collate ideas and community steering
groups to represent.
- Refugee week is an ideal opportunity to promote refugee art / artists and the need to
encourage mainstream arts venues to showcase during this time has double benefits –
allows exiled artists access to mainstream venues and audiences.
- Provides mainstream venues with new audience that not access their venue currently.
Style
- Cultural high quality work.

- “Carousel” events; - different styles of delivery for different groups at the same event.
- A good event would be a series of smaller events of ‘spaces’, time slots curated by a range
of arts organisations / artists / practitioners, i.e. workshops, art exhibitions.
- Layering; - festival / sharing. This could start as a regional event first, and then go
national.
- Ensuring tendering process is not a barrier to refugee and asylum seeker communities –
need to make the process so that they are able to tender.
- Need enough time to engage artists.
Funding
- An event in itself will not sustain all the activity being delivered across the UK; - what
about funding? Where is it coming from? How are organisations and artists working with
(or who are) refugees to access this money?
- Could the funding for an ‘event’ be better spent elsewhere, i.e. exploring funding
programmes in order to enable sustainability of the work?
- Fees / money for artists and representatives; a) to attend events, b) to showcase their
work, c) to provide outreach and participatory activities to collect the voice of the people
on a local, regional, then national level.
Challenges
- National events are great but don’t make much impact on the consciousness of British
people whose negative attitude to asylum seekers and refugees could do with changing.
Ongoing / everyday work needs to continue.
- “Don’t show me what you know until I know how much you care” – this is a refugee
perspective.
- If conferences are for decision makers, they must have a clear direction on what must
change.
Appendix 3: Consultation meeting in Leeds on 24TH July 2009
3.1. Participants
36
Tony Bowling, Koni Music
Tomas Bahta
R.K Briton, Pan Visual
Gill Martin-Solace
Cheryl Mutti, Refugee Council
Hadia Hashim Saro
Helen Moore, YSP
Wondsen Haliemarayam
Bereket Loul
Dave Brown, Leeds Metropolitan University
Fatima Ibrahim
Sara Tekle
Myra Davis
Simon Andulewa
Raphael Petta K
Nama
Clea Langton, Actors North, Ice & Fire
3.2. Conference content grading (see pie chart/conference grading doc)

Interesting
1) Ethics and representation X5 1) Ethics and representation X4
2) Traditional / heritage arts & refugees 2) Traditional / heritage arts &
X8 refugees X3
3) Showcasing / exhibitions / 3) Showcasing / exhibitions /
X8 debates X3
4) Using arts as an awareness raising tool 4) Using arts as an awareness raising
X7 tool X5
5) Seeing work created in other national 5) Seeing work created in other
contexts X1 national contexts X3
6) Presentations by visiting practitioners 6) Presentations by visiting
X5 practitioners X5
7) Intercultural work X9 7) Intercultural work X2
8) The ‘refugee’ label in arts X1 8) The ‘refugee’ label in arts X2
9) Participatory arts X5 9) Participatory arts X4
10) Young people / education / youth arts 10) Young people / education / youth
X9 arts X3
11) Arts as a tool for integration X8 11) Arts as a tool for integration X5
12) Advocacy in the arts (fighting the 12) Advocacy in the arts (fighting the
battles) X1 battles) X5
13) Arts being used to challenge hostility 13) Arts being used to challenge
X6 hostility X4
37
14) Simulating the ‘refugee’ experience 14) Simulating the ‘refugee’ experience
through arts processes X2 through arts processes X4
15) The mainstream arts context / larger 15) The mainstream arts context /
arts institutions / barriers to artists larger arts institutions / barriers to
(do refugees access the big artists (do refugees access the big
institutions?) X1 institutions?) X3
16) The diversity agenda X5 16) The diversity agenda X4
17) Training professional development for 17) Training professional development
artists and practitioners X7 for artists and practitioners X5
1) Ethics and representation X6 1) Ethics and representation X1

2) Traditional / heritage arts & refugees 2) Traditional / heritage arts &
X5 refugees X1
X2 debates X5
4) Using arts as an awareness raising tool 4) Using arts as an awareness raising tool
X6 5) Seeing work created in other
5) Seeing work created in other national national contexts X5
contexts X7 6) Presentations by visiting
6) Presentations by visiting practitioners practitioners X3
X3 7) Intercultural work X1
7) Intercultural work X3 8) The ‘refugee’ label in arts X5
8) The ‘refugee’ label in arts X7 9) Participatory arts X2
9) Participatory arts X3 10) Young people / education / youth
10) Young people / education / youth arts arts X1
X2 11) Arts as a tool for integration
11) Arts as a tool for integration X3 12) Advocacy in the arts (fighting the
12) Advocacy in the arts (fighting the battles) X6
battles) X3 13) Arts being used to challenge
13) Arts being used to challenge hostility hostility X2
X4 14) Simulating the ‘refugee’ experience
18. Simulating the ‘refugee’ experience through arts processes X2
through arts processes X6 15) The mainstream arts context /
19. The mainstream arts context / larger larger arts institutions / barriers to
arts institutions / barriers to artists artists (do refugees access the big
(do refugees access the big institutions?) X7
institutions?) X4 16) The diversity agenda X1
20. The diversity agenda X6 17) Training professional development
21. Training professional development for for artists and practitioners X1
artists and practitioners X4
- It was too fast for any degree of accuracy in identifying priorities. This could be improved
by doing a pre-discussion in small groups and from each group selecting the most
important.
- There was a pretty much equal balance between interesting and familiar, not interesting
and familiar, not interesting and not familiar and interesting and familiar.
- A pattern didn’t emerge from the Leeds group, in contrast to the London, Newcastle and
Glasgow groups, where the majority of contents fell in interesting and familiar or
interesting and not familiar. Leeds found more contents uninteresting than any other
group.

suggestions!)
38
Feedback
3.4 Imagining
Negative:
- When refugees and asylum seekers who are artists are not really encouraged or
appreciated.
- A moment when I felt a bit disenchanted was hearing ‘annual conference’ as being a
priority when so many were talking about their individual struggles.
- Uninspired: - usually in conferences where people have things to promote through talks.
- Someone talking about theory instead of experience – government policy makers, NHS
managers…
- Not inspiring: - conferences where lots of thoughts and issues are discussed and yet not
implemented.
- I am not really inspired by this meeting, I will be happy to see the funding in our hands to
enable out group to purchase what we need.
Positive:
- I am inspired because maybe my voice has been heard – and I had the opportunity to
hear the views from different people.
- Inspiring; - when I was given a chance to share my personal experience, my voice to be
heard, which actually touched lots of folks and called them to take a quick step forward to
react.
- Events that give people a way to call for change in the system.
- Something that’s pitchy and to the point!
- Being involved and heard.
- Talking with or listening to someone who is really good at what they do, who has a wealth
of experience and passion for what they do.
- Opportunities to meet and work with other artists.
- Imagine; a workshop just to make some cards to put on sale and then it is discovered that
there is talent of enormous surprising ability that no one know about – just buttoned up
by the asylum experience and now out and known and at work.
- Walking down Sheffield Fangate and coming upon a crowd gathered around the
Zimbabwean dancers who mesmerised the Sheffield audience – MAGIC!
- Example - the day Conservation Club presented ‘Voices in Exile’ poetry collection: I
remember a Kurdish asylum seeker saying after an occasion where all the Kurds in the
room began to dance: “I have not been as happy as this moment since I came to the UK”
- Being happy in the moment of creative achievement.
- For myself I remember working with a class of English learners – mainly Somali women
refugee/asylum seekers making a banner about their lives as a way of developing their
language… and seeing it on display in Sheffield cathedral.
- Moment during Refugee Weeks when theatre / music / dance opened eyes, and ears, and
doors.
39
- A moment that excited me was the talk about VOICE:
Who has a voice?

Who is denied a voice?
How can we hear these voices?
How can we make the voices heard to other people around us?
- Conferences that actively seek out practitioners from all levels of organisations (funded
and unfunded) and provide proper time to discuss/network rather than be talked about.
- Chance to see real-life examples of work rather than discussions of needs that don’t get
met.
- Chance to hear from individuals who face barriers to attending conferences.
- I have been very inspired by the way in which some few individuals have been changed
during my performances as a drummer and dancer. I have really made them happy.
3.5. Web questionnaire (See online web questionnaires)

- Planning to launch the questionnaire online.
Priority
- Grass roots support should be a priority.
Expanding
- Regional infrastructure support.

- Build a sustainable network.
Communication
- Include voices of refugees and asylum seekers.

- Regional steering group / stake holder board membership / advisory board.
- How can we tender as an organisation representing our region?
- Website: -only useful if the website development team actively seek out artists to promote
rather than relying on those organisations or individuals with the infrastructure to promote
/ market themselves.
- Basic needs of artists should be considered.
- Refugee community needs to be involved.
- Regional networks instead of national. More relevant to artists, networking with regional
people.
- Regional tendering, not national.
- Regionalise.
- Annual events don’t have a widespread effect. Small events ongoing through the year will
benefit the sector much more.
- Requires a thorough understanding of the agenda.
Style
- Get away from the corporate style.

- Active follow-up afterwards.
Funding
40
- Having the people who hold the purse strings there so they can explain how it works.
- Artistic equipment / places to work (studios) needs to be considered in the funding
process.
- How can we ensure that our voice/agenda is heard by the organisation that tenders for
funding?
- This money will be useful if it supports local artists to network and provides opportunities
for them to develop themselves.
- Travel expenses to meeting.
- Child care provisions.
- Local, regional, small scale may be more useful in terms of the funding.
- I am much concerned about the conferences, in terms of what is the range of funding for
participants for the conferences. Do we just invite them to attend conferences with travel
expenses or actually have to pay or fund the artists during their rehearsals and expenses
in preparing them for these conferences?
- Better use of money, no need for salary costs for infrastructure. Split all money between
regions.
- Funding for daily artistic work needs to be considered.
- Decision making of how the funding should be spent.
Challenges
- Where is the talking going to lead?

- How, outside of meeting new people on the level, is this going to help?
- We already have an annual event – refugee week / world refugee day.
- Small local networking events happening during the year will be more widely meaningful
than one national conference which will exclude the most disadvantaged artists.
- Continue work throughout the year, not just one event per year.
- ‘Stickers’ exercise was too fast for any degree of accuracy in identifying priorities. This
could be improved by doing a pre-discussion in small groups and from each group
selecting the most important.
- “As an asylum seeker and being in a disadvantage of everything, being a member of
Songo drumming projects has really encouraged me to work harder and I have been
inspired by a number of people in the same situation wanting to make a difference in the
community. I have wanted to work harder everyday to teach other people my talent and
how amazing it is to learn from different cultures… Being in the meeting today, in a way
has not answered all my questions about funding a group. I have a problem with how
people in a group wanting to make a positive contribution to the community will be
supported financially, in terms of transport and accommodation for rehearsals.”
- I am not really inspired by this meeting, I will be happy to see the funding in our hands to
enable out group to purchase what we need.
3.7. Detailed comments from a participant at the Leeds workshop
The Consultation session was based around the announcement that the Arts Council and the
Baring Trust had agreed to make available £150,000 over three years to promote refugee art in
the UK. It was proposed to use this money to establish a national conference and a web site that
would be a focus for information on artists, performers and performance groups and activities.
None of those present knew of the existence of the report entitled The Arts and Refugees: History,
Impact and Future, by Kidd, Zahir and Khan (Arts Council, Baring Foundation and Paul Hamlyn
Trust, 2008) which provided much of the background to the consultation.
The general response was that an annual conference was unlikely to be a good use of the money,
but a different kind of event which focussed upon the activities and “voices” of artists and groups
might be much more productive. The idea of the web site was viewed much more positively,
provided its potential for showcasing refugee art and performance was properly exploited. For the
most part, however, the views put forward were strongly of the opinion that a regional rather
than a national structure would be most helpful in promoting art among refugee groups and
41
individuals, particularly if it could channel a modest amount of funding to arts groups and artists.
Most of these worked at a local level due to the shortage of funds, and practical “grass-roots”
assistance was what was most needed.
Numerous other points emerged from the discussions which were noted by the organisers. The
following observations are a personal contribution put forward in the hope that they might inform
the report that will result from the consultation.
1. Setting up a network
I strongly agree with the idea that a regional network with a small nucleus of professional
staff in each of the nine regions would be the best way forward if a serious effort is going
to be made to promote refugee art. (I think it might be difficult to separate it entirely in
the public mind from ethnic minority art which comes from non-refugee or asylum seeker
artists, but that is probably a matter to be considered separately.) The regional networks
could then
• Liaise with, advise and guide individual arts groups and artists,
• Help to create more opportunities for refugee art to be seen in their regions –
exhibitions, performances, festivals etc,
• Speak directly to local authorities, the regional Arts Council, the RDA’s, business
organisations, schools and colleges on matters of funding, cultural development
and integration,
• Provide some financial backing for groups and individuals. (This could include
awards and bursaries which would be sponsored by business interests.)
The staff referred to could be part of an existing organisation, such as the Refugee Council
or the Arts Council, rather than setting up a separate organisation with the additional cost
that would entail
2. A National Conference might become a National Festival
The idea of a conference might be changed to that of a national festival, which could
hopefully attract sponsorship and well-known names, as well as featuring art and
performance from across the country.
3. Political stakeholders
The arts are one of the most successful channels by which people from minority cultures
and ethnic backgrounds can contribute to the life of a multicultural society like the one
that is developing in the UK. They also bring minorities together, further understanding
and enrich the country’s cultural identity. In terms of helping to build social cohesion, this
process, especially in the poorer and more deprived parts of the country, is also politically
essential. Central government and most local authorities subscribe to these aims.
However, no project to develop refugee art in the community is likely to succeed without
political backing at the local, regional and national levels. This is particularly important
where funding issues are concerned. Ring-fenced money from central government (the
DCMS, DCSF and the Home Office) has to be made available to local authorities, and
whichever other bodies make the project a reality to ensure that it works.
R. K. Britton
25 July 2099
Appendix 4: Consultation meeting in Glasgow – 28th July 2009
4.1. Participants
42
Alastair Caalghan, Glasgow Museum
Rachel Jury, COWFAB
Claire Macaulay, Social Worker
Stuart Platt, Artists in Exile
Sarah Potter, YDance
Remzije Sherifi, MIN
Kirsty White, Culture & Sport
Conference content grading (see pie chart/conference grading doc)


Interesting
1) Ethics and representation X1 1) Ethics and representation
2) Traditional / heritage arts & 2) Traditional / heritage arts
refugees X3 & refugees X1
performances and post show performances and post
debates X5 show debates X1
4) Using arts as an awareness 4) Using arts as an awareness
raising tool X6 raising tool X1
5) Seeing work created in other 5) Seeing work created in
national contexts X3 other national contexts X4
6) Presentations by visiting 6) Presentations by visiting
practitioners X1 practitioners X2
7) Intercultural work X5 7) Intercultural work X1
8) The ‘refugee’ label in arts X1 8) The ‘refugee’ label in arts
9) Participatory arts X9 X1
10) Young people / education / 9) Participatory arts
youth arts X8 10) Young people / education
11) Arts as a tool for integration / youth arts
X6 11) Arts as a tool for
12) Advocacy in the arts (fighting integration X1
the battles) X5 12) Advocacy in the arts
13) Arts being used to challenge (fighting the battles) X2
hostility X6 13) Arts being used to
14) Simulating the ‘refugee’ challenge hostility X1
experience through arts 14) Simulating the ‘refugee’
processes X5 experience through arts
15) The mainstream arts context processes
/ larger arts institutions / 15) The mainstream arts
barriers to artists (do context / larger arts
refugees access the big institutions / barriers to
institutions?) X1 artists (do refugees access
16) The diversity agenda X5 the big institutions?)
43
17) Training professional 16) The diversity agenda
development for artists and 17) Training professional
practitioners X4 development for artists
and practitioners X1
1) Ethics and representation X1 1) Ethics and representation

2) Traditional / heritage arts & 2) Traditional / heritage arts
refugees X2 & refugees X1
performances and post show performances and post
debates X2 show debates
4) Using arts as an awareness 4) Using arts as an awareness
raising tool X1 raising tool
5) Seeing work created in other 5) Seeing work created in
national contexts other national contexts
6) Presentations by visiting 6) Presentations by visiting
practitioners X5 practitioners
7) Intercultural work X2 7) Intercultural work
8) The ‘refugee’ label in arts X5 8) The ‘refugee’ label in arts
9) Participatory arts X1
10) Young people / education / 9) Participatory arts
youth arts 10) Young people / education
11) Arts as a tool for integration / youth arts
X1 11) Arts as a tool for
12) Advocacy in the arts (fighting integration
the battles) X1 12) Advocacy in the arts
13) Arts being used to challenge (fighting the battles)
hostility 13) Arts being used to
14) Simulating the ‘refugee’ challenge hostility
experience through arts 14) Simulating the ‘refugee’
processes experience through arts
22. The mainstream arts context processes X3
/ larger arts institutions / 15) The mainstream arts
barriers to artists (do context / larger arts
refugees access the big institutions / barriers to
institutions?) X6 artists (do refugees access
23. The diversity agenda X2 the big institutions?) X2
24. Training professional 16) The diversity agenda X1
development for artists and 17) Training professional
practitioners X3 development for artists
and practitioners
One Glasgow group deemed all topics as familiar, and divided them into topics of interest and
topics of little interest.
The other Glasgow group found some topics familiar and not familiar, and grouped them
accordingly.
4.2 Other suggested topics for the conference
- How to evaluate the impact of the work

- Discussion on how to cope with challenging issues that arise in the work (linked to number
17)
- Refugee specific issues such as deputation, detention, etc
- Intergenerational work in ‘refugee context’
- Art as a political campaign tool.
- Using arts; - dance and songs as a tool for leaning the English language.
- The national conference should take place in the third year of the project. It should be
organised with the support and involvement of regional networks, which would be set up
44
and developed in the first year of the project (Scottish ICAR could be used as a model by
other regions with less developed or without existing networks).
- In the first two years of the project, the regional networks could organise regional
meetings, seminars, events and inter-regional exchange days, while at the same time
working on developing a “piece” (e.g. exhibition, seminar etc) for the national conference
(that would take place in year 3 of the project)
- The national conference could be organised in partnership with a university in order to
ensure good quality theoretical elements of the conference (e.g. attracting relevant
academics to present their papers, holding debates etc), as well as for the purposes of
cheap accommodation
- The conference could utilise open space technique
- It should be held at a good venue with site specific installations, performances etc
- Should aim to have a clear focus and end with an action plan
- It should feature inspiring speakers, presentations, papers; great food
- It should take place over a weekend and cover travel and accommodation expenses for
those travelling from other places
- It could be organised simultaneously in different cities
- The overall project should ensure continued consultation process with regions and aim to
influence policy and involve local authorities and arts institutions

suggestions!)
- ACE is interested on how the structure of conferences and networking can be arranged so
that people can benefit from this work.
Feedback
4.5 Imagining
Negative:
- Example – Scottish Arts Council Cultural Summit: Too many people in a huge auditorium
(wasn’t very engaging). Speakers talking about complex / theoretical ideas at a level
which was hard to understand. Too many big issues – people felt overwhelmed and
discouraged. During Q&A after speakers, not many people felt brave / inspired enough to
ask questions and when they did speakers were defensive.
- People are ‘going round in circles’, repeating themselves – where I’m hearing nothing new.
- One extreme or the other; - either I don’t understand or it’s too simple.
- I have no input or can not change the direction of event.
- A stereotypical conference with a lot of paper work – boxes and evaluations without
practical examples.
45
- Advocacy and an official style.
- Rushing from one workshop / session to another, i.e. programme is too full.
- Having to choose between two workshops that are both of equal interest.
- Too much sitting still.
- Too general.
- Lack of clear purpose or relevance.
- Poor speakers ; - no debate, they say nothing or dance around issues.
- Dull workshops – with too much ‘bla bla bla’, which goes nowhere.
- Poor hospitality and venue; - difficult to get to, bad layout, etc.
- Feedback sessions to bigger group.
Positive:
- Example - Refugee Week Conference November 2008: workshop activity involved groups
working together to design a project that was inspired by one of the Simple Acts (involved
thinking about project outline, potential partners, challenges, etc…). Many people left the
workshop feeling like they had a ‘ready-made’ plan that they could go and implement in
their organisation / community / school / etc.
- Clear practical ideas of what to do next.
- Outspoken, radical and challenging speeches including different perspectives that are not
afraid of genuine debate; - balloon debate.
- Creative environment to encourage debate.
- Hospitality and venue play a key role in creating a positive atmosphere.
- Good presentations / papers – at the appropriate level for the audience. (Academics are
good at conferences).
- Honest and informal keynote speeches.
- Balance and listening participation and networking.
- Lots of time and space to make connections with people you don’t usually have the chance
to meet – either informally or through facilitated approach.
- Feeling part of a conference, where you have the opportunity to have extracts or explore
art work on display, where you can feel the impact of art in topics you are having as part
of the conference.
- Great environment with artistic impact.
- Debate: - my ideas have been challenged
- I have learnt something new.
- I feel I can contribute.
4.6. Web questionnaire (See online web questionnaires)

Comments
- Managing and developing a national website with all the proposed elements would be a
huge task
- The national website should be a portal with links to the regional sites and pages
- It should aim to be simple in terms of design and use, featuring regular e-newsletter,
blogs etc
- It should highlight projects and relevant events in different regions
Appendix 5: Online survey – Respondents
Julia Lamer, Music for Change

Rebecca Soliman,
46
Cally Lawrence, Wooden Hill UK
Randi Baden,
Wondesen Hailemarayam,
Myra Davis,
Bereket Loul, Leeds Metropolitan University
Sneita Kaur, Refugee Voices
Lucy Sharp, ArtsShape
Hanah Whelan
Claire Duffy, National Museums Liverpool
Alice Williams,
Claire Paul, V&A Museum
Ian Lawton
Rachel Smillie,
Judith Lukonyomi,
Julia Cort, Horniman Museum
Daisy Lees, Arts La Olam/Essex Racial Equality Council
Anne Smith, Rainbow Arts
Bridget Floyer, Theatre Royal Plymouth
Kerry Tuhill, Action Factory Community Arts
Grace Odong, Horn of Africa Women’s Development Network
Oliver Tipper, Croydon Clocktower
Gassan, Empower 2 Excel
Tokunbo Durosinmi,
Rachel Toussaint,
Kate Adams
Dan Cossokho, Packo UK
Ninian Perry, Paragon Ensemble
June Burrough, The Pieran Centre
Sara Bainbridge, STAR
Jolanda Chirico, Action for Refugees, Lewisham
Sam Paterson, Cranhill Community Project
Edith Eyo , Arts Council England South East
Jean Demars, Notre Dame Refugee Centre
Karen Callaghan, Medical Foundation for the Care of the Victims of Torture
Vikki Moorhouse
Mehrangiz Modarres Tabatabaei
Phuong Tang, Deptford Vietnamese Project
Jan Lennox, Watermans Arts Centre
Berthin Kambale, Bora Shabaa Refugee Community Organisation
Osman Ahmed,
Sanaz Amidi,
Sue Mayo, Freelancer
Joseph Oladosu, Africa Development Network
Catherine Treharne-Evans, Unaccompanied Minors Team, Hounslow
Sanjit Sil, Arts Council England
Daniel Bernstein, Arts Council England, South East
Sara Preibsh, Artist
Mir Mahfuz Ali,
Mai Twynham,
Rita Ray,
Elisa, Harrow Refugees and Minorities Forum
Professor Catherine McDermot, Kingston University
Claire Nouvel, Rich Mix
Sef Townsend, Red Herring
Oscar Watson, NECDAF Intercultural Arts
Emma Spencer, Calderdale Council
Rachel Slee,
47
Polly Thomas,
Lucy Fairley,
Rowena Somerville, Tees Valley Arts
Isata Kanneh, Celebrating Sanctuary Birmingham
Tracey Wellah, Carboard Citizens
Marie Allainguillaume, The Poppy Project
Sarah Edwards,
Erene Kaptani,
Parveneh Soltani,
Ariane Koek
Mashasha
Richard DeDomenici, Programme Manager
Jane Martin, PhotoVoice
Tiffany Fairley, PhotoVoice
Shenaz Kedar, Writers’ Centre Norwich
Panni Poh Yoke Loh, Kutien Arts
Jenny Cox
Appendix 6. Online Survey – National Website
6.1 Grading of ideas for the website
Refugee Related Arts – research
One aspect of our research into the needs of arts practitioners and providers working
in the field of “arts and refugees” is to get stakeholders’ input in developing a new
website, which will aim to provide relevant information and specifically address needs
of individuals and organisations working in this context. Please rate the below ideas
according to how valuable you think they would be to you and/or the sector.
not of of
Rating Response
Answer Options of small moderate valuable essential
Average Count
value value value
1. Data-base
featuring profiles of
individual artists 3 5 15 57 58 4.17 138
(with links to their
work)
2. Highlighted
projects and 2 4 8 67 56 4.25 137
initiatives
3. Calendar of
events - listings
3 2 14 55 65 4.27 139
current and recent
refugee related arts
4. Case studies of
particular projects
4 2 29 81 22 3.83 138
(monthly featured
project)
5. Listings of
resources:
professional
development 3 0 7 31 97 4.59 138
opportunities,
funding, publications
etc.
6. Forums and blogs 3 11 35 60 30 3.74 139
48
for sharing ideas and
experiences
7. Interactive
features such as on-
3 13 49 57 17 3.52 139
line projects to get
involved in
8. Reviews of
projects/press
coverage/refugee 2 5 34 62 35 3.89 138
related arts in the
news
9. Resources -
toolkits for emerging
artists, good practice
3 3 13 47 71 4.31 137
guidelines and web-
links to relevant
agencies
10.Links to other
websites: refugee
2 3 24 52 55 4.14 136
sector, companies,
research bodies
answered question 140
skipped question 0
6.2. Chart featuring the most valuable website ideas
One aspect of our research into the needs of arts practitioners and providers
working in the field of “arts and refugees” is to get stakeholders’ input in
developin
10.Links to other websites: refugee sector, companies,

research bodies
7. Interactive features such as on-line projects to get

involved in
4. Case studies of particular projects (monthly

featured project)
1. Data-base featuring profiles of individual artists

(with links to their work)
0.00 0.50 1.00 1.50 2.00 2.50 3.00 3.50 4.00 4.50 5.00
6.3. List of additional online comments re the national website
Please add comments about any of the ideas above and /or any other suggestions you
might have for the website.
Response
Answer Options
Count
61
skipped question 79
49
Response
Number Response Date
Text
How regularly and over what time period (ie. no of years) will it be
maintained and updated? In our experience these things often start with
great intentions but fizzle out over time as many practitioners / orgs do
not have the capacity to maintain and update them regularly. I will be
interested to understand where and how it will be co-ordinated and
1 maintained....
1- Would be useful to have organisations on the database listed in point
2 1 as well as artists.
Bringing people together through art allows people to forget personal
3 issues even if just for a little
The website should contain a substantial amount of information about
the non arts practicalities of running 'refugee and arts' projects.
Including finding reliable interpreters, catering information (i.e.
addressing dietary requirements of participants when arts budgets are
very small), explanation of how foster care / social workers work with
UASCs, all the different legal states' for refugees and asylum seekers. I
know that the Refugee Council run courses on many of these issues but
they can be costly for small arts organisations so somewhere where
organisations can have all the information at their fingertips would be
4 very useful.
geography is always an issue - eg resources available in London may be
5 of interest but are of little practical use to the north east
Would be good to have it in a couple of different languages (eg french)
6 for access by refugees themselves
I would not rate any of these as not valuable, though obviously you may
wish to set up with a simpler website, in which case I would leave it to
7 you to decide what you are capable of managing for the time.
8 (obviously?) Keep it as visual- non language dependent as possible.
Websites are most useful for telling people what is happening, who is
where, and who is doing it.
Blogs and forums are of limited value and can take away from the real
connecting of artists.
Blogging and forumming are highly questionable because as they take

9 the place of other more real-time interactions.
10 ????????
11 High profile advocates are really useful to feature in web information
12 Listing for funders would also be good
Consider that interesting art may not be produced through the use of
toolkits. Serious artists, in my opinion, have a much more profound
investment in their art and would find the idea of a toolkit patronising.
Interesting art is rarely produced through the support of institutions but
arises from a grass root level - those who are truly committed to
producing art will find a way with or without toolkits or institutions as
interesting art is produced by individuals who think for themselves.
Having said this a website containing resources and articles is not a bad
idea as long as it doesn't expect to produce artists but rather as an
information resource for existing artists, though this would need to be
carefully constructed not to patronise or prescribe. Finally, it would be
interesting to know who you believe has the competency to produce a
13 toolkit for artists?
50
What would be useful is a section re Casting Directors, Agents and
Managers. This maybe included in professional development but as this
is very specific it could be an option on its own. I would rate this as
14 essential.
In the south east we have been widening if from "Refugee and Asylum
seekers" to "New Migrants". We are noticing that local authorities have
someone in post looking at new migrants, and there is less focus on
15 Refugee and Asylum seekers.
16 Thank you this project very interesting project for Refugee Artist
All of the above is useful so long as it is clearly presented, updated
regularly and does not just favour the artists/groups who have the
infrastructure to get their work highlighted. As an artist working within
an organisation that does have this infrastructure it is clear how easily
organisations such as ours can dominate over less supported, though
equally and if not more worthwhile, artists. The website development
team will need to be proactive in this regard. Artists and groups will only
find such a website useful if they sense it is helping to bring people to
know about their work and if the information is relevant, up-to-date and
easy to access. If this can be done for refugee artists this will benefit
17 everyone.
1. The refugees may not be familiar with the current environment and
briefing might be of great value to them.
2. looking at their training needs might be of valuable option to be

18 included.
There needs to be a balance between focusing on: refugees who are
artists who want to do their own work; and focusing on non refugee
artists who are working on refugee issues and with refugees.
Numbers 5 and 9 are of more value if they are aimed at refugees who
are artists and of less value if they are aimed at artists who are not
refugees.
Differences between arts therapists and artists, who are not arts
therapists, should be identified to ensure that the relevant skills are used
19 appropriately. This is likely to be essential for number 9.
People should be able to showpiece their art on the website and links to
other artists and organisations on the site.
It should have facilities for audio , video and blogs, ideas and how to find
20 support for artists.
links to grants available for Refugee community organisations to access
to enable more refugees to set up art activities; also information about
21 training available is important
22 No
The website would be welcome by our organisation as we have already
started displaying work in our building by local artists who come from
23 refugee backgrounds.
24 feedback forms or feedback of others shared
25 Discrimination
Great Idea and heartening that resources are being used in this way,
You'll need to keep your ears open though because so many Refugee
26 Arts projects exist without funding or mainstream support or publicities.
51
Good luck!
27 reader-friendly
Not sure what you mean by 'highlighted' projects and initiatives - it
would be good to have a list of all relevant projects by region. I can't see
us having any time to participate in forums or blogs - I’m sure many of
us are suffering from forum/blog/social networking overload. it would be
good to have a e-newsletter sign up on the home page and user-
generated content for the events bit (with wordage limit). I have used
other sites where this content automatically becomes the e-newsletter
28 content
As part of the national partnership project Engaging Refugees and
Asylum Seekers (DCMS and previously Baring Foundation funded) we
have discussed several times the merit of a website to support agencies
and organisations working with refugees and asylum seekers. We had
initially planned to set up an independent website through the
partnership, in which we would have links to our regional refugee
projects, downloadable ESOL resources, best practice information and
29 details about upcoming conferences, funding etc.
We would like to have a link to this website to highlight the work we
have been doing although this has not been funded through the Baring
Trust so I think it would be very valuable for the website to be available
30 for links to all work occurring in this area.
The only concern that I have is that in our experience we find it difficult
to get members of the Refugee and Asylum Seeker communities to
respond to emails. We find that phoning and face to face contact are the
31 best way of communicating with this community.
I believe the planned project is not just promoting art for the sake of
doing art, but to expedite the role of refugee art in cultural, social and
health development. Accordingly, we may need to make it explicit on
item 2 (initiatives); item 4 (case studies); and item 9 (resources/good
practice), that we emphasis on innovative art projects that cross
boundaries and make practical contributions in the social, cultural and
32 health realms.
website to be prepared and run by asylum seekers and refugees
33 themselves where possible - talent search to be set up
should be built and maintained as far as possible by asylum seekers and
34 refugees
35 will good no comments
I think that it is essential that artists have an understanding of
community development and best practice - please see www.fcdl.org.uk
for resources developed and National Occupational Standards for
36 Community Development Work
Use generated content would be useful, and interactive mapping of active
37 areas so that we can see where there are gaps in arts activity
38 All of the above are of great importance.
The website should enable 2-way communication / networking, rather
than one way from a central body. Resource fo good practice
39 development.
40 Social networking groups.
Listings of events looking for participants: showcases / prizes /
41 scholarships / awards for individuals, writers, artists, etc.
42 It might be useful to separate certain sections into boroughs / locations?
43 Online gallery?
52
Include a section on organisations working with refugees and what they
44 are doing / opportunities for refugees to access mainstream arts.
Interchanging of cultural values i.e. learning about other cultures
45 bringing the spirit of togetherness within international level.
Don't reinvent the wheel! Look at what's being done on a regional basis
and how these can be linked / supported / developed to come together
as a national portal. Information must be kept up to date on an ongoing
46 / long-term basis - a database of out of date contacts is useless!
To not separate refugees from the others, but to bring them in as part of
47 the community
We would be very supportive of any initiative which helps local (NE)
artists to improve / develop / showcase their work. The NE strategic
migration partnership is active in promoting the wealth of talent that
exists within our new and emerging communities. We believe in
promoting best practice from one part of the region to the other and also
promoting our region nationally. The more strength that the Refugee Arts
sector has in the NE is to the benefits of the work. We would welcome a
website / database which promote local artists and art events as a really
48 valuable resource.
A national website would be great but to have value it would need a full
time person to update it, to research projects and activities and network.
This could have value if it has buy-in. - probably much more effective
49 and sustainable than an event.
The information should also target 25-30+ to elders. To stop lost art
forms and skills, knowledge, history, storytelling and culture we would
50 need to involve youth groups in cross-generational projects.
51 We need to have a regional network or hub after this meeting.
Film content to show the people what the event was like and what other
52 future events will be like.
53 Easy to access / clear. Well publicised. Memorable.
It is important to link existing resources and information sources, e.g.
54 regular online round-up of activities and developments.
In my work we find a lot of people from emails and get no response and
always have to ring. Face to face contact is important. This could be
due to access, not sure. It would be good to see same of the above
55 initiatives involving refugees and asylum seekers.
56 I've prioritised area that I would more regularly use.
The website could feature lots of different groups and artists through
57 video clips of performance or even films and documentary programmes.
58 Regional / local pages or links to regional websites
59 E-newsletter.
60 Links to regional websites
61 E-newsletters. Bullet points. Links to website.
Appendix 7: Online Survey – National Conference Content
7.1. Grading of potential topics for the national conference
Another aspect of the research is to find out which topics and areas of work should be
addressed at an annual conference organised for practitioners working in the arts and
refugee field. Please rate the potential conference topics according to how valuable you
find them.
53
Answer Options not of of valuable essential is a Rating Respon
value moderate new Average se
value concep Count
t for
me
1. Ethics and 5 9 25 40 2 3.31 81
representation
(e.g. The refugee
as
victim/stereotype)
2. Traditional / 3 14 34 30 0 3.12 81
Heritage Arts and
refugees (e.g.
dance/music from
countries of origin)
3. Exhibition / 2 9 34 32 4 3.33 81
showcases /
performances
(with a post-show
debate)
4. Using arts as an 3 4 29 43 3 3.48 82
awareness raising
tool (e.g. a play
about refugees
touring schools)
5. Seeing work 1 8 39 27 5 3.34 80
created in other
national contexts
6. Presentations 1 5 43 27 3 3.33 79
by visiting
practitioners (e.g.
a talk by an artist
about their work)
7. Intercultural 2 0 18 56 4 3.75 80
work (e.g. bringing
different
communities
together)
8. The "refugee" 9 9 23 31 7 3.23 79
label in arts (e.g.
artists being
described first as
refugees)
9. Participatory 1 4 26 43 4 3.58 78
arts
10.Young people / 2 2 27 39 8 3.63 78
education /youth
11.Arts as a tool 3 1 19 46 9 3.73 78
for integration
(e.g. ways that
arts help people to
belong)
12.Advocacy in 3 6 32 30 8 3.43 79
arts (e.g. Making
the case for the
work)
13.Arts being used 2 4 21 45 7 3.65 79
54
to challenge
hostility
14.Simulating the 4 18 25 25 5 3.12 77
"refugee
experience"
through arts
processes
15.The main 1 14 24 36 4 3.35 79
stream arts
context / larger
arts institutions /
barriers to artist
16.The diversity 4 8 27 36 4 3.35 79
agenda (e.g.
artistic policy and
funding streams
targeting specific
audiences and
communities)
17.Training and 2 6 19 46 7 3.63 80
professional
development for
artists and
practitioners
skipped question 58
7.3. List of additional online comments re national conference
Please add comments about any of the ideas above and /or any other suggestions you
have.
Response
Answer Options
Count
29
skipped question 111
Response
Text
I, Panni Poh Yoke Loh, would be able to talk on my role as visual artist
for 'Unifying Threads' project with Northern Refugee Centre carried out
in Barnsley.
Also my work in initiating the Abbeyfield Park Multicultural Festival in

1 Sheffield celebrating its 11th year this year.
I feel that there are other forums on professional arts development (no
2 17) so there is a danger of replication.
3 Great list - plenty already listed as essential.
55
Many of the ideas above circulate are variations on the same theme. I
also think there is a real danger in talking about Refugee Arts, because
it may end up ghettoising rather than leading to mainstream integration
in both culture and society. So you should be building into your
research your own obsolescence - that the term becomes redundant.
To add variation to your conference, you should maybe tackle also

much more challenging themes such as Language - How do we
integrate say the 160 different languages there are in Newham, into
arts and local government policy in the UK: Whose History Is it Anyway
- how the histories of different peoples can be expressed and brought to
bear within arts and culture.
Just some of the most cutting edge conversations you could have at a
4 major conference.
5 Do it really
I believe community cohesion through the arts is an essential part of
6 integration
Re no.6. Practitioners do not necessarily have to be artists. There are
a large number of individuals who are not 'creatives' who work
extensively with refugees throughout the creative process to make sure
their pastoral needs are met and that they can participate fully to the
7 artistic process.
Each of these issues will be relevant to someone. I notice one of the
topics listed is 'the refugee label'; are you planning to address this issue
from the beginning? for example, how do you intend to promote the
website/conference, will you use the label 'refugee' yourselves to do
that? Personally I do not think that is a problem at this time as we need
to use some kind of label in order that people know what is being
discussed. However, if you do, it may be worthwhile having a page
about that very issue on the website, clear and obvious, in order not to
feed or appear to support any extreme or negative labelling that may
arise.
I envisage such a conference to include exhibitions/performances, and a

participatory arts element, partly in orders to enliven the day, and
importantly because I think that experience is the most valuable
8 learning tool (Arts as a tool for integration).
Didn't quite understand what question 15 was trying to say or , within
the answer possibilities, how my answer would be interpreted.
Unfortunate phrasing e.g. "mainstream arts context...barriers to artist
9 Answer: essential/not of value ...What does that mean????
How do current anti-racist models help and hinder?
10 Issue around faith and religious identity

We are a refugee community group which is using art, dance, music
and more craft activities such as writing to help refugees to integrate
and be more active in the community we are living.
We would suggest that the finders think about how they can support
refugee community organisations, from our experience we have
observed that funding is the crucial thing which is holding back our
11 progress. we have many ideas but yet not enough knowledge to fill the
56
funding bid.
I think it is useful to focus strongly on issues which are absolutely

particular to arts and refugees, rather than more general issues which
12 are probably covered elsewhere
It is important to hear from artists who are refugees about what they
think and want. That said, it is also important to hear from artists who
are not refugees, as all of us as members of the host society, are
13 impacted by the issues, even if we are not directly involved with them.
I have some ideas I'm hoping to develop using multi media to
14 strengthen our communication through arts, news and history.
Making the distinction between the work with refugee artists and
participatory work with refugees. POINT 8 is very important and is
15 really about Identity and Art - its a very important debate.
We have responded to the questions but some questions/responses
16 would require further consultation
It's a valuable thing to include professional development for artists as
17 this will enable them progress and improve their skills.
18 Discrimination
Really important to have mix of practical / theory and debates about
terms such as 'refugee' / other ways of explaining. Ethics - extremely
useful, as I often hear suggestions about creating work on 'people's
19 journeys' / 'refugee experience' which could be quite intrusive.
I really like the idea of a conference, especially if it is a forum for
showcases and fun! It would be good to use participatory processes
(esp. Open Space or maybe world cafe etc) at the core of the
conference. Client groups of the various projects should be able to
20 attend.
I would like to hear more from refugees themselves - what they feel
needs to be done and how best to attract refugee participants and
audiences to arts events
I would also appreciate the possibility to learn more about traditional

arts and crafts from refugees' countries of origin. Individuals could be
helped to set up workshops both within their own communities and
beyond and given ideas about how to promote their own work. I have
found it quite difficult to find artists from refugee backgrounds to run
events at the V&A so would very much welcome help in identifying and
21 supporting individuals.
It would be very helpful to look at ways of creating further partnerships
between the arts organisations and museums as a sector, locally and
nationally. It would also be helpful to find out more about priority areas
and issues facing refugee organisations and current procedures and
22 legislations.
Another useful topic would be to enable attendees to identify potential
23 partners for their future work in this area.
I think that it is important for artists and members of the Refugee and
Asylum Seeker community to understand the possibility of arts projects
being used to address social issues. It’s about awareness that art is not
just an exhibition, event or performance but can be used to address
most issues/barriers/challenges in society that marginalised groups
24 face.
57
I have rated this during the consultation meeting in Leeds. As a refugee
myself, 'ethics & representation' is the most critical, timely and relevant
issue that needs be addressed. However, what I see as one of the root
problems of the 'ethics of refugee representation' is lack of
opportunities for refugee voices to be heard. And my biggest worry
about a national conference is that, like many other similar
formats/events, refugee voices will be overshadowed by 'expert' voices.
One alternative idea presented on the consultation meeting is to hold a
regional conference organised from bottom up with active involvement
of refugee artists and grassroots arts organisation working with
25 refugees.
26 perhaps regional conferences would be better
27 will artists meet and desks heather
Looking at sustainability - how does Social, economic and
28 environmental justice fit with arts?
The balance between refugees integrating into their communities and
therefore not wanting to acknowledge the refugee label is very
29 important and needs to be addressed
7.4. What would you hope to gain by attending the conference?
What would you hope to gain by attending the conference?
Response
Answer Options
Count
56
skipped question 84
Response
Text
1 contacts, further work, further understanding
share learning, hear about innovative practice, engage in in-depth
debate about potential, limits and constraints of practice, challenges to
the assumptions and ethics of participatory refugee arts practice, look
to move beyond rehearsed debates and have more fluid interactive
2 discussions between experienced practitioners
Sharing experience, meeting like-minded colleagues, new ideas,
advancing my thinking and work, finding opportunities for participant
3 progression and collaboration.
4 a lot since I am an artist who has to work in a factory
Context and contacts with leading artists who happen to be refugees
5 now in the UK.
6 To be real
7 New ideas and discussion
Networking. Information gathering. Updates concerning working
8 within legal frameworks for refugees.
Stimulating new ideas / learning from other's practice and making
9 contacts or new partnerships with artists and organisers in the field.
10 Stimulation, support, new ideas, new contacts
Greater understanding and knowledge of the scope of the work and its
11 ethical implications.
58
12 Make contacts and learn good practice
Networking.
Ideas.
Refresh drive/ faith in what we do - this is crucial, as working on our

own in our own organisations it is easy to loose heart at times,
attending a conference like this reminds us that we are not the only
ones out there doing this work.
A chance to exhibit work? - could every organisation

13 attending/represented display one piece of work (video, painting....)
14 I am away so cant come very sorry
To be part of a movement to raise the profile of both refugee artists
and the role of the arts in integration and representation of different
15 ethnic communities.
meeting , meeting, meeting....others involved in this curious and
16 separated area of community arts
17 inform the training of young curators not only in UK but globally
To get an insight into refugee community arts groups in London and in
18 the UK. discover new artists
Networking opportunity to meet like minded artists and arts
19 practitioners working in the community and in education settings
Hearing different views might trigger new ideas and help the artists
20 work, morality, aesthetics and find himself amongst friends.
I would probably not attend but if I did I would like to engage in a
frank discussion and only with parties whos agenda is to support
artists in their work. I would not think it useful to have any discussions
about ticking boxes or furthering stakeholder’s (besides the artist's)
21 interests with the help of artists.
22 contacts, networks, new ideas, good practice
Chance to share good practice and challenging situations. Celebration
of what refugee community contributes. Info about events and
23 funding opportunities
Seminar or conference and presentation or Slide show of refuge Artist
24 for artist has experience at war against the humanity.
I could meet other refugees who have similar problem with our group;
25 we could share experiences and create a partnership.
Debate which helps to move forward the issues and develops ideas
which can be further developed subsequently to address the key
26 barriers
27 To be familiar with the artists and look for the funding opportunity.
Opportunity to contribute based on my experience and reflects on
some challenging issues with others. Opportunity to reflect on how
28 the arts can best contribute to refugee issues.
I would hope to establish a cultural planning approach for my own
29 work and share this concept with others
30 links, networks
31 wider perspectives
Learn more about other arts practice
Learn about the experiences of participants
Learn about funding policies in the sector
32 Learn about international work in the sector

59
33 sharing experience and best practice
We are in the process of setting up Birmingham's first Africa Centre.
Its aim is to promote African culture & heritage. We would hope to
gain further insight into how this could be developed and how non-
African based organisations/ individuals could help with supporting our
34 venture.
A tangible step forward that brings all refugee artists into a sort of
35 organisation to support each other to overcome barriers.
I would like to learn more about the challenges of refugees and how
36 they've coping till now.
37 Discrimination
Meeting others who work in the refugee arts sector would be most
38 important for me.
39 Gain knowledge how to improve refugee art in the region
New knowledge of practical work and a network of contacts, sharing
40 ideas and practice.
41 Primarily awareness of other projects and discussions on best practice
Dialogue around key issues, fresh thinking about my own practice to
42 improve and develop it further
43 thought-provoking discussions and networking opportunities
44 Ideas and information to deliver more successful refugee events.
better understanding of shared goals
45 finding out what assistance is available

Networking - essential to build in some networking time. An
opportunity to present some work, inspiration, link-ups, celebration,
46 new ideas from other practitioners. Workshop participation - CPD
Opportunity to network with individuals and organisations working in
the field and a chance to market the Museum to refugees and asylum
seekers
To keep abreast of key issues, refugee hotspots and changes to

government policy
To hear refugee voices
47 An opportunity to debate issues relating to labelling and identity

As an organisation we would hope to gain an up to date picture of
what the refugee situation is in UK, what government's plans are, and
what other museums/arts organisations are doing to work with this
audience. It would also be very beneficial to meet and be exposed to
48 refugee artists/ practitioners for potential commissioning.
Further contacts and partners for our future work. Potential funding
avenues for future work. Further artist contacts for working in this
49 area.
60
I would like to know where the idea for a conference came from - was
any consultation done with Refugee and Asylum Seeker communities?
In a conference it would be good for the mainstream arts sector, policy
makers and funders to understand:
1) The issues/barriers/challenges faced by Refugee
and Asylum Seeker Artists in UK.
2) To understand the role of art and culture in the
various different communities that makes up the
refugee and asylum seeker sector.
3) To understand the ethnic diversity of the
refugee and asylum seeker communities, for
example African - which is made up 54 countries
and in one of those countries you can come
across 100 different languages with very
distinct cultural/artistic practices.
I think there should be an opportunity to showcase work from refugee

and asylum seeker artists.
For the Refugee and Asylum Seeker artists and community groups to
understand:
1) What we mean by the arts sector in the UK -
the breadth of projects being developed, how the
arts is used.
2) The barriers/challenges faced by the mainstream
arts sector in engaging with the refugee and
asylum seeker communities.
4) Gain an understanding of the system and
processes of the arts sector - how it all works in
the UK.
Some recommendations should come out of this as to what are the

next steps - which should involve both the mainstream and refugee
50 and asylum seeker communities.
61
Represent refugee voices and another plus will be the opportunity to
51 network and share information.
52 insight and excitement
53 will new plan and work
Exploring how arts and community development can be used as a tool
for Refugee and Asylum Seekers to be empowered to take action.
54 (Identified and explored by them!)
55 networking opportunity and insight into other areas of work going on
to make contact with RAM artists living and working in my region, to
promote the services of my organisation in achieving the goals listed
about, to contribute to an ongoing performance schedule that could be
56 generated from the event
7.5 What could you offer at the conference
What could you offer at the conference?
Answer Options
56
84
Response Date
I, Panni Poh Yoke Loh, would be able to talk on my role as visual artist for 'Unifying Threads'
project with Northern Refugee Centre carried out in Barnsley.
Also my work in initiating the Abbeyfield Park Multicultural Festival in Sheffield celebrating its
11th year this year and share other art experience.
I could provide presentations of work that we have developed as part of the Norwich City of
Refuge Programme and the European Shahrazad project.
See: www.writerscentrenorwich.org.uk and www.shahrazadeu.org

discussion around participatory photography projects / methods as a tool to support integration
of young refugees
Could deliver workshops; offer a perspective of someone who has lived in the developing world
and with many refugee friends for 10 years, PhotoVoice’s perspective and experience of refugee
work.
ideas, personal experience etc
Chairing skills and international expertise/knowledge. As well as contacts and programming skills
for interesting and very high level debates
Bring a play
to talk about the importance of running an arts/textile group with community cohesion at it's
forefront
I could offer a presentation about the pastoral needs of UASCs on participation projects
Sharing of our experience, particularly in relation to arts and learning / integration especially with
schools and young people.
62
Hopefully all the above to other workers
Purely my presence and any contribution I could make to discussions, as yet.
Presenting our audio project and experience of working in our specific area. Creative audio
documentation of conference
Integrate works with refugees and asylum seekers at an initial accommodation centre.
We could offer two things:
1) an arts workshop that was aimed at a) encouraging integration amongst delegates b)

gathering information from delegates about their experiences so far, and/or their reflections on
the conference.
2) Talk about what we do, how, why, the impact on the people we work with, what we have
learned about our work and about the lives of the people we work with (an awful lot).
A case study of NECDAF Intercultural Arts work to achieve these aims in North East England and
of our participation in the Arts Council's "Sustained Theatre" project.
Talking about the value of story to refugees/former combatants...
10 years of training culturally diverse curators and developing Project Kingston Africa at Kingston
University
I programme festivals and act as a consultant for many UK festivals so could offer further
performance opportunities. I also am skilled at developing talent and have worked in various
capacities in the UK music industry for many years and could offer my skills in a workshop or
conference / panel capacity.
Community Arts Practice/Fine Arts experience: How to get started in participatory arts provision,
setting up your own arts practice and business.
If anything some personal experiences that might encourage others that I had to survive as an
artists for a long time on my own without getting any help from anyone but in the end made a
breakthrough. Artist has to learn most of the time he is alone unless he is lucky.
See above
I can give talks on any topic; participate in organising, facilitating or chairing workshops,
seminars and conferences.
As an artist, I can produce art work.

Examples of practice
Thinking about how this work fits with inter generational work, community building through
performance
Arts as a tool for integration (e.g. ways that arts help people to belong)
Participatory arts
Arts being used to challenge hostility
Using arts as an awareness raising tool
Exhibition / showcases
63
The aim of my project is to record the collective memories of the victims’ and survivors’ of the
Kurdish genocide (the Anfal) in Kurdistan, northern Iraq in 1988.
My aim is to record the memories of survivors through drawing. Also, theoretically to locate the
drawings (or their suffering) within it’s historical and cultural context.
The project will be used as artistic reference on the Anfal for the future generations, in order to
preserve the memory of the genocide.
We have published online our first dance performance if you want to have it is (Kapole dance)
you can Google it. And a booklet of refugee experience which has been distributed to people and
some community centre. I hope that could be important to be seen.
case studies, experience of wide variety of arts and refugees projects over many years
we could also offer a venue, able to host conferences but also present work professionally in any
art form
Participating into related artist groups.
A presentation/workshop based on my 20 year experience of working with survivors of torture as
a dance movement psychotherapist and manager of a large group work service, including the use
of the arts.
I would have to make sure I would be afforded time, however I could possible give examples of
the work I am doing surrounding the development of the arts and multi media to increase
awareness, communication, understanding etc. and to improve confidence in the written and
spoken word etc. and to increase integration through shared tasks and experiences with the
whole community having access to services and opportunities making integration not just about
refugees, but to break down barriers across the community
refugee handicrafts
Our experience as a host for exhibitions runs alongside events and workshops - all ages.
Arts practice in the sector from a Scottish perspective.
Music performance showcasing
Knowledge about the sector in Scotland

Experience
We already have a loyal following of individuals/families from a refugee background/experience.
We would be able to share information that we have gathered as to the needs of the target
market.
I could to read a poem about some of the challenges faced by Refugees. The power of inclusion in
the third sector.
Discrimination
Contributions from our young refugee theatre company Perpanata. Share our experiences also of
new initiative to take drama into schools which have refugee students.
My experience working with young refugee as invisible Voices
It depends when it is planned for -possibly some examples of projects, as they are currently in
early stages.
Performance ( depending on time of year and location), examples of our projects
If appropriate to the conference theme, I could do a paper from my ongoing PhD research
presentations on partnership work / community interaction and programming
64
Information about the history of refugee events at the Horniman Museum and how they have
evolved.
information about running our craft workshop
Youth Circus Theatre performance. Aerial theatre or ground based circus skills workshops. Open
Space facilitation.
I could offer:
To raise awareness of refugee issues within a museum context via our 'My V&A' tours led by
refugee guides
the V&A as a conference venue
We have been delivering our project for 7 years so potentially would have case studies
demonstrating good practice, how to make partnerships, sustaining refugee audiences and
examples of exhibitions and resources working with and for refugees and asylum seekers.
We could present an overview of our project with refugees and asylum seekers which are running
in partnership with Gloucestershire Action for Refugees and Asylum Seekers (GARAS). We could
also offer places on our database for artists working in this field so that they may be considered
for our future work in this area.
We could involve people and artists from the Refugee and Asylum Seeker community to be
involved:
1) In the planning, development and management of the event - it would good if there
development opportunities for individuals from the communities that are interested in
developing skills and experience in this area - hands on learning opportunities.
2) Artists to showcase their work.
3) Speakers to share information about barriers/issues they face, or to talk about their
work and achievements.
4) Link in members from the communities to ensure that refugees and asylum seekers have
some ownership over what’s being delivered - involving people on many different levels so they
have a proactive role and don't just become passive recipients. To also ensure the
conference is a true reflection of the refugee related arts sector and does become something
that has no relation to it.
I have a keen personal, professional and academic interest on 'Ethics and Immigration'. I can
make a valuable contribution on Ethics, representational and refugee voice.
my eye and ear
heart and mind

will conference could me meet new people
Awareness of different tool developed by Refugee and Asylum seekers, facilitate session on
Community Development, bring group to showcase and explain about the work they have done
with us.
Professional actors to show how theatre can work in the refugee context
65
training for RAM artists, best practise advice about working as a RAM artist and with RAM artists,
giving example of successful arts and integration projects in the SE, offering a RAM arts network
established in the SE as a good model of working
Appendix 8: Online Participants – about themselves
Please describe briefly your connection to refugee related art.
Response
Answer Options
Count
110
skipped question 30
Response
Text
I am a volunteer through Yorkshire Sculpture park and the SMILE
project at the refugee council. I am a teacher of Skills for life as my
day job and have a degree in Textile and fashion design. I am very
interested in combining education with arts skills and benefitting
1 refugees with this.
Lead visual artist in 'Unifying Threads' 6 month project commissioned
by Northern Refugee Centre in 2009. Featuring making of an art work
currently on show at Barnsley Civic Theatre and later Town Hall and
Cooper Gallery with a finale at Littman Gallery, Portland, Oregon,
U.S.A.
Also many projects of a multicultural nature such as 'East-West, Spirit,
Earth' Sylvester Space, Sheffield commissioned by Arts Council
2 England.
I manage a range of cross art projects aimed at raising awareness of
issues that asylum seekers and refugees face through an ongoing
programme of work in schools, art centres, libraries, museums
3 throughout the year.
been working on participatory photography projects with young
refugees in UK since 2002, with refugees in international context from
4 1998
I have recently become Programme Manager at PhotoVoice, with a
priority interest in work with refugees. Currently managing a project
5 with the Refugee Council.
In 2006 I formed an asylum seeker boy band which was documented
in a television documentary. Since then I have been involved with
6 Refugee Week in a variety of ways.
7 one of the biggest artist in Africa ,refugee in the UK
I was CEO of The Arvon Foundation for Creative Writing and introduced
(M)OTher Tongues into the programme - using both the mother
tongues of emerging, refugee communities and English to teach
people creative writing - with the aim of creating social understanding
and inspiring new creativity. I was also on the Advisory Board for
Refugee Action, have worked as a mentor for the Refugee Council and
8 I am also a Clore Fellow, with a special interest in internationalism and
66
cultural exchange.
9 I am a theatre director, performer and a writer from Iran

RESEARCER: USING PARTICPATORY THEATRE AS A TOOL TO
COPRODUCE RESEARCH AND KNOWLEDGE AMONG REFUGEE GROUPS
AND WIDER SOCIETY
WRITER AND PERFORMER SUSPENDED LIVES PLAY TARA ARTS, RICH

10 MIX, REFUGEE WEEK
We work with women who have been trafficked into the UK and
sexually exploited. I am particularly interested in art as a therapeutic
11 tool, and essential form of expression.
I wrote an arts proposal for an arts community cohesion project the
Women in Exile group where I work. The proposal was accepted by the
funders and I have been delivering 'Les Femmmes Project' for 11
12 weeks. The project is due to run till November 2009.
I am a project manager for Cardboard Citizens. I have worked on
three intensive projects with young refugees and asylum seekers
13 including film, dance and drama.
I run projects and activities involving refugee artists, including
Celebrating Sanctuary Festival in Birmingham and related events -
14 music nights, schools festival, schools workshops, family events, etc
I am Director of a participative arts organisation that works and has
worked extensively in this field, and in an area where we are pioneers
15 in this
I set up Artists' Agency which became Helix Arts, where I was co-
director (using my former name, Lucy Milton), until my retirement in
2006. During this period I had some limited involvement with women's
groups involving recent migrants from India and Pakistan.
I am now studying folk music at Newcastle University. I am also a

member of a small group exploring the possibility of setting up a music
16 project with asylum seekers and refugees on Tyneside.
I am an ex BBC radio Drama producer, who recently worked on an
audio piece of documentary, drama and poetry, that involved failed
asylum seekers living in Leeds. We are seeking to develop a short
form audio template to act as an educational and cultural tool
17 concerning refugee experience
Integrate works with refugees and asylum seekers at an initial
accommodation centre. We work with residents in the centre; we
organise exhibitions of their work; we invite them to participate in
18 events outside of the centre, for example local arts festivals.
I am working on a Heritage lottery funded project, For Calderdale
Council working with the refugee and asylum community. Exploring
19 the Heritage of Calderdael museums through creative process.
We provide professional development support to artists "from other
countries" who live and work in North East England. We have delivered
research into refugee artists in the region, supported the North of
England Refugee Service in supporting artists and provided fund-
20 raising and development support to refugee artist groups.
67
Storyteller - Animateur
I tell stories in refugee communities, and emphasise the use of

traditional material from the participants' original backgrounds always
promoting work that enables other cultures to be seen as an invaluable
resource contributing to a shared diversity in the wider community.
Drawing on personal experience in Africa, Asia and the Caucasus I feel

we can celebrate our differences, as much as share our common
humanity in telling each other our stories.
21 www.seftownsend.co.uk
22 Working at Rich Mix, a diversity-focused arts centre
At Kingston University we work with a small group of creatives who
belong to this group but we want the experience and training to work
23 with more
24 I am one of the artistic directors of Celebrating Sanctuary (London)
I am Community Artist who has worked with refugee community
25 groups and would like to continue in this field in the near future
My involvement with Exiled Writers’ Ink since 2000 has changed my
life. It gave me right kind of help and provided me with audience that
was suitable for my artistic need. It also led me to other areas of art
that provided with information that I needed for my artistic
development and other essentials. It is vital for any artist to know or
associate with right kind of organization. EWI provided me that and
through this organization I got involved with Refugee Organizations.
Realizing there are many artists in Britain who have similar problems
as myself. Meeting other refugee artists helped me come to terms with
many on going difficulties that remained a mystery. Through
discussion I often ended up referring to the right people who could
26 give what I needed as an artists.
I am an artist and worked for Refugee Week, commissioning and
overseeing the rebranding of their website and new identity as well as
27 organising their 2005 media launch at the ICA.
Lead officer for Arts Council England in the south east. We are
28 establishing a south east network. Please call me on 01273-763044
My experience of refugee related arts has been as programmer at
Watermans arts centre, being involved previously with artists in exile
who were based at the Riverside Studios. Currently at Arts Council I
monitor the work created by Refugee artists and look at the work
29 being created by Pan Intercultural Arts.
Katie Moritz has run art forums and involved LB Hounslow Children's
30 Services on some events.
I have been involved in refugee arts at various times not least with
Refugee Employment, Education, Training and advice (REETA) at
Greenwich maritime museum, the Horniman Museum, Lewisham Art
centre and had organised art project for refugee children during the
31 summer months in the past.
I have worked with refugee communities through drama projects and
32 through the Refugee & the Arts Initiative for many years.
Rosetta Art Centre's ethos is to nurture creative talent with a focus on
the individual. RAC has run projects highlighting issues surround
Refugees and has worked with refugee & The Arts Initiative, The
Unaccompanied Refugee Minors project at Iranian Youth Development
Association, as well as many of students attending the Centre are
33 Refugees.
68
Documenting the Anfal: the Kurdish Genocide (1988)
This research investigates and records through drawing, collective

memories of the Kurdish victims/survivors of the Anfal. This is the first
systematic ‘visual documentation’ of the Anfal through direct
encounter with the victims and their testimonies, and attempts to
answer a basic question:
Can genocide be documented through drawing to convey the collective

horror and despair? In other words: can drawing be used to preserve
memory of the genocide? And how far should we go beyond the
realistic (drawing-related) visual formats in order to draw the inner
34 world of the traumatized victims of genocide?
This is my first time to hear this name "refugee related art", I did not
35 know that there any thing to support refugees' art.
Director of Waterman’s, which has been actively engaged in the
development and support of arts and refugees for 15 years -
promoting professional refugee artists, supporting engagement of
asylum seekers and refugees in participative arts processes, and
strategic development work.
We also have a full-time community arts worker, who works with

36 recent arrivals on visual and media arts projects.
Our project has been work partnership with other art project on varies
37 projects such as Vietnamese puppets project.
38 I have no any connection so far.
39 Facilitator
I am a dance movement psychotherapist working with victims of
torture for the last 20 years. I manage the group work service at the
Medical Foundation for the Care of Victims of Torture. This service
includes the visual arts, integrative arts (e.g. music, dance, drama,
40 writing, art) writing and working with land and nature.
I am the coordinator of a refugee centre where I have been developing
arts-based community projects. I have also run other new media art
projects through my MA Interactive Media at Goldsmiths College. It is
not so much about integrating people as to claiming difference and
41 helping people do things for themselves and their community.
Interested in learning more about diverse arts and cultures, and the
challenges facing diverse artists in accessing resources, opportunities
42 and networks in the wider arts landscape.
I am a integration Development worker and believe the arts are crucial
in bringing people together and forming new ideas and developments,
increasing skills and confidence using a cultural planning approach to
43 develop the opportunities afforded to all (artist led)
We run a supplementary school where refugee children take part in art
activities; we also run sewing classes and are promoting/selling
44 refugee crafts
I volunteer with campaigning and advocacy groups so would like to
use refugee based resources (such as films, plays, exhibitions) to help
45 with this work
We hold an exhibition every year in Refugee Week called Celebrating
Sanctuary, but we also hold events, workshops, film, debate and
46 public domain exhibitions and activities.
69
Paragon has worked with asylum seekers and refugees since 2002
providing music workshops, performances and recordings. Paragon
was involved in the Peer Leadership Network with Creative
Exchange2007-2008. We are now a lead organisation in the Inter
Cultural Arts Network (iCAN) in Glasgow which is run by Culture and
Sport Glasgow and Scottish Refugee Council. It is about to publish a
good practice guide for artists working with asylum seekers and
47 refugees and will launch a website in the autumn.
I have co-organised several poetry workshops/events and 2 art
exhibitions, also collaborated with the Editor of Conversation Quarterly
online poetry magazine in producing a special edition for refugee
week. I wrote the Editorial and co organized a reading for Refugee
48 Week of poetry by refugee writers in Canterbury
We display are in our premises. We are devising a programme to
bring African art/art forms to the mainstream - i.e. schools. By default
our artwork is done by people who are or were considered as refugees
49 and we want to develop upon this.
I am not directly connected but I think this is a creative method of
50 reaching communities.
I am a black visual artist from minority back ground I have full degree
and I was art teacher in art college in home land. I live in
Middlesbrough more than 8 years during this years I am nothing and I
am going to do my master in art and I am sure I will be nothing .I
have very thick portfolio thicker than some brains and I have very long
51 CV longer than some tongs.
I am Arts Education Officer at Croydon Clocktower, and I oversee the
running of a young refugee theatre company, Perpanata. We also run
52 weekly workshops in local schools for refugees.
The organisation sometime run small art activities for young refugee
53 where lam involved
I have worked as a freelance Drama Worker for Community Arts
Northwest (Exodus) and Contact Theatre (Arts United) and am
currently part time at Action Factory Community Arts in Blackburn,
planning and delivering projects with refugee/ asylum seeking people
54 as well as projects encouraging community cohesion.
Project manager for Dialogues participatory arts programme for
refugees and asylum seekers, and coordinator of Refugee Week in
55 Plymouth
I work with refugee and migrant groups for Lifeline and Open Doors
and am doing a PHD on using drama to create a sense of belonging for
56 refugees and migrants.
World music programming for the past 7 years
57 Developing Community/Arts Venues and organisation committees.

I commission artists/ performers/ workshop leaders to work on
58 refugee events
run a textiles workshop open to refugees, asylum seekers and anyone
59 who feels isolated in their community
70
I have worked in a community based storytelling centre where over a
five year period we developed work with refugees and asylum seekers
relating to storytelling in many different forms. I am currently involved
in my current job (Glasgow Storytelling Development Officer) in
developing as part of my work an Interfaith and intercultural
storytelling centre in the South East of the city - an area of
considerable cultural diversity over the past century. Some refugees
and asylum seekers live in the area and have become very interested
60 in this work.
BandBazi is a professional circus theatre company and runs an
inclusive youth circus theatre for young people aged 11-25 years, with
a focus on young refugees and asylum seekers, and provides
workshops for community and school groups in trapeze, circus skills,
61 drama and creative writing.
I run the V&A's ESOL and arts education programme and am
62 responsible for organising our annual Refugee Week events.
63 Drama Practitioner
Project Director for the Engaging Refugees and Asylum Seekers project
(DCMS/DCSF Strategic Commissioning). National partnership with
NML, Salford, Tyne and Wear and Leicester City Museums. Experience
of programming and commissioning performance art, visual art,
64 exhibition material, and programmes to engage refugee audiences.
I facilitated on the Headstart and Voice Youth Theatre groups of the
65 Voices project for GLYPT.
Art Shape is a disability arts organisation and works to enable access
to the arts for those facing barriers to mainstream participation.
Amongst the work we are doing we are running a project in
partnership with Gloucestershire Action for Refugees and Asylum
Seekers (GARAS). This project will work with the local community and
the clients from GARAS to give opportunity for arts participation,
increase community cohesion and share knowledge and good practice
between the organisations. It is a partnership which we wish to build
on in the future in order to continue delivering a high quality service to
our participants. The final showing of work will incorporate exhibitions
and artwork being placed on buses throughout the local area in order
to reach the widest audience possible and to promote the work of the
project and the positive effects it will have had on those involved with
66 it. More information is available on request.
I am a community development/arts specialist and I work on the
Support for Community Action Project (SCAP) specialising in the arts.
The Arts Project is an opportunity for artists, individuals, organisations

and groups to get intensive support to develop their own skills and the
projects they are delivering.
The following are the aims of the Arts Project:
• Support the development of arts initiatives by individuals and

organisations within the region.
• To help to create a network of Refugee artists within the region.
• To build the capacity of Refugee artists/groups/individuals to help

develop arts based projects, activities and workshops.
67 • To help Refugee artists, organisations and groups to build
71
relationships with key arts agencies, local authorities and funders.
In my previous professional role as a refugee mental health

community development worker, I had initiated a project that attempt
to bring together refugee artist to contribute in promoting health and
wellbeing. Currently, I am doing my doctoral research with young
refugees and people seeking asylum where one of the key research
68 tool I am using is visual narratives.
promotion and development
69 use for concept building in an intercultural world

70 promotion and development
my describe about refugee or asylum artist life new
71 environment and good experience

We (FCDL) have been working with Refugee and Asylum Seekers over
a long period of time. We are always looking for different ways to
engage with people - i.e. using "Reflect Action" tools, to allow people
72 to engage and participate the way that suits them best
Member of Refugee Week Bedford steering group. Have produced &
73 directed a production of The Asylum Monologues RW 2008
Hello,
I very much like the idea of art to be a bridge between different

people, creating dialogue on different levels. I have worked in the past
with different people, like children, teenagers and adults in South
America, Europe and Asia and it was a very joyful experience of
learning, sharing and teaching.
At the moment, I coordinate and run workshops for young and old
people of a migrant and refugee background in Brighton, UK on a
freelance basis. I am also involved in a Community Project called
Migrant English Project (MEP) where I help adult refugees and
migrants in their struggle of communicating in English.
Due to my work at the MEP and my involvement in Refugee Week on

behalf of MEP and Amnesty International, I was able to gain many
links with local, regional and international organisations who work on
refugee related issues.
To be creative and open to new activities and people are important

aspects of my life. I very much like to use art as a tool to overcome
barriers like language, religion and ethnicity to create unity,
togetherness and self-development.
To participate in a volunteer project, for me, is an ideal combination of

74 giving and getting - an exchange of skills, knowledge and views.
7 years working on the asylum sector and through the arts. Currently
developing integration projects for Music for Change. Set up a RAM
75 arts and Integration initiative for the SE alongside ACE and Ref Action
76 Music Sector: - performance and participation
72
I am an artist who has worked with many projects, young people and
77 artists.
78 Drama facilitator - with a refugee background.
79 Music
80 Arts Officer - ACE, NE
I ran a writing group that focuses on creative and therapeutic writing
81 with refugees and asylum seekers.
Co-ordinator for Rewrite and freelance drama practitioner specialising
in creative workshops for people who have English as a second
82 language.
I programme and deliver visual art programmes to asylum seekers in
83 West London. I curate exhibitions and run a refugee arts forum.
84 Involved in a refugee project at the V&A
I am an individual artist trying to diversify the African music and
85 instruments.
Coordinate Mongrel UK at the Safe Gateshead and Board member of
86 NECDAF Intercultural Arts
I work in the management committee of Youth Voice, which is a sub-
87 group of the regional refugee forum of the North East.
I'm from the African community in Newcastle, moved to Newcastle as
an asylum seeker. My aim is to promote the huge diversity within the
88 African community.
As a fundraiser (development manager) at the Sage Gateshead I
research opportunities for support for refugee / art related projects we
89 run, i.e. Mongrel UK
90 Community artists and fine artist
91 Homeless Centre - learning and skills.
92 I am a resident drama working at Live Theatre.
93 Arts Council England – stakeholder
94 Promoting integration through African arts and culture
I am a refugee artist involved in African projects and organisations in
95 the North.
96 Film maker
We are a digital promotion company and wish to assist artists
97 document and record their work / archive / produce DVDs
We deliver professional development services to non-UK artists in NE
98 England
I am the community development worker/ arts specialist - regional
99 refugee forum North East
Head of Youth and Community programme at the Sage Gateshead and
lead Mongrel UK - a youth music theatre ensemble of international
100 young people in partnership with the North of England refugee service.
Playwright and director working on these issues with asylum seekers
101 and refugees, arts facilitators / therapists...
102 Regional migration partnership - interest in strategic development
I am a secretary of the project called 'Side by Side' - a drama group to
103 promote integration.
Community and outreach coordinator - running 'Shared Horizon' a
104 project for asylum seekers and refugees
105 I volunteer for Sidegy Side Project which is a drama group.
Support (grants) to arts sector in Glasgow including projects related to
106 refugees/artists. Involved in ICAN network.
Representative of an arts organisation that has worked in this field
107 since 2004.
108 I am part of Artists in Exile - Glasgow.
73
109 Project coordinator for dance company working with young people.
110 Writer, producer and integration coordinator.
Appendix 9: Refugee Related Arts Consultation Meeting plan
Task Notes a.m. p.m.

1. Introduction to the Who we are 2.00-
consultation project What this project is about (Hybrid report) Arts 2.10
and us sector – organisations and individuals
The process today
Camera? Using their name?
Refreshments available all through meeting
(There are people with a wide range of
connections to this project. We hope it will be
okay for people to be honest without the fear
of judgement.)
Ask for extra 10 minutes
2. People introduce Name and short explanation about their 2.10-
themselves connection to refugee related arts (people put 2.20
a name label on)
3. Conference content People are given a sheet of pre-printed labels 2.20-

grading to grade on a chart which ask them to decide 2.40
how interesting it is to them and how familiar
the issue or topic is to them. There are blank
labels for them to add more ideas)
4. De-brief We ask people to give us more information 2.40-
about why they put the labels where they did 245
and take names of people who are
interested in contributing and
recommendations of others who may
have something to offer
5. Imagining Each person gets two sheets of A4 paper. 2.45-
They are asked to imagine a moment (perhaps 3.00
based on experience) at a conference where
they are inspired, excited, challenged or
thoughtful and describe on the paper using
words and images if they like, the moment –
what is happening, what they are doing, what
other are doing etc… then they are asked to
the opposite, a moment when they are bored,
disengaged, excluded, frustrated.
6. Share Opportunity to open up debate about what 3.00-
kind of event best represents and suits the 3.15
people involved (share findings from other
consultations and gauge response) (Must be
captured on post its)
7. Roles and Once we hand over our report, we hope that 3.15-
responsibilities the process will continue to involve stake- 3.35
holders. What would you like to see happen to
ensure this is so? Please make practical
recommendation about how stake holders
could be involved in the next stage. Not top-
down but user led e.g…..
8. Feedback Each group share for five minutes the most 3.35-
74
important point they came up with. 3.50
9. What would you want On post its – with your name if you like 3.50-
to leave the conference 4.00
with
10 Web questionnaire 4.00-
4.10
11 Open discussion A chance for people to make 4.10-
recommendations, comments, give feedback 4.25
etc. Anything you wanted to say but didn’t get
asked. (Must be captured on post its)
12 Thanks
Resources Notes
• Tea, coffee, juice, fruit, biscuits (in the room)
• Name labels De-brief time to ensure all post it
• Prepared labels and some blank labels notes and flip charts make sense.
• Pens – biros, coloured and flip chart
• Flip chart paper
• A4 paper and A3 paper
• Web site questionnaires
• Post its
• Sign in sheet (permission - sharing email, using
their name for quotes or just on a list of people
consulted, photos)
• Copy of Hybrid report
75
Appendix 10: All Participants Data
LONDON CONSULTATION
EVENT 22nd MAY 2009
NAME ORGANISATION EMAIL ADDRESS
1 Catherine Mummery Grand Union catherine@grand union.org.uk
2 John Morales john@elflako.com
3 Nadine Wood nadine@serious.org.uk
4 Margareta Kern margareta@gmail.com
5 Mowes G Adem mowesga@aol.com
6 John Speyer Music in Detention john@musicindetention.org.uk
7 Katie Moritz Watermans katie@watermans.org.uk
8 Eleanor Cocks Rewrite rewritegroup@googlemail.org.uk
9 Zory Shahrokhi zoryzory20@googlemail.co.uk
10 Ethne Nightingale V&A ethne.nightingale@vam.ac.uk
11 Sheila Hayman Medical Foundation sheila@sheilahayman.com
NEWCASTLE
CONSULTATION EVENT
20th JULY 2009
1 Janine Ness Crisis janine.ness@crisis.org.uk
3 Simon Constable Blue Rain Productions simon@bluerainproductions.co.uk
4 Daniel Larson Sidhu Blue Rain Productions daniel@bluerainproductions.co.uk
5 Oscar Watson NECDAF post@necdaf.co.uk
6 Kathlene McCreery kath@rikwalton.com
7 Sneita Kaur Refugee Voices sneita.kaur@refugeevoices.org.uk
9 Alexandra Heley The Sage Gateshead alexandra.heley@thesagegateshead.org
76
10 Louise Taylor The Sage Gateshead louise.taylor@thesagegateshead.org
11 Bex Mather The Sage Gateshead bex.mather@thesagegateshead.org
12 Philip Hoffman Live Theatre philip@live.org.uk
13 Peter Adegbie peteradegbie@yahoo.co.uk
15 Rowenna Foggie NESMP rowenna.p.foggie@newcastle.gov.uk
16 Manoute Seri WABEHIA info@wabehia.com
17 Kay Hepplewhite York St John's Uni k.hepplewhite@yorksj.ac.uk
18 Tidson Ndhlovu teecar4@yahoo.co.uk
19 Patyo Mari Mungwande daveleon29@yahoo.co.uk
20 Dana Ahmadi dana_peyrov@hotmail.com
21 Joseph Kamanga joekam68@hotmail.com
22 Jenny Young Sing Up jenny.young@thesagegateshead.org
23 Mai Twynham Plumleaf Community maitwynham07@yahoo.co.uk
24 Giles Carey NCC Arts Development Team
25 Ali Flanagan NCC Arts Development Team alison.flanaganwood@newcastle.gov.uk
26 Padma Rao ACE NE padma.rao@artscouncil.org.uk
27 Nicholas Baumfield ACE NE nicholas.baumfield@artscouncil.org.uk
LEEDS CONSULTATION
EVENT 24th JULY 2009
1 Tony Bowring Koni Music tony.konimusic@googlemail.com
2 Tomas Bahta Artist haserekead@yahoo.com
3 Bob Britton Pan Visual bob@panvisual.co.uk
4 Gill Martin Solace gm@gillmartin.co.uk
5 Cheryl Mutiti Refugee Council cheryl.mutiti@refugeecouncil.org.uk
6 Hadida Hashim Sara Artist anoni_11@yahoo.com
77
7 Helen Moore Yorkshire Sculpture Park helen.moore@ysp.co.uk
8 Wondesen Hailemorayam wondesenyh@yahoo.com
9 Bereket Loul b.loul@leedsmet.ac.uk
10 Dave Brown Yorkshire and Humber Regional Migration Partnership david.2.brown@migrationyorkshire.org.uk
11 Fatuma Ibrahim fatumaabdisalen@yahoo.co.uk
12 Sara Tekle saratekle@googlemail.com
13 F. Tesfazghi
14 Myra Davis mwd2020@talktalk.net
15 Simon Andukwa Songo info@songo.org.uk
16 Jojo Kayumba Songo info@songo.org.uk
17 Raphael Petta Songo info@songo.org.uk
18 Nana Songo info@songo.org.uk
19 Clea Hangton Ice and Fire actorsnorth@iceandfire.co.uk
GLASGOW
CONSULTATION EVENT
28th JULY 2009
1 Rachel Jury Con Fab rachel.jury@racheljury.co.uk
2 Remzije Sherifi Maryhill Integration Network rema@maryhillintegration.org.uk
3 Sarah Potter YDance SarahPotter@scottishyouthdance.org
4 Stuart Platt Artists in Exile aie.glasgow@googlemail.com
5 Clare MacAulay Art in the City (Social Work Services) Clare.Macaulay@sw.glasgow.gov.uk
6 Alistair Callaghan Open Museum (Glasgow Museums) Alistair.Callaghan@csglasgow.org
7 Kirsty White Culture & Sport Glasgow: Kirsty.White@glasgow.gov.uk
8 Abbie Wallace Scottish Refugee Council Abbie.Wallace@scottishrefugeecouncil.org.uk
Online Participants
Name: Organisation Email Address:
1 Jenny Cox Refugee Council volunteer miniminiminiindustries@hotmail.com
78
2 Panni Poh Yoke Loh Kutien Arts panni@pannipohyokeloh.com
3 Shenaz Kedar Writers Centre Norwich shenaz.kedar@writerscentrenorwich.org.uk
4 Tiffany Fairey PhotoVoice tiffany@photovoice.org
5 Jane Martin Programme Manager janemartin@photovoice.org
6 Richard DeDomenici Artist Richarddedomenici@gmail.com
7 mashasha none p.mashasha@yahoo.com
8 Ariane Koek Clore Fellowship arianekoek@hotmail.com
9 Parvaneh Soltani Art and heart expression par_film@hotmail.com
10 Erene Kaptani UNIVERSITY OF EAST LONDON AND FREE LANCE ekaptani@hotmail.com
11 Sarah Edwards The Poppy Project sarah.edwards@eaveshousing.co.uk
12 Marie Allainguillaume WomensCentre s.hibbs@virgin.net
13 Tracey Weller Cardboard Citizens tracey@cardboardcitizens.org.uk
14 Isata Kanneh Celebrating Sanctuary Birmingham isata@celebrating-sanctuary.org.uk
15 Rowena Sommerville Tees Valley Arts rowena.sommerville@teesvalleyarts.org.uk
16 Lucy Fairley lucyfai@blueyonder.co.uk
17 Polly Thomas Thomas Carter Projects pfat@talktalk.net
18 Rachel Slee Integrate rachelslee@hotmail.com
19 Emma Spencer Calderdale Council emma.spencer@calderdale.gov.uk
20 Oscar Watson NECDAF Intercultural Arts director@necdaf.co.uk
21 Sef Townsend Sef Townsend & Red Herring seflondon@gmail.com
22 Claire Nouvel Rich Mix claire.nouvel@richmix.org.uk
Professor Catherine
23 McDermot Kingston University catherinemcdermott@mac.com
24 elisa Harrow Refugee and Minorities Forum elisa@harf.org.uk
25 Rita Ray the Shrine / Celebrating Sanctuary ritaray@talktalk.net
26 Mai Twynham Plumleaf07 Community Arts maitwynham07@yahoo.co.uk
27 Mir Mahfuz Ali Exiled Writers' Ink ovimir29@hotmail.com
28 Sara Preibsch Independent artist sarapreibsch@hotmail.com
29 Daniel Bernstein Arts Council England South East daniel.bernstein@artscouncilengland.org.uk
79
30 Sanjit Sil Arts Council England sanjit.sil@artscouncil.org.uk
31 Catherine Treharne-Evans Unaccompanied Minors Team Catherine.treharne@hounslow.gov.uk
32 Joseph Oladosu Africa Development Network africadn@hotmail.com
33 Sue Mayo Freelance sue_mayo@yahoo.co.uk
34 Sanaz Amidi Rosetta Art Centre info@RosettaArts.org
35 Osman Ahmed Wimbledon College of Art osmankahmed@yahoo.co.uk
36 Berthin Kambale Bora Shabaa Refugee Community Organisation borashabaa@yahoo.com
37 Jan Lennox Watermans jan@watermans.org.uk
38 Phuog Tang Deptford Vietnamese Project xuan.tang@lewishampct.nhs.uk
Mehrangiz Modarres
39 Tabatabaei a member of NECDAF mmtabatabaei@yahoo.com
40 Vikki Moorhouse Central & Cecil vikki.moorhouse@gmail.com
41 Karen Callaghan Medical Foundation for the Care of Victims of Torture kcallaghan@torturecare.org.uk
42 Jean Demars Notre Dame Refugee Centre drop-in@notredamerc.org.uk
43 Edith Eyo Arts Council England South East edith.eyo@artscouncil.org.uk
44 Sam Paterson Cranhill Community Project sam@cranhillcp.co.uk
45 Iolanda Chirico Action For Refugees in Lewisham j.chirico@ntlworld.com
46 Sara Bainbrdge STAR bainbridge.sara@googlemail.com
47 June Burrough The Pierian Centre june@pieriancentre.com
48 Ninian Perry Paragon Ensemble ninian-paragon@btconnect.com
49 Dan Cissokho Peterborough African Community Orgnisation dan@pacouk.org
50 Kate Adams Kent Refugee Help Kadams314@hotmail.com
51 Rachel Toussaint Safari Africa Centre info@safariafricacentre.com
52 Tokunbo Durosinmi Empower 2 Excel empower2excel@hotmail.co.uk
53 Gassan azadart66@hotmail.co.uk
54 OLIVER TIPPER CROYDON CLOCKTOWER oliver.tipper@croydon.gov.uk
55 Grace Odong Horn of Africa Women Develoment Network hawdn@hotmail.co.uk
56 Kerry Tuhill Action Factory Community Arts ktuhill@actionfactory.org
57 Bridget Floyer Theatre Royal Plymouth bridget.floyer@theatreroyal.com
80
58 Anne Smith Open Doors/Rainbow Arts annesmith@rainbowarts.co.uk
59 Daisy Lees Arts La'Olam / Essex Racial Equality Council daisy@la-olam.com
60 Julia Cort Horniman Museum jcort@horniman.ac.uk
61 Judith Lukonyomoi B.K. Luwo bkluwo@yahoo.com
62 Rachel Smillie Glasgow Storytellers rachel@glasgowstorytellers.org.uk
63 Ian Lawton BandBazi mail@bandbazi.co.uk
64 Clare Paul V&A c.paul@vam.ac.uk
65 Alice Williams Freelancer aunty_alice@hotmail.com
66 Claire Duffy National Museums Liverpool claire.duffy@liverpoolmuseums.org.uk
67 Hannah Whelan Au Brana Cultural Centre hannah_1982@hotmail.com
68 Lucy Sharp Art SHape Lucy@artshape.co.uk
69 Sneita Kaur Regional Refugee Forum, North East sneita.kaur@refugeevoices.org.uk
70 Bereket Loul Leeds Metropolitan University b.loul@leedsmet.ac.uk
71 myra davis various mwd2020@talktalk.net
72 myra davis assist/conversation club sheffield mwd2020@talktalk.net
73 wondesen hailemarayam artistes wondesenyh@yahoo.com
74 Randi Baden Federation for Community Development (FCDL) randi@fcdl.org.uk
75 Cally Lawrence Wooden Hill UK Ltd cally.lawrence@woodenhilluk.co.uk
76 Rebecca Soliman Migrant English Project / Gudran Project rebecca_soliman@gmx.net
77 Julie Larner Music for Change julie@musicforchange.org
78 Wabehia info@wabehia.com
79 Simon Blue Rain Productions simon@nluerainproductions.co.uk
81
Appendix 11: Charts and diagrams
CONFERENCE CONTENT GRADING
INTERESTING AND FAMILIAR

Conference Content Grading
Ethics and representation 17
Traditional / heritage arts & refugees 16
Showcasing / exhibitions / performances and post show debates 16
Using arts as an awareness raising tool 18
Seeing work created in other national contexts 6
Presentations by visiting practitioners 8
Intercultural work 21
The ‘refugee’ label in arts 6
Participatory arts 15
Young people / education / youth arts 15
Arts as a tool for integration 14
Advocacy in the arts (fighting the battles) 7
Arts being used to challenge hostility 14
Simulating the ‘refugee’ experience through arts processes 9
The mainstream arts context / larger arts institutions / barriers to artists (do refugees access the big institutions?) 8
The diversity agenda 8
Training professional development for artists and practitioners 12
82
83
INTERESTING AND NOT FAMILIAR

84
85
NOT INTERESTING AND FAMILIAR

86
87
NOT INTERESTING AND NOT FAMILIAR

88
89
90

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Refugee Related Arts:

A consultation into the evidence of need

By Stella Barnes, Emily Hunka & Almir Koldzic

Commissioned by Arts Council England

3. Findings: Overview and Consensus 7

4. Summary of Regional and Online Consultation 9

7. Proposed Project Models 16

8. Managing Organisation’s Roles & Responsibility 17

1. Consultation meeting in London, 22nd May 2009 22

Refugee Arts Infrastructure Research

4.1.2 A suitable organisation should be commissioned to develop internet-based

4.2.2 Suitable agencies should be encouraged to establish a mentoring programme

We were also particularly interested in exploring how stake-holders could be directly

• To discover and represent the views of stakeholders in the future planning of

• To organise and conduct a number of consultation seminars in different areas of

• To present findings to potential funders and project directors/organisers with the

March – April 2009 Development of research tools, strategy and seminar

Creation of online questionnaire

April – July 2009 Research seminars interviews and workshops

Online questionnaire goes live

July/August 2009 Preparation of research findings and presentation to

• Arts organisations and practitioners with experience of arts practice related to

• Students in universities with an interest in this area of work

• Teachers, FE and HE lecturers with an interest in this area of work

• Refugee Community Organisations that have engaged in arts projects or who

• Local authority officers

• Regional Arts Council officers

• Refugee Sector Organisations

• The consultation sessions utilised a range of participatory techniques including:

• An online questionnaire exploring website and conference/event possibilities,

• Interviews with individuals with the experience of strategic development and

3.8 Outcome: Any conference/event should have a balance between improving

4.3 There was a strong demand for an alternative or ‘reinvention’ of conference or

4.23 Empowerment of refugees was a strong theme online, both in terms of

5.2 Management: There would need to be a clearly defined relationship between

5.6 A national project could be used as an opportunity to strengthen regional

• Interculturality and intercultural work (the highest scoring theme on online

• Encouraging the interest of funders in future developments

• Encouraging involvement of training bodies

• Building relationships with policy makers and strategic bodies

• Producing documentation, both academic and practical

Local Exchange Local

Website coordinator National

NATIONAL EXCHANGE EVENT (all regions come

NATIONAL EXCHANGE EVENT (event publicity and content WEBSITE SEEKS

8. The Managing Organisation’s

2. Draw up and implement budget

3. Establish ‘buy in’ participation from regions against criteria

4. Implement contractual agreements with regions (lead person or organisation and

6. Monitor and support local developments, communicating with stakeholders on a

7. Provide a strategic overview

8. Fundraise for Year 3

10.Facilitate a steering group

11.Ensure stake-holder ownership of project

12. Attend local events

13.Legacy and strategic development

2 Consultation meeting in Newcastle on 20th July 20009

3 Consultation meeting in Leeds on 24TH July 2009

4 Consultation meeting in Glasgow – 28th July 2009

5 Online Survey - Respondents

6 Online survey - National Website

6.1 Grading of ideas for the website

7.1 Grading of potential topics for the national conference

Who has a voice?