Snippet
Change
Development
Migration
5 min read

Travelling in a world of refugees

Reconciling the contrasting journeys of travellers and the migrant.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

Migrants on a freight train reach for food bags held aloft by people on the track side.
Migrants on La Bestia being passed bags of food and water.
Pequeño Mar, CC BY-SA 4.0, Wikimedia Commons.

I’ll never forget the sight, 10 years ago this month, as I hitchhiked north through Mexico, of dozens of migrants hanging off the side of a goods train as they made their own journeys towards their Promised Land. 

Like me, these migrants - of whom there must have been at least 30 - were heading for the United States. Unlike me, they were doing so not for fun but for their futures. 

“Come with us!” some shouted, as my wife and I lugged our backpacks towards what we hoped would be our next successful hitchhiking post, having begun our journey seven months prior at the southern tip of Argentina. 

We declined the offer, but I wondered then - and still do - whether they had known we were in a different position to them, or had simply assumed us to be in the same metaphorical boat. 

Around the same time, a new wave of refugees were making their way westward across Turkey and Europe, in a reversal of my first hitchhiking adventure, which took me eastward from the UK to Malaysia. And again, I found the contrast between the respective circumstances of our two journeys confronting. 

There I had been, a post-university thrill-seeker, taking to the road with my best mate to open my eyes to the big wide world beyond these shores, and now six years later, these poor souls were moving in the opposite direction - again, not for fun, but through sheer desperation. 

Many were fleeing ISIS, who took control of Mosul while I was hitchhiking through Brazil at the time of the 2014 Football World Cup. My chief concern during those days were the occasions hitchhiking proved less straightforward. On some days, we had to wait hours for a ride. Sometimes, night would set in as we waited, and we were forced to call it a day. 

There were times, too, when we fell foul of the law, such as in the States, where a policeman told us off for hitchhiking on the freeway. But undoubtedly the most challenging moment of that trip was the time we ended up back in the same hotel we had been in two days prior, having done a 1,000km round trip only to find ourselves right back where we started. 

This came about in Prince George, Canada, after we had been encouraged by a trucker on the so-called “Highway of Tears” to take a different route to our final destination: Alaska. I can still remember the feeling, as I woke up early the next morning, in the very same room of the very same hotel, of such a lot of effort wasted and a deep desire to get moving again as swiftly as possible, if only to enjoy a sense of progress. 

No doubt, there have been many refugees who have experienced the same emotions - only, one imagines, with much greater intensity. Perhaps they have been deported back to where they began their journey, or simply sent back to the last country from which they arrived, in the process undoing in their minds and hearts all of the efforts that went in to getting them there. 

No doubt, many of these refugees will also have fallen foul of the authorities. Some, will have been detained; others deported. Perhaps some will also have been told off for walking on a highway, or illegally crossing a border, as I myself tried to do between Bangladesh and Myanmar back in 2008 - only to be picked up by a border patrol and taken back to where I’d started again. 

Yet, unlike me, I doubt many refugees were offered helping hands by strangers along their way, or at least not so frequently, and I expect many more of them experienced harsh words from passersby than the few jokey thumbs-downs or shouts of “gringos!” that I received on my own journeys. 

And while I, with my Great British passport, was able finally to arrive at my goals and to feel the joy of that completion, many refugees will not have been so fortunate. And while I was able eventually to return home and continue my life - in whatever way I saw fit - for many refugees, their own journeys will still be ongoing, and there will still be a lack of clarity regarding what the future may hold. 

I always used to say, standing beside the side of the road, that if only we knew how long it would be until the next ride, we needn’t worry. If someone could tell us that in four hours we’d be picked up, or that although we wouldn’t get another ride that day, that on the very next we’d be adopted by a lovely family who would end up taking us with them for 10 days (as happened in northern Argentina), then all our worries would melt away. 

I felt the same way during the years in which my wife and I struggled to conceive, post-adventure. Were someone to have told us then that in a few years, we’d have three beautiful boys, we need never have suffered such heartache. 

So too for refugees: if only someone was able to tell them when, where and how their journeys would end, they would be able to come to terms with what lay ahead, and to stop feeling so anxious about the many unknowns. 

But of course that’s not how life works - whether you’re lucky enough to have been born with a British passport that enables you to see all the world has to offer without a second thought, or whether you’ve had the misfortune of being born in a country within which you find yourself unable to remain. 

I have long wrestled with the question of whether my travels were simply a selfish waste of time. Not that they didn’t bring me great joy and truly opened my eyes to the big wide world - they most surely did - but whether I might instead have used that time in some nobler endeavour. 

I find encouragement today in knowing that my love of people of different countries - and especially Iran - was birthed during those travels, and that I probably would not be doing the job I am now, had it not been for those experiences. But it doesn’t make it any easier to reconcile the contrasting journeys of travellers and refugees, which although they may share many parallels, also exhibit some stark differences. 

Review
Art
Climate
Culture
Migration
9 min read

Finding the human amid the wreckage of migration

Personal objects recovered from ocean depths tell a story of modern and ancient migrations. Jonathan Evens reviews Shezad Dawood’s multimedia Leviathan exhibition at Salisbury Cathedral

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A bronze sculpture of a small boat and sea monster tossed in the waves.
Where do we go now?, Shezad Dawood.
Photo: Finnbarr Webster.

Hung in the central aisle of Salisbury Cathedral and reflected in the still water of William Pye’s cruciform font are a series of textile paintings by Shezad Dawood depicting objects recovered from the seabed of the Mediterranean.  

Led by Professor Cristina Cattaneo, a team of forensic anthropologists from the Laboratory of Anthropological Forensics (LABANOF at the University of Milan go out with UN rescue teams when ships have sunk or capsized on the journey to Lampedusa and recover the objects and artifacts (as well as human remains). They do so, to create an archive whereby relatives can track missing family members. Unlike wars and natural disasters, there is no established protocol to deal with immigration deaths but, by its interventions, LABANOF is helping to potentially bring a protocol into being. 

As seen at Salisbury, Dawood’s Labanof Cycle ranges from a pinch of earth wrapped in a twist of cling film to a passport and a faded photograph. Each of these textile paintings document a life and a journey in tribute both to lives lost and those that were saved. 

Dawood became aware of the work of LABANOF through an article in the New York Times and reached out to them while preparing for an exhibition to coincide with the 57th Venice Biennale. As a result, he met with Cattaneo in Milan and she generously gave access to the archive. Dawood recalls:  

“It was a shock to actually be confronted with those objects and be in the room with them. I really wrestled with whether it was appropriate to make work in response to those materials. One of the things that decided it for me, when I went away and sat with it, those objects made all of those lives so apparent to me and that was the shock. It transformed refugees and migrants from a statistical basis to something very human. The fact that I was crying looking at the material was what was important in bringing the humanity back to our fellow humans. There’s something very sad, and almost industrial, about viewing our fellows through the prism of statistics and othering them or demonising them as somehow threatening.” 

Kenneth Padley, Canon Treasurer and Chair of the Cathedral’s Arts Advisory makes connections between these works and the themes and stories of Advent and Christmas, saying:  

“This exhibition is a timely reminder, amid the anticipation and excitement of Advent and Christmas, that Jesus and his family were refugees and were being persecuted.” In these seasons, we recall the vulnerability of Jesus, Mary and Joseph, forced by political order to travel from Nazareth to Bethlehem and then by fear of King Herod from Bethlehem to Egypt."

“None of us straightforwardly belong anywhere, however long our forebears have sojourned there, and none of us abide long on this earth”.

Sam Wells

Sam Wells, Vicar of St Martin-in-the-Fields, has noted that we are all “strangers and pilgrims on earth”, and that “God is the one who comes to us like one unknown” being “in the world, but the world received him not”. He suggests that it is by the way we receive this challenge, that “the Christian community demonstrates who we realise we are and who we believe God is”. 

More than this, he argues that the Bible itself is founded on six journeys, all of which have a bearing on themes of migration: “Jacob and his entourage migrate to Egypt in the midst of famine. This is an economic migration, but really it’s a journey of survival. Moses and the children of Israel migrate from Egypt to the Promised Land. They leave as refugees to flee slavery. They take 40 years to reach their destination, and, when they get there, they face a very hostile environment indeed. Judah loses a battle and is displaced 500 miles to Babylon. There, as Daniel shows, exiles play a vibrant role in public life, and bring unique qualities, represented by the ability to interpret dreams. Jesus travels from Galilee to Jerusalem. He’s living during the occupation by an invading power, Rome. Finally, Paul migrates from Jerusalem to Rome. He’s searching for legal protection in an empire where citizenship transcends geography.” 

His conclusion is that “most of what we’d today call migration is in the Bible, and it’s through migration, not in spite of it, that revelation occurs”. As a result, we don’t get Judaism or Christianity without migration. He adds that “the greatest migration of all is of Christ from heaven to earth and back” and the statement that “Here we have no abiding city” “is an announcement that we should consider our whole lives as a season of migration, because we are transiting through earth to find our true home elsewhere”. As a result, “None of us straightforwardly belong anywhere, however long our forebears have sojourned there, and none of us abide long on this earth”. 

The exhibition at Salisbury Cathedral is a small part of a large body of work begun when Dawood was working on two separate projects; one which involved research about democracy, the other about the oceans. The title of the exhibition refers to Leviathan, a 1651 text by the philosopher Thomas Hobbes which takes the sea monster described in the Book of Job as a metaphor for the state.  

“What’s been quite shocking has been that things people told me we might witness in 10-15 years, I’ve seen happen in five”. 

Dawood’s Where do we go now? is a polychromatic painted sculpture, depicting sailors in a small boat encountering a whale, that is inspired by engravings and illustrations from Jonathan Swift’s A Tale of a Tub, a 1704 pamphlet on the nature of legitimate government that was written in response to Hobbes. The whale represents the State, which threatens to destroy the vessel, prompting the sailors to throw a barrel (or ‘tub’) representing their labour (or ‘capital’) overboard to distract it. With figures representing refugees and a UN rescue worker in Dawood’s sculpture being placed within the Cathedral’s 1215 Magna Carta exhibition space, this work prompts visitors to consider the legacy of Magna Carta and the rights and freedoms of refugees.    

Dawood has said that the exhibition is “an exciting opportunity to bring some of the key questions I’ve been asking of climate, migration and our shared humanity … at a time when a renewed sense of sharing and purpose is urgently needed.” In the light of such thinking, Beth Hughes, Salisbury Cathedral’s Visual Arts Curator, suggests that,  

“Shezad’s exhibition is a powerful reminder of how we are all connected to each other, and to the natural world … [focusing] the mind to help us think about how we might be part of the solution, to make a better world for ourselves, our loved ones and all of humanity.”  

Much of Dawood’s work is concerned with “world-building” and “imagineering”, something that developed from a “youthful love of science fiction, speculative fiction” which he found to be “a really useful space for philosophical dialogue and imagination”. Then, as “confidence and practice grew, I found through conversations with other artists, writers, academics, that we could have these conversations and start to imagine possible or plausible futures as a way to reflect on some of the issues of our time”. 

One result has been the Leviathan Cycle, a ten-part film series exploring unexpected narratives that connect the most urgent issues of our times: climate change, migration, and mental health. When he began, he experienced surprise or disbelief at what he was trying to do “which was to imagine the world in 20-50 years’ time” in order to highlight the urgency, “because it felt like we didn’t have much time in which to change course”. He was primarily “thinking about what the immediate fault lines were and how they could deepen and darken in our lifetimes or just beyond”. As he started going out talking to scientists, particularly those working around climate, “there was something quite interesting about this 20-50 year’ timeframe, because their predictions were in that range”. However, “what’s been quite shocking has been that things people told me we might witness in 10-15 years, I’ve seen happen in five”.  

How can we find new reserves of empathy and understanding for the difficult circumstances we are going through in our world?” 

The Cycle follows the journeys of a cast of characters who are the survivors of a cataclysmic solar event in order to reflect on the systemic crises within our biosphere and imagine where we might end up if we fail to gain a deeper understanding of the intersections between fields of knowledge and ways of living, across and between human and more-than-human ecologies. The first five films imagine a dystopian future while the latter five - of which the latest, Seven and Eight, are on show here – explore “ways to navigate and negotiate this future with each other, with our government; ideally, a new social compact that’s not just human but extends beyond the human”.       

Episode 7: Africana, Ken Bugul & Nemo, in the North Transept, takes the viewer on a journey through the Mangroves of Senegal which speaks of our interconnectedness where both science and the imaginary dovetail into a possible, collective future. Episode 8: Cris, Sandra, Papa & Yasmine, in Trinity Chapel, charts an embodied, spiritual, and ecological journey along an age-old Guarani path linking the Brazilian Atlantic Forest to the sea. 

The wider Leviathan project from which the work on show in the Cathedral is taken, is the culmination of conversations Dawood has had with a wide range of marine biologists, oceanographers, political scientists, neurologists, and trauma specialists. This approach is typical of his practice, which often involves collaborations with groups and individuals from different disciplines that are transformed into expressive artworks. 

The Leviathan Cycle itself has become a large community of scientists and collaborators around the world. The collaborative experience has broadened Dawood’s horizons in terms of how he thinks of the subjects of his work: “It’s not just a protagonist in a film or an artefact, it’s each of these scientists’ individual area of study that they’ve devoted a huge part of life and time to, and so it creates this huge web of obligation. It’s part of empathy and reciprocity, it’s how we work with others and try to do our best.”  

As a result, he says: “There’s a debt to generations beyond us. They only stretch us just a little but we become better human beings by doing so. I think it’s also important to go beyond the human as well and stretch our empathy to include the non-human – animals, plants, algae – they’re all systems of which we are part and which we interconnect with in surprising ways. It’s something that I’ve become more actively aware of through this body of work. It just feels pivotal.”   

His hope “is that the exhibition encourages visitors to think about ourselves as one humanity”: “My engagement with the topics of climate change and migration are driven by wanting to see a new set of ethical standards established for the world. How can we find new reserves of empathy and understanding for the difficult circumstances we are going through in our world?”  

As we come to the end of 2023 and think about the coming new year and further into the future, the beauty of this exhibition and of Dawood’s work is that, as Beth Hughes notes, it “draws you in to explore some of the big questions facing humanity today”. World events in 2023 “have shown us how important it is to care for displaced people and the importance of looking after our natural world”. Kenneth Padley says, “The overriding message is a call to action before it is too late”, which is why the exhibition is prefaced with a verse from St Paul’s letter to the Romans that simply states, “Live in harmony with one another”. 

 

Leviathan, An exhibition by Shezad Dawood at Salisbury Cathedral, 28 November 2023 – 3 February 2024.