The much-missed Radical Philosophy has just re-launched as an open access journal with downloadable pdfs here. The site also includes access to the journal’s wonderful archive.
Among the riches on offer, I’ve been particularly engaged by Martina Tazzioli‘s Crimes of solidarity. which picks up on one of the central themes in the last of the ‘old’ RP series. It addresses what she calls ‘migration and containment through rescue’, the creeping criminalisation of the rescue of migrants in the Mediterranean. In a perceptive section on ‘Geographies of Ungrievability’ Martina writes:
The criminalisation of alliances and initiatives in support of migrants’ transit should not lead us to imagine a stark opposition between ‘good humanitarians’, on the one side, and bad military actors or national authorities, on the other. On the contrary, it is important to keep in mind the many entanglements between military and humanitarian measures, as well as the role played by military actors, such as the Navy, in performing tasks like rescuing migrants at sea that could fall under the category of what Cuttitta terms ‘military-humanitarianism’. Moreover, the Code of Conduct enforced by the Italian government actually strengthens the divide between ‘good’ NGOs and ‘treacherous’ humanitarian actors. Thus, far from building a cohesive front, the obligation to sign the Code of Conduct produced a split among those NGOs involved in search and rescue operations.
In the meantime, the figure of the refugee at sea has arguably faded away: sea rescue operations are in fact currently deployed with the twofold task of not letting migrants drown and of fighting smugglers, which de facto entails undermining the only effective channels of sea passage for migrants across the Mediterranean. From a military-humanitarian approach that, under Mare Nostrum, considered refugees at sea as shipwrecked lives, the unconditionality of rescue is now subjected to the aim of dismantling the migrants’ logistics of crossing. At the same time, the migrant drowning at sea is ultimately not seen any longer as a refugee, i.e. as a subject of rights who is seeking protection, but as a life to be rescued in the technical sense of being fished out of the sea. In other words, the migrant at sea is the subject who eventually needs to be rescued, but not thereby placed into safety by granting them protection and refuge in Europe. What happens ‘after landing’ is something not considered within the framework of a biopolitics of rescuing and of letting drown. Indeed, the latter is not only about saving (or not saving) migrants at sea, but also, in a more proactive way, about aiming at human targets. In manhunting, Gregoire Chamayou explains, ‘the combat zone tends to be reduced to the body of the enemy’. Yet who is the human target of migrant hunts in the Mediterranean? It is not only the migrant in distress at sea, who in fact is rescued and captured at the same time; rather, migrants and smugglers are both considered the ‘prey’ of contemporary military-humanitarianism.
As I’ve explained in a different context, I’m no longer persuaded by Grégoire’s argument about the reduction of the conflict zone (‘battlefield’) to the body, but the reduction of the migrant to a body adds a different dimension to that discussion.
In the case of the eastern Mediterranean, Martina describes an extraordinary (though also all too ordinary) ‘spatial rerouting of military-humanitarianism, in which migrants [fleeing Libya] are paradoxically rescued to Libya’:
Rather than vanishing from the Mediterranean scene, the politics of rescue, conceived in terms of not letting people die, has been reshaped as a technique of capture. At the same time, the geographic orientation of humanitarianism has been inverted: migrants are ‘saved’ and dropped in Libya. Despite the fact that various journalistic investigations and UN reports have shown that after being intercepted, rescued and taken back to Libya, migrants are kept in detention in abysmal conditions and are blackmailed by smugglers, the public discussion remains substantially polarised around the questions of deaths at sea. Should migrants be saved unconditionally? Or, should rescue be secondary to measures against smugglers and balanced against the risk of ‘migrant invasion’? A hierarchy of the spaces of death and confinement is in part determined by the criterion of geographical proximity, which contributes to the sidelining of mechanisms of exploitation and of a politics of letting die that takes place beyond the geopolitical borders of Europe. The biopolitical hold over migrants becomes apparent at sea: practices of solidarity are transformed into a relationship between rescuers and drowned.
There’s much more in this clear, compelling and incisive read. A good companion is Forensic Architecture‘s stunning analysis of ‘Death by Rescue’ in The Left-to-Die Boathere and here (from which I’ve taken the image that heads this post).
The web is awash with reviews and commentaries on Christopher Nolan‘s latest film, Dunkirk. ‘A tour de force’, wroteManhola Dargis in an extended review for the New York Times:
“Dunkirk” is a World War II movie, one told through soldiers, their lived and near-death experiences and their bodies under siege. Names are generally irrelevant here; on the beach — and in the sea and air — what counts are rank, unit, skill and the operation, although more important is survival, making it through another attack and somehow avoiding exploding bombs. Mr. Nolan’s emphasis on the visceral reality of Dunkirk leaves much unsaid; even in some opening explanatory text, the enemy isn’t identified as Nazi Germany. The soldiers, of course, know exactly who they are fighting and perhaps even why, but in the field the enemy is finally the unnamed stranger trying to kill them…
Mr. Nolan’s unyielding emphasis on the soldiers — and on war as it is experienced rather than on how it is strategized — blurs history even as it brings the present and its wars startlingly into view. “Dunkirk” is a tour de force of cinematic craft and technique, but one that is unambiguously in the service of a sober, sincere, profoundly moral story that closes the distance between yesterday’s fights and today’s. Mr. Nolan closes that distance cinematically with visual sweep and emotional intimacy, with images of warfare and huddled, frightened survivors that together with Hans Zimmer’s score reverberate through your body.
It also has Hans Zimmer’s best musical score: an eerie, keening, groaning accompaniment to a nightmare, switching finally to quasi-Elgar variations for the deliverance itself. Zimmer creates a continuous pantonal lament, which imitates the dive bomber scream and queasy turning of the tides, and it works in counterpoint to the deafening artillery and machine-gun fire that pretty much took the fillings out of my teeth and sent them in a shrapnel fusillade all over the cinema auditorium.
In the Telegraph, hardly surprisingly, Robbie Collinlauds the ‘Britishness’ of the film and also (significantly) its presentness. He writes about this as an aesthetic –
there’s also something rivetingly present-tense about it all: the period detail is meticulous but never fawned over, the landscapes as crisp as if you were standing on them, the prestige-cinema glow turned off at the socket
– but, as readers of the Telegraph will surely have realised, this is also a matter of politics. In one of the most perceptive essays I’ve read on the film, Anthony Kingdescribes this sensibility as an ‘arrogant insularity’ (he intends it as a criticism, of course, but Telegraph readers probably differ). For him, Nolan seeks to ‘revive Dunkirk as a national myth in the 21st century’:
The drama focuses on five sinkings: a hospital ship, two troop ships, a fishing boat, and a Spitfire are all immersed. In each case, British soldiers or airmen have only moments to escape before they are drowned. Each sinking re-enacts the British predicament at Dunkirk: the desperate race of British soldiers to get home before they are inundated.
In this way, home — and the race for it — becomes the central motif of the entire film. The noun, “home,” recurs in the dialogue articulated by all the major actors. Indeed, the irony that soldiers in Dunkirk can practically see home with its White Cliffs and, yet, cannot reach it, is pointedly commented upon on two separate occasions. Home is the only redemption from the alienating emptiness of the French coast. Moreover, in order for British soldiers to escape, home has to come to them. No one else can save them.
(This is precisely why what Anthony calls the ‘radiant harmonies’ of Elgar’s Nimrod dissolve the dissonance noted by Peter Bradshaw to preside over – to celebrate in something like the religious sense – the climax of the film).
What is lost, in consequence, is both context and also composition. The first is intentional, and Nolan makes a good case for wanting to convey the sense in which soldiers experience war in shards, torn from any larger context. ‘That’s why we don’t see the Germans in the film,’ he says, ‘and why it’s approached from the point of view of the pure mechanics of survival rather than the politics of the event.’ As the historical adviser to the film, Joshua Levine (an historian whose work I’ve long admired) tells it:
[M]aking the threat faceless frees the event from its geopolitical ramifications –it becomes a timeless story of human survival. [Nolan] didn’t want to take a classic war film approach because in so many ways, the story of Dunkirk is not the story of a conventional battle. ‘It was death appearing from the sky,’ he says. ‘U-boats under the Channel that you can’t see. The enemy flying over and rising up through the waves to pick people off, to sink ships.’ The soldiers cannot understand their own predicament, and the audience experiences the same horror. This is why the action never leaves the beach. ‘If you’re continually showing the Germans as Germans and generals in rooms talking about strategy, you are lifting the veil.’ The audience would then be more informed than the soldiers. ‘Standing on a beach, trying to interpret what’s going on, “How do I get out of here? Should I stand in these lines? Should I go into the water?” That’s the experiential reality I want the audience to share.
But the second is, I think, unintentional. I’ve written elsewhere about the myths of the First World War that continue to stalk the British political imaginary – see ‘All white on the Western Front?’ here – and several commentators have made the same point about Dunkirk. Here is Sunny Singh in the Guardian:
What a surprise that Nigel Farage has endorsed the new fantasy-disguised-as-historical war film, Dunkirk. Christopher Nolan’s movie is an inadvertently timely, thinly veiled Brexiteer fantasy in which plucky Britons heroically retreat from the dangerous shores of Europe. Most importantly, it pushes the narrative that it was Britain as it exists today – and not the one with a global empire – that stood alone against the “European peril”.
To do so, it erases the Royal Indian Army Services Corp companies, which were not only on the beach, but tasked with transporting supplies over terrain that was inaccessible for the British Expeditionary Force’s motorised transport companies. It also ignores the fact that by 1938, lascars – mostly from South Asia and East Africa – counted for one of four crewmen on British merchant vessels, and thus participated in large numbers in the evacuation.
But Nolan’s erasures are not limited to the British. The French army deployed at Dunkirk included soldiers from Morocco, Algeria, Tunisia and other colonies, and in substantial numbers. Some non-white faces are visible in one crowd scene, but that’s it. The film forgets the racialised pecking order that determined life and death for both British and French colonial troops at Dunkirk and after it.
The Indian soldiers at Dunkirk were mainly Muslims from areas of British India that later became Pakistan. They were part of the Royal India Army Service Corps — transport companies that sailed from Bombay to Marseille. The men brought with them hundreds of mules, requested by the Allies in France because of the shortage of other means of transport. They played a significant role, ferrying equipment and supplies.
The Germans captured one Indian company and held the men as prisoners of war. Others were evacuated and made it to Britain….
The focus on Britain “standing alone” sometimes risks diminishing how the war brought pain in many places, right across the globe. The war, especially when viewed from the East, was about two empires locking horns rather than a nation taking on fascism. Above all, the narrative of a plucky island nation beating back the Germans omits the imperial dimension of the war. Many people living in the colonies were caught up in a vicious conflict beyond their control.
Britain was always dependent on the colonies — in India, Southeast Asia, Africa and the Caribbean — for men, materials and support, but never more so than in World War II. Some five million from the empire joined the military services. Britain didn’t fight World War II — the British Empire did…
The myth of Dunkirk reinforces the idea that Britain stood alone. It is a political tool in the hands of those who would separate British history from European history and who want to reinforce the myths that underpin Brexit.
Ironically, in Joshua Levine‘s Forgotten voices of Dunkirk those other voices are absent – forgotten – too.
There are several other commentaries that sharpen similar points – see, for example, Yasmin Khan again here [and more generally her The Raj at War: a people’s history of India’s Second World War], Ishaan Taroor here and Robert Fisk here (for a clumsy attempt to blunt those points, see Franz Stefan-Gadyhere); also the contributions to We Were There Too – but I’ll end with these observations from John Broich:
In the film, we see at least one French soldier who might be African. In fact, soldiers from Morocco, Algeria, Tunisia, and elsewhere were key to delaying the German attack. Other African soldiers made it to England and helped form the nucleus of the Free French forces that soon took the fight to the Axis.
The latter has been much on my mind because for much of the summer I’ve been in the archives immersed in medical care and casualty evacuation in both those theatres.
But I’ll leave that for another post, because I want to close with a reminder that – given what I’ve been saying about the ‘present-ness’ of Dunkirk – there is at least one other version that should be brought into focus. And for that you need to read Jacob Albert on ‘The Fire in Dunkirk‘ at Guernica. Here he is describing young Kurdish refugees – about the same age, I suspect, as many of those soldiers on the beach in 1940 – stranded in a camp outside Dunkirk (it burned down after he left):
Sometimes, they went to English class, offered four times a day in a damp Red Cross tent. I taught there occasionally. Everyone took their shoes off when they entered, but kept their coats. The head teacher was an Englishman with stinking socks who asked his pupils several times each week, since they were always vanishing and new ones always arriving: “Where? Is? The? Statue? Of Liberty?”
Everyone loved that one, even though no one was heading for the United States, because the Statue of Liberty is like Coca-Cola: both universal symbols, one of immigrant striving, the other of friendship and global happiness.
“Amrika! Atlantic! New York! California!” they’d shout. The teacher would smile and ask: “What does the Statue of Liberty rep-re-sent?” And the young men would look at him with glazed eyes, because they truly could never understand this guy, never felt like they were learning any English, and the English teacher would hem and haw: “What does it mean? What does it sym-bo-lize?” until finally, someone who spoke a little English, someone who had a brother in Leeds, would explain to the others, in Kurdish, what the guy meant, and everyone would shout: “Amrika! Freedom! Money! Barack Obama!” and the English teacher with the stinking socks would nod somberly at each and every one of them, and say, “It represents a Warm Welcome. Which I know doesn’t feel like the case. So, to better times, guys. To better times.” And with that, the English teacher would clap his hands, and the bored young men would stream out into the wind or rain…
There was nothing for them to do but think of leaving. That’s how anyone endured anything: boredom, filth, cold, fear. You can endure anything if you’re on your way to somewhere else.
In this case, it was England, which I discovered wondrous new things about. I learned that the Brits had an incredible welfare system, the best in Europe. I learned that minimum wage there was higher than in France. I learned that once you received British asylum, you were given a free house. I was told that the UK was full of good jobs, that it was less racist than any other European nation. That none of this was true didn’t dampen anybody’s incredible enthusiasm for the place. …
There were convincing reasons, too, with some basis in reality, for this fevered dreaming of Britain, which I had a hard time squaring with what these hopeful Kurds were putting themselves through to get there. It is easier to live invisibly in Britain, on the margins of things, than in France. In Britain, you don’t have to carry around photo ID. In Britain, you can easily find work in a kitchen or on a construction crew, if you’re open to being paid a pittance.
But facts are one thing, and narratives, another. The city of Dunkirk itself looms large in British mythology because of this very split. Over the course of one miraculous week in 1940, the British Navy managed to evacuate 340,000 Allied troops trapped on its beaches as the Germans drew close. Yet a few days later, Churchill delivered his rousing speech on the British virtues of endurance and determination (“We shall fight on the beaches, we shall fight on the landing grounds. . .”), and Dunkirk, the site of failure averted, was turned into one of national victory. It was Britain that now occupied such a place in the story of Kurdish exile.
You may think I’m making too much of this. But when Joshua Levine asked him about ‘modern parallels’, Christopher Nolan explained that he saw his film as ‘a survival story’ and continued:
One of the great misfortunes of our time, one of the horrible, unfortunate things with the migrant crisis in Europe, is that we are dealing once more with the mechanics and the physics of extraordinary numbers of people trying to leave one country on boats and get to another country. It’s a horrible resonance but it’s very easy in our technologically advanced times to forget how much basic physics come into play. Reality is insurmountable. If you have a vast number of people in one place and they need to get someplace else and they can’t fly and they have to get on boats –to overcrowd the boats, with that human desire for survival . . . it’s unthinkably horrible to see it on our front pages in this modern day and age. But it’s there. With that going on in the world today, I don’t think you can in any way dismiss the events of Dunkirk as being from another world or another era.
At a wonderful conference earlier this year in Roskilde I heard a stunning presentation about cross-cultural encounters and everyday racism on board Bus 5A in Copenhagen:
‘With more than 65,000 passengers a day, bus 5A is the busiest route in Copenhagen and the Nordic countries. Day and night, the bus cuts through the streets and connects different parts of the city. Bus 5A is iconic and loved, but also hated among bus drivers who have named it ‘the suicidal’ route and in everyday language refer to it as ‘Slamsugeren’ (suction vehicle) because it transports all kinds of people and connects many different places in the city. The bus starts in the suburb (Husum) and connects the multicultural part of Copenhagen (Nørrebro) with the more gentri ed inner city and the outskirts of Copenhagen, ending at the airport.’
The paper, by Lasse Koefoed, Mathilde Dissing Christensen and Kirsten Simonsen – which has been published in Mobilities (and from where I’ve borrowed these quotations) – describes a series of tactics pursued by passengers (and drivers) on the bus; for example:
‘… the dominant picture of the bus more often involves what we could call ‘the little racism’. A Pakistani immigrant describes this to us with a strong use of body language. He looks askance and moves a bit away from an imagined person next to him, wrinkles up his nose and says,‘Ashh’, in this way performing distanciation. Another respondent confirms this impression by telling: ‘You can feel it on the Danes, in particular when it is crowded’. She has difficulties finding words but talks about discomfort and anger. She is aware that she cannot rule herself out from the feeling:
I can see that I actually do it a bit myself. When a group of young immigrants enters the bus, then I strengthen my hold on my backpack or my bag. (Charlotte, passenger)
She recognises that it must be an unpleasant experience for the young men and feels a bit guilty, but she ‘tries to do it a little discreet[ly]’. What is at stake here is a sensing of an affective space, the more passive side of emotional experience, where emotions such as fear, discomfort, anger and disgust are circulating in the intense atmosphere of the crowded bus. This affective space is also at work as a background when young boys, asked about visions for the future, develop a utopia of a bus without racism.’
It’s a stimulating and provocative read, and it’s been on my mind for months since. But it’s given a startling immediacy today by the new that Amnesty International has plastered a tank on the side of a Copenhagen bus. Adweekreports:
The wrap makes a city bus look like a tank prowling the streets. “This is everyday life in Aleppo,” says the headline on the side, referring to the Syrian city devastated by the country’s civil war….
The idea is to remind people that while the Islamic State has left Aleppo [that’s a sentence that requires a good deal of qualification: to attribute the horrors of the siege of Aleppo to IS is not so much shorthand as sleight of hand], the Syrian war continues. The ad is also designed to raise awareness of refugees’ right to security from war and persecution.
“Everyone has the right to safety—also refugees,” says Claus Juul, legal consultant for Amnesty International. “It can be difficult to imagine what it is like to be human in a city, where one daily fears for one’s own and loved ones lives. Therefore, we have brought the everyday life of Aleppo to Copenhagen’s summer cityscape, so we, Danes, have the opportunity to face Syria’s brutal conflict.”
You need to see the short animation here or here to get the effect.
In the wake of the Trump administration’s shock at the non-existent Bowling Green Massacre, its fabricated comments on immigrants, refugees and crime in Sweden (for the record, I’ve been to Rinkeby in the company of Nordic geographers, and I also have Allan Pred‘s brilliant Even in Sweden on my shelves: and I’d also recommend Gavan Titley‘s elegant ‘Swedens of the mind‘ over at Critical Legal Thinking), and – in spectacular contrast – Trump’s sullen silence over attacks on immigrants, refugees and Muslims that did happen, The Bureau of Investigative Journalism has just published an important and incisive take-down of a map that went viral (the mot juste) in 2016.
Its reporters explain:
Last year, an anonymously-produced map started to make its way around German social media. It claimed to show viewers the spread of “refugee and migrant crime” throughout Germany.
Unlike some of the lurid tales of migrant depravity that have circulated in Germany in recent months and turned out to be false, the interactive map seemed professionally put together. Each pin on it correlated to a police or media report of a crime (“we don’t document cases simply on the basis of hearsay”, its makers claimed).
The map, called XY-Einzelfall (a sarcastic riposte to the idea each migrant crime is simply an ‘isolated case’ – Einzelfall in German) was viewed more than four million times.
One of the XY-Einzelfall (XYE) social media followers tweeted over 80 times as new crimes were added to the map: “The time’s coming when Germans will need to carry guns for self-protection.”
But analysis of the map’s methodology by the Bureau of Investigative Journalism shows that it is systematically misleading, often attributing crimes to migrants or refugees on the basis of nothing more than a witness statement that the perpetrator was “dark-skinned” or “southern”. On top of this, the project vastly overstates the figures on migrant crime through skewed use of statistics.
Tracing the map’s presence on social media also shows it to be far from politically neutral. An account in XYE’s name on the Russian social media site VKontakte is rife with the kind of pro-Trump pro-Putin memes which have become the signature of the global alt-right. These are also the dominant affiliations of the Twitter accounts promoting the map. Overtly racist and xenophobic memes are also commonplace.
Most readers – especially those familiar with the stream of work set in motion by Brian Harley – will not be surprised to find that the map’s authors summon the supposed objectivity and facticity of cartography as a legitimating device:
The map’s creators like to portray their approach as scientific, mimicking the language of academics and think tanks. In January they released a “7-day analysis of published police reports”, with a breakdown of crimes by groups of different origins and a headline suggesting that 84% of crimes were committed by migrants.
In fact, the 84% figure is completely misleading. The map makers have stripped out all crimes in which the perpetrators’ background is not mentioned from their calculation. The true percentage of crimes in this period committed by migrants – according to XYE’s own data – is 13%. There is a further 13% of crimes which the XYE say are ‘probably’ committed by migrants.
We looked at how XYE decide that each pin on the map represents a crime which could have been committed by migrants. They comb police and media reports and pull out descriptions of perpetrators. We found that almost two-thirds of their reported offenders fell into the categories of “dark-skinned”, “southern-looking”, “foreigner” or “refugee”.
We then selected a random sample of 100 reports within each of these four categories for closer analysis. We found that in nearly all cases where the perpetrator was described as “dark-skinned” or “southern”, there was no evidence in the sources positively identifying them as a migrant or refugee. This was also true of the overwhelming majority of cases where the offender was described as a “foreigner”.
I’m en route to Vancouver, so forgive the brevity of this notice of such an important issue.
Richard Mosse‘s Incoming opensat the Barbican Art Centre in London on 17 February and runs until 23 April. In collaboration with composer Ben Frostand cinematographer Trevor Tweeten, Richard has created an immersive multi-channel video installation (shown across three 26-foot wide screens) that turns military technology against itself – using a camera ‘that sees as a missile sees’ – to show the journeys of refugees (hence the artful title). He explains :
I am European. I am complicit. I wanted to foreground this perspective in a way, to try to see refugees and illegal immigrants as our governments see them. I wanted to enter into that logic in order to create an image that reveals it. So I chose to represent these stories, really a journey or series of journeys, using an ambivalent and perhaps sinister new European weapons camera technology. The camera is intrusive of individual privacy, yet the imagery that this technology produces is so dehumanized – the person literally glows – that the medium anonymizes the subject in ways that are both insidious and humane. Working against the camera’s intended purpose, my collaborators and I listened carefully to the camera, to understand what it wanted to do — and then tried to reconcile that with these harsh, disparate, unpredictable and frequently tragic narratives of migration and displacement.
If you can’t get to it, there is a book version from Mack:
The major humanitarian and political issue of our time is migration and with his latest video work, Irish artist Richard Mosse has created a searing, haunting and unique artwork. Projected across three 8 meter wide screens, the film is accompanied by a loud dissonant soundtrack to create an overwhelming, immersive experience. Moving from footage of a live battle inside Syria, in which a US aircraft strafes Daesh positions on the ground, to a scene showing pathologists extracting DNA from the bones of unidentified corpses of refugees drowned off the Aegean island of Leros, the film opens a testimonial space of historical document – bearing witness to significant chapters in recent events – mediated through an advanced weapons-grade camera technology. Narratives of the journeys made by refugees and migrants across the Middle East, North Africa, and Europe, are captured using an extremely powerful thermal camera not generally available to the public. This super-telephoto military camera can perceive the human body beyond 50km day or night, reading the biological trace of human life. The camera translates the world into a heat signature of apparent temperature difference, producing a dazzling monochrome halo-image which alludes literally and metaphorically to hypothermia, climate change, weapons targeting, border surveillance, xenophobia, and the ‘bare life’ of stateless people.
The book version recreates the immersive nature of the film, combining still images from the entire sequence over nearly 600 pages to represent the harsh and compelling narrative in a full bleed layout.
A related exhibition of Richard’s photographs from the same body of work – entitled Heat Maps – has opened at the Jack Shainman Gallery in New York. At the New YorkerMax Campbelldescribes the exhibition like this:
[U]sing a new “weapon of war,” as he describes it, Mosse captured encampment structures, servicemen, border police, boats at full capacity, and migrants of all ages. Mosse would spend time in the refugee camps before photographing, and some of the migrants sheltered there helped him to arrange his shots. But in the images his subjects are always seen at a distance, photographed from an above-eye-level perspective. Each “Heat Map” was constructed from hundreds of frames shot using a telephoto lens; a robotic system was used to scan the landscapes and interiors and meticulously capture every corner…
By adopting a tool of surveillance, Mosse’s photographs consciously play into narratives that count families as statistics and stigmatize refugees as potential threats. He recognizes that operating the infrared camera entails brushing up against the violent intentions with which the device has been put to use. “We weren’t attempting to rescue this apparatus from its sinister purpose,” he said. Instead, his project acts as a challenge. The people in his images appear as inverted silhouettes, sometimes disjointed, torn by the time passing between individual frames. The thermal readouts rub features out of faces and render flesh in washy, anonymous tones. Someone lays back on a cot, looking at a cell phone. Someone else hangs laundry. We can imagine what these people might look like in person, guess at the expressions on their faces or the color of their skin. Yet seeing them in Mosse’s shadowy renderings erases the lines that have been drawn between refugees, immigrants, natives, citizens, and the rest. His camera makes little distinction between the heat that each body emits.
Heat Maps was shown in Berlin last year, where the links with the work of Michel Foucaultand Giorgio Agamben were made explicit:
Heat Maps attempts to foreground the biopolitical aspects of the refugee and migration situation that is facing Europe, the Middle East and North Africa. The project charts refugee camps and other staging sites using an extreme telephoto military grade thermographic camera that was designed to detect and identify subjects from as far away as fifty kilometers, day or night.
The camera itself is export controlled under the International Traffic in Arms Regulations — it is regarded as a component in advanced weapons systems and embargoed as such — and was designed for border surveillance and regulation. It can be seen as a technology of governance, a key tool in what Foucault and Agamben have described as biopower. It is an apparatus of the military-humanitarian complex.
The camera translates the world into a heat signature of relative temperature difference, literally reading the biological trace of human life – imperceptive of skin colour – as well as proximity to death through exposure or hypothermia, even from a great distance. The living subject literally glows, and heat radiation creates dazzling optical flare.
Instead of individuals, the camera sees the mass — in Foucault’s words: massifying, that is directed not as man-as-body, but as man-as-species. It elicits an alienating and invasive form of imagery, but also occasionally tender and intimate, tending to both dehumanize and then rehumanize the bare life (Agamben) of the human figure of the stateless refugee and illegal economic migrant, which the camera was specifically designed to detect, monitor, and police.
The camera is used against itself to map landscapes of global displacement and more powerfully represent ambivalent and charged narratives of migration. Reading heat as both metaphor and index, these images attempt to reveal the harsh struggle for human survival lived daily by millions of refugees and migrants, seen but overlooked by our governments, and ignored by many.
You can find out more from a helpful interview with Iona Goulder which puts these twin projects in the context of Richard’s previous work in the Congo (see here and here). En route, Richard says this:
Reading heat as both metaphor and index, I wanted to reveal the harsh struggle for survival lived daily by millions of refugees and migrants, while investigating one of the sinister technologies that our governments are using against them.
By attaching this camera to a robotic motion-control tripod, I scanned refugee camps across Europe from a high eye-level, to create detailed panoramic thermal images. Each artwork has been painstakingly constructed from a grid of almost a thousand smaller frames, each with its own vanishing point.
Seamlessly blended into a single expansive thermal panorama, I was surprised to find that some of the resulting images seem to evoke the spatial description, minute detail, and human narratives of certain kinds of classical painting, such as Breughel or Bosch. Yet they are also documents disclosing the fence architecture, security gates, loudspeakers, food queues, tents and temporary shelters of camp architecture. Very large in scale, these Heat Maps disclose intimate details of fragile human life in squalid, nearly unliveable conditions in the margins and gutters of first world economies.
At Galway I gave a new presentation on ‘Surgical strikes and modern war’, describing and analyzing the ways in which hospitals and ambulances, doctors and nurses have become targets of military violence; it drew on my new series of posts (see here and here), and there will be more to come on both Kunduz and on Syria (which was my main focus), but you can find a preliminary account of the whole event from Alex Jeffrey here.
My starting point was the modern space of exception seen not as ‘the camp‘, as Giorgio Agamben would have it, but as the killing fields of contemporary military and paramilitary violence (what would once have been called ‘the battlefield‘). For these are spaces in which groups of people are knowingly and deliberately exposed to death through the removal of legal protections that would ordinarily be afforded them; and yet these are not spaces in which the law is suspended tout court, spaces from which the law withdraws and abandons the victims of violence to their fate, but rather spaces in which law – and specifically international humanitarian law – seeks to regulate and, crucially, to sanction violence. This is a form of martial law that Agamben never considers (I know I am taking liberties with that term, but that is precisely my point): here as elsewhere violence exists not only beyond the law but is inscribed within it. My purpose was to show how what was once a sacred space within this zone of exception – ‘the hospital’, a topological figure that extends from the body of the wounded through the sites of the evacuation chain to the hospital itself – has become corroded; no longer a space of immunity – of safety – an exception to the exception, it has often become a central target of contemporary violence.
The need to pull all this together largely explains my silence these last weeks, and a lot has happened in the interim. Where to start? A good place is the latest issue of Radical Philosophy, the last in its present form, which includes two essays of direct relevance to the theme of the Galway conference.
First, an important essay by Achille Mbembe on ‘The Society of Enmity’ which you can download here:
Desire (master or otherwise) is also that movement through which the subject – enveloped on all sides by a specific phantasy [fantasme] (whether of omnipotence, ablation, destruction or persecution, it matters little) – seeks to turn back on itself in the hope of protecting itself from external danger, while other times it reaches outside of itself in order to face the windmills of the imagination that besiege it. Once uprooted from its structure, desire then sets out to capture the disturbing object. But since in reality this object has never existed – does not and will never exist – desire must continually invent it. An invented object, however, is still not a real object. It marks an empty yet bewitching space, a hallucinatory zone, at once enchanted and evil, an empty abode haunted by the object as if by a spell.
The desire for an enemy, the desire for apartheid, for separation and enclosure, the phantasy of extermination, today all haunt the space of this enchanted zone. In a number of cases, a wall is enough to express it. There exist several kinds of wall, but they do not fulfil the same functions.  A separation wall is said to resolve a problem of excess numbers, a surplus of presence that some see as the primary reason for conditions of unbearable suffering. Restoring the experience of one’s existence, in this sense, requires a rupture with the existence of those whose absence (or complete disappearance) is barely experienced as a loss at all – or so one would like to believe. It also involves recognizing that between them and us there can be nothing that is shared in common. The anxiety of annihilation is thus at the heart of contemporary projects of separation.
Everywhere, the building of concrete walls and fences and other ‘security barriers’ is in full swing. Alongside the walls, other security structures are appearing: checkpoints, enclosures, watchtowers, trenches, all manner of demarcations that in many cases have no other function than to intensify the zoning off of entire communities, without ever fully succeeding in keeping away those considered a threat.
You can already surely hear the deadly echoes of Carl Schmitt – whose spectral presence lurked in the margins of my own presentation in Galway (for geographical elaborations of Schmitt, see Steve Legg‘s Spatiality, sovereignty and Carl Schmitt and Claudio Minca and Rory Rowan‘s On Schmitt and space) – and Achille makes the link explicit:
This is an eminently political epoch, since ‘the specific political distinction’ from which ‘the political’ as such is defined – as Carl Schmitt argued, at least – is that ‘between friend and enemy’. If our world today is an effectuation of Schmitt’s, then the concept of enemy is to be understood for its concrete and existential meaning, and not at all as a metaphor or an empty lifeless abstraction. The enemy Schmitt describes is neither a simple competitor, nor an adversary, nor a private rival whom one might hate or feel antipathy for. He is rather the object of a supreme antagonism. In both body and flesh, the enemy is that individual whose physical death is warranted by their existential denial of our own being.
However, to distinguish between friends and enemies is one thing; to identify the enemy with certainty is quite another. Indeed, as a ubiquitous yet obscure figure, today the enemy is even more dangerous by being everywhere: without face, name or place. If they have a face, it is only a veiled face, the simulacrum of a face. And if they have a name, this might only be a borrowed name, a false name whose primary function is dissimulation. Sometimes masked, other times in the open, such an enemy advances among us, around us, and even within us, ready to emerge in the middle of the day or in the heart of night, every time his apparition threatening the annihilation of our way of life, our very existence.
Yesterday, as today, the political as conceived by Schmitt owes its volcanic charge to the fact that it is closely connected to an existential will to power. As such, it necessarily and by definition opens up the extreme possibility of an infinite deployment of pure means without ends, as embodied in the execution of murder.
Introduction – L’épreuve du monde 1. La sortie de la démocratie
Retournement, inversion et accélération
Le corps nocturne de la démocratie
La consumation du divin
Nécropolitique et relation sans désir 2. La société d’inimitié
L’ennemi, cet Autre que je suis
Les damnés de la foi
Nanoracisme et narcothérapie 3. La pharmacie de Fanon
Le principe de destruction
Société d’objets et métaphysique de la destruction
Décolonisation radicale et fête de l’imagination
La relation de soin
Le double ahurissant
La vie qui s’en va 4. Ce midi assommant
Impasses de l’humanisme
L’Autre de l’humain et généalogies de l’objet
Le monde zéro
Capitalisme et animisme
Émancipation du vivant
Conclusion. L’éthique du passant
Second, an essay by Mark Neocleous and Maria Kastrinou, ‘The EU hotspot: Police war against the migrant’, which you can download here. They start by asking a series of provocative questions about the EU strategy of ‘managing’ (read: policing) migration through the designation of ‘hotspots’ in which all refugees are to be identified, registered and fingerprinted:
There is no doubt that in some ways the term ‘hotspot’ is meant to play on the ubiquity of this word as a contemporary cultural trope, but this obviousness may obscure something far more telling, something not touched on by the criticisms of the hotspots, which tend to focus on either their squalid conditions or their legality (for example, with routes out of Greece being closed off migrants are in many ways being detained rather than registered; likewise, although ‘inadmissibility’ is being used as the reason to ship migrants back to Turkey, in reality ‘inadmissibility’ often means nothing other than that the political and bureaucratic machine is working too slowly to adequately process asylum claims). Neither the legality nor the sanitary state of the hotspot is our concern here. Nor is the fact that the hotspots use identification measures largely as instruments of exclusion. Rather, we are interested in what the label ‘hotspot’ might tell us about the way the EU wants to manage the crisis. What might the hotspot tell us about how the EU imagines the refugee? But also, given that the EU’s management of the refugee crisis is a means for it to manage migration flows across Europe as a whole, what might the hotspot tell us about how the EU imagines the figure of the migrant in general?
You can find an official gloss (sic) on hotspots here (and more detail here), critical readings by Frances Webberhere and Glenda Garelli and Martina Taziollihere, and NGO responses from Oxfam here and Caritas here. The Bureau of Investigative Journalism also has a useful report on Frontex, the EU’s border agency, here.
Here is the kernel of Mark’s and Maria’s answer to their questions – and you will see see the link with Achille’s essay immediately:
For every police war, an enemy is needed. Defining the zones as hotspots suggests that migrants have arrived as somehow already ‘illegal’ in some way, enabling them to be situated within the much wider and never-ending ‘war on crime’. Yet this process needs to be understood within the wider practice of criminalizing breaches of immigration law in western capitalist polities over the last twenty years, as individual states and the state system as a whole have increasingly sought to make the criminal law work much more closely with immigration law: ‘crimmigration’, as it has become known, means that criminal offences can now very easily result in deportation, while immigration violations are now frequently treated as criminal offences. Concerning the UK, for example, Ana Alivertihas noted that ‘the period between 1997 and 2009 witnessed the fastest and largest expansion of the catalogue of immigration crimes since 1905’. This expansion serves to further reinforce the conception of the migrant as already tainted by crime, as the figure of the criminal and the figure of the migrant slowly merge. The term ‘illegal immigrant’ plays on this connection in all sorts of ambiguous ways. Indeed, it is significant that the very term ‘illegal immigrant’ has over the same period replaced the term ‘undocumented migrant’, so that a figure once seen as lacking papers is seen now as lacking law.
However, the fact that migrants arriving in the EU hotspots do so as propertyless (or at least apparently so) subjects adds a further significance. Why? Because by arriving propertyless the historical figure to which the migrant is most closely aligned is as much the vagrant as the criminal. Aliverti’s reference to 1905 is a reference to the Aliens Act of that year, in which any ‘alien’ landing in the UK in contravention of the Act was deemed to be a rogue and vagabond. The Act was underpinned by making such ‘aliens’ liable to prosecution under section 4 of the Vagrancy Act of 1824, usually punishable in the form of hard labour in a house of correction. As Aliverti puts it, ‘in view of the similarities between the poor laws and early immigration norms, it is no coincidence that the first comprehensive immigration legislation in 1905 penalized the unauthorized landing of immigrants with the penalties imposed on “rogues and vagabonds” and vagrancy was one of the grounds for expulsion of foreigners.’ In the mind of the state, the vagrant is the classic migrant, just as migrants arriving in the hotspots are increasingly coming to look like and be treated as the newest type of vagrant. In the mind of the state, the propertyless migrant is a kind of vagrant-migrant (which is of course one reason why welfare and migration are so frequently connected).
Vagrancy legislation has always been the ultimate form of police legislation: it criminalizes a status rather than an act (the offence of vagrancy consists of being a vagrant); it gives utmost authority to the police power (the accusation of vagrancy lies at the discretion of the police officer); and it seeks not to punish a crime as such but to instead eliminate what are regarded as threats to social order (as in section 4 of the UK’s Vagrancy Act of 1824, which enables people to be arrested and punished for being ‘idle and disorderly’, for ‘being a rogue’, for ‘wandering abroad’ or for simply ‘not giving a good account of himself or herself’; note the present tense used – section 4 of the Act of 1824 is still in operation in the UK).
And in case the links with ‘The society of enmity’ are still opaque, I leave the last word to Achille:
Hate movements, groups invested in an economy of hostility, enmity, various forms of struggle against an enemy – all these have contributed, at the turn of the twenty-first century, to a significant increase in the acceptable levels and types of violence that one can (or should) inflict on the weak, on enemies, intruders, or anyone considered as not being one of us. They have also contributed to a widespread instrumentalization of social relations, as well as to profound mutations within contemporary regimes of collective desire and affect. Further, they have served to foster the emergence and consolidation of a state-form often referred to as the surveillance or security state.
From this standpoint, the security state can be seen to feed on a state of insecurity, which it participates in fomenting and to which it claims to be the solution. If the security state is a structure, the state of insecurity is instead a kind of passion, or rather an affect, a condition, or a force of desire. In other words, the state of insecurity is the condition upon which the functioning of the security state relies in so far as the latter is ultimately a structure charged with the task of investing, organizing and diverting the constitutive drives of contemporary human life. As for the war, which is supposedly charged with conquering fear, it is neither local, national nor regional. Its extent is global and its privileged domain of action is everyday life itself. Moreover, since the security state presupposes that a ‘cessation of hostilities’ between ourselves and those who threaten our way of life is impossible – and that the existence of an enemy which endlessly transforms itself is irreducible – it is clear that this war must be permanent. Responding to threats – whether internal, or coming from the outside and then relayed into the domestic sphere – today requires that a set of extra-military operations as well as enormous psychic resources be mobilized. The security state – being explicitly animated by a mythology of freedom, in turn derived from a metaphysics of force – is, in short, less concerned with the allocation of jobs and salaries than with a deeper project of control over human life in general, whether it is a case of its subjects or of those designated as enemies.
Brian Foois a programmer and visual artist who has been conducting a series of music experiments at Date Driven DJ that combine data, algorithms, and borrowed sounds. His video below (screenshot above), ‘Distance from home‘, which is also available on vimeo, uses refugee data from the United Nations from 1975 to 2012 to create a truly remarkable audio visualization.
Each year between 1975 and 2012 correlates to a 4-second segment in the song.
The annual global aggregate volume of refugee migration controls the quantity of instruments playing. The higher the volume of refugee migration, the more instruments are added to the song.
The annual average distance of refugee migration controls the duration and pitch of the instruments. Longer distances yield instruments that play longer and lower-pitch notes (e.g. long distances: , short distances: ).
The annual amount of countries with 1000+ refugees control the variety of instruments playing, where the more countries with 1000+ refugees, the more variety of instruments are playing in the song.
Thanks to Jaimie for bringing this project to my attention – which assumes a new significance as so many politicians and commentators foment fear, anger and rejection towards refugees seeking to escape war, misery and violence. For a counterpoint, try this.
At a time when the plight of refugees from the wars in Iraq, Syria, Libya, Somalia and elsewhere is – at last – commanding the attention of a global audience, it’s important not to forget other refugees: including those from Palestine. Al-Haq, which co-sponsored the infographic above, explains:
August 26, 2015 marked the first anniversary of Israel’s offensive on the Gaza Strip, during which 2,219 Palestinians were killed. However, a large part of the story is left untold. Over half of those killed were refugees who were displaced from their homes in Yafa, Salama, Isdud, and many other villages and towns, as a result of and following the Nakba [‘catastrophe’] in 1948. The majority of those killed lived in refugee camps in the Gaza Strip within a 30 mile (50 km) radius of their homes of origin. A total of 1,236 refugees were killed during the 2014 offensive, including at least 309 children.
This infographic visually represents the untold story of Gaza’s refugees. Created by Visualizing Palestine in collaboration with four Palestinian human rights organizations, Al-Haq, the Al Mezan Centre for Human Rights, the Palestine Centre for Human Rights, and Al-Dameer Association for Human Rights, who launched a joint campaign to document Israel’s attacks during the 2014 offensive against the Gaza Strip.
For Palestinian refugees, the Nakba did not end in 1948, as they have experienced a continued denial of justice. There are 1.3 million refugees residing in Gaza who are spread over eight refugee camps, making up almost three quarters of the total population of the Gaza Stip. Refugees residing in Gaza have faced multiple consequent internal displacements due to Israeli policies, including Israel’s three military offensives against Gaza over the last six years. Israel’s deadly military operations, as well as its eight-year closure of Gaza have had devastating effects on the entire population in Gaza. While all Palestinians in Gaza endure harsh living conditions, including irregular electricity and water supplies, these issues are even more acute in the refugee camps.
[T]here is much at stake in all of this, in rendering the Nakba an event of the past, a fact on the ground that one cannot but accept, admit, and finally transcend; indeed that in order to move forward, one must leave the Nakba behind. Some have even suggested that if Israel acknowledges and apologizes for the Nakba, the Palestinians would forgive and forget, and the effects of the Nakba would be relegated to historical commemorations, not unlike the one we are having this year.
In my view, the Nakba is none of these things, and the attempt to make this year  the 60th anniversary of the Nakba’s life and death is a grave error. The Nakba is in fact much older than 60 years and it is still with us, pulsating with life and coursing through history by piling up more calamities upon the Palestinian people… Much as the world would like to present Palestinians as living in a post-Nakba period, I insist that we live thoroughly in Nakba times. What we are doing this year is not an act of commemorating but an act of witnessing the ongoing Nakba that continues to destroy Palestine and the Palestinians. I submit, therefore, that this year is not the 60th anniversary of the Nakba at all, but rather one more year of enduring its brutality; that the history of the Nakba has never been a history of the past but decidedly a history of the present.
The Institute for Economics and Peacehas issued its Global Peace Index for 2014. There are all sorts of problems in calculating indices like these – and interpreting them (as you can see if you read some of the press releases and reports surrounding the publication of the GPI) – and in this case:
The Global Peace Index is a composite index comprised of 23 qualitative and quantitative indicators that gauge the level of peace in 162 countries. These indicators can be grouped into three broad themes: the level of safety and security in a society, the number of international and domestic conflicts and the degree of militarisation.
Crunching the numbers, the Institute concludes that
Syria remains the world’s least peaceful country, followed by Iraq and Afghanistan. The country that suffered the most severe deterioration in peace was Libya, which now ranks 149th of 162 countries. Ukraine suffered the second largest deterioration…
Its President, Steve Killelea, explained that:
2014 was marked by contradictory trends: on the one hand many countries in the OECD achieved historically high levels of peace, while on the other, strife-torn nations, especially in the Middle East, became more violent.
What the Report doesn’t pursue are the close links between those two trends; and when you look at the map you will soon realise that being ‘peaceful’ is not the same thing as not being belligerent… But the Report does emphasise the absurdist cost of all this violence (while noting that much more is at stake than money): ‘The economic impact of violence reached a total of US$14.3 trillion or 13.4% of global GDP last year.’ You can download the full Report here or find the interactive map (screenshot at the head of this post) here. On the same day, the United Nations High Commissioner for Refugees published different maps in World at War that provide a radically different calculus of the cost of such violence. Writing in the New York TimesSomini Senguptareports:
Nearly 60 million people have been driven from their homes by war and persecution, an unprecedented global exodus that has burdened fragile countries with waves of newcomers and littered deserts and seas with the bodies of those who died trying to reach safety. The new figures, released Thursday by the United Nations refugee agency, paint a staggering picture of a world where new conflicts are erupting and old ones are refusing to subside, driving up the total number of displaced people to a record 59.5 million by the end of 2014, the most recent year tallied. Half of the displaced are children. Nearly 14 million people were newly displaced in 2014, according to the annual report by the Office of the United Nations High Commissioner for Refugees. In other words, tens of thousands of people were forced to leave their homes every day and “seek protection elsewhere” last year, the report found. That included 11 million people who scattered within the borders of their own countries, the highest figure ever recorded in the agency’s 50-year history. Tens of millions of others fled in previous years and remain stuck, sometimes for decades, unable to go home or find a permanent new one, according to the refugee agency. They include the more than 2.5 million displaced in the Darfur region of Sudan, and the 1.5 million Afghans still living in Pakistan.
And the map reveals a starkly different bi-polar geography to the division highlighted by the GPI:
When refugees flee their own countries, most of them wind up in the world’s less-developed nations, with Turkey, Iran and Pakistan hosting the largest numbers. One in four refugees now finds shelter in the world’s poorest countries, with Ethiopia and Kenya taking many more refugees than, say, Britain and France. As the report states, “the global distribution of refugees remains heavily skewed away from wealthier nations and towards the less wealthy.”
I’m just back from Beirut, and trying to catch up. Every day I went for a walk along the Corniche, and on the second morning a young Syrian boy asked if he could clean my shoes. I was wearing trainers, but told him that I’d pay him anyway and he could clean my shoes next time I came out; he refused to take the money until I had agreed where and when I would present myself for the service. Heart-warming and hear-breaking, and I can’t get him out of my mind. So here is a quick up-date on the situation (see also my previous posts here and here).
It visualizes the approximately 74,000 people who died from March 2011 to November 2013. Every flare represents the death of one or more people, the most common causes being shooting, shelling, and field execution. The brighter a flare is, the more people died in that specific time and place. The data used are drawn from the Violations Documentation Center (VDC), the documentation arm of the Local Coordination Committees in Syria which has been one of the eight sources on which HRDAG has based its count. In a June 2013 report, HRDAG cited VDC as the most thorough accounting of casualties in Syria, though the dataset has been found to contain some inconsistencies…
What the map demonstrates is the escalation of the conflict — with data from March 2011 through the VDC’s Nov. 21, 2013 report — and its quick descent from being a smattering of violence to a multi-front war with militias challenging the military (and other militias) almost everywhere at once. What it can’t show, of course, is the horror and destruction of this war.
My image is just a screen grab, of course, so you need to visit the original to see the overall, devastating effect.
For more detail, I recommend Syria Deeply, a new digital platform that attempts to combine citizen journalism with professional analysis; there’s a profile of the project at start-up over at Fast Companyhere and a more recent commentary from its founder Lara Setrakianhere. I think there are lessons to be learned here about the way publics can be created and brought to engage with conflicts, and that goes for academics as well as journalists.
Second, it’s much harder to find information about those who have been wounded in the conflict – one of my present preoccupations: see here and here – but while I was in Beirut Lebanon’s Daily Star published an interesting report on NGOs working in the borderlands to treat casualties from the war zone. In the Bekaa Valley the International Committee of the Red Cross has treated over 700 people since 2012, while a 20-bed clinic run by Lebanon’s Ighatheyya has treated 135 people since it opened five months ago in Kamed al-Loz. The casualties include pro- and anti-Assad fighters (according to the ICRC, ‘When we know the patients are from opposing sides we separate them by placing them on different floors … We make sure they don’t know the other is there’) and civilians alike. Many of them are suffering from infected wounds because they were initially treated in makeshift facilities in tents or private houses, which is why the perilous journey across the border is so vitally important. Neither the ICRC nor Ighatheyya make cross-border runs. The Star‘s reporters explain:
Many patients are lawfully retrieved from the border by the Lebanese Red Cross, who then take them to a number of cooperating hospitals across the Bekaa Valley for treatment. According to a well-informed source, the ICRC has contracted four hospitals, in Chtaura, Jib Jenin, Baalbek and Hermel, to care for war wounded Syrians.
After surgery patients are often referred to clinics run by other non-governmental organizations, such as Ighatheyya, who oversee the patients’ convalescence…. Ighatheyya is [also] in the process of building a fully equipped 30-bed hospital in the border town of Arsal, where many refugees and combatants cross into Lebanon.
Another major locus of emergency medical treatment is Tripoli, just 30 km from the border and the primary treatment centre for Syrians seeking emergency medical assistance in northern Lebanon. Médecins Sans Frontières, which also operates from four locations in the Bekaa Valley, has been supporting local clinics and hospitals here since February 2012 (and it’s been working inside Syria since March 2011).
NGOs are not the only organisations on the field. Last summer NBC described the operation of a new clinic set up by the Syrian National Opposition to treat opposition fighters. It too is in the Bekaa Valley, which is for the most part controlled by Hezbollah – which is of course militantly pro-Asad. Four days after the clinic opened a local militia aligned with Hezbollah broke into the compound and forced a rapid evacuation, and early last summer armed men attacked an ambulance transporting a patient to surgery and kidnapped him: ‘Since then, the Lebanese Red Cross has refused to transport the clinic’s patients in ambulances through certain Hezbollah-dominated areas without an army escort. And private cars carrying patients through those areas have been shot at.’
For more on the transnational ‘therapeutic geographies’ involved in the wars in Iraq and Syria, see Omar Dewachi, Mac Skelton, Vinh-Kim Nguyen, Fouad Fouad, Ghassan Abu Sitta, Zeina Maasriand Rita Giacaman, ‘The Changing Therapeutic Geographies of the Iraqi and Syrian Wars’, forthcoming in The Lancet. And for a discussion of the regional geopolitics of all this, including a corrective to the claim that the war in Syria is simply ‘spilling over’ into Lebanon, see Bélen Fernández over at warscapeshere.
As MSF emphasises, refugees from the conflict in Syria need more than emergency treatment for war wounds: ‘The epidemiological profile of populations does not change when they cross borders; those who needed medications for chronic conditions in Syria still need them in Lebanon.’ And, clearly, they have other pressing needs too:
‘[T]the gaps in service that existed [in June 2012] have not been sufficiently addressed but have in fact widened as more people have streamed across the border. Living conditions among the majority of refugees and Lebanese returnees remain extremely precarious, particularly with winter arriving. More than 50% of those interviewed, whether they were officially registered or not, are housed in substandard structures — inadequate collective shelters, farms, garages, unfinished buildings and old schools — that provide paltry, if any, protection against the elements. The rest are renting houses, but many of those people, now separated from their lives and livelihoods, are struggling to pay the rent. The medical picture has deteriorated as well. More than half of all interviewees (52%) cannot afford treatment for chronic disease care, and nearly one-third of them have had to suspend treatment already underway because it was too expensive to continue. For those who are and are not registered alike, the costs attached to essential primary health care, ante-natal care and institutional deliveries are prohibitive. Among non-registered returnees and internally displaced Lebanese, 63% received no assistance whatsoever from any NGO.’
Here’s a recent map of Syrian refugee flows:
For more detail, UNHCR’s tabulations of Syrian refugees in Lebanon can be found here, and there’s a remarkable interactive map here (again, the image below is just a screen grab).
The number of registered refugees in Lebanon – and, as that MSF report indicates, registration is itself a deeply problematic process and the numbers understate the gravity of the situation – is now around one million; Lebanon’s population is four million, so one person in five is a refugee. But wary of its experience with the Palestinian refugee camps – on which Adam Ramadan‘s work is indispensable: his book is due out later this year, but in the meantime see ‘In the ruins of Nahr al-Barid: Understanding the meaning of the camp‘, Journal of Palestine Studies 40 (1) (2010) and ‘Spatialising the refugee camp‘, Transactions of the Institute of British Geographers 38 (1) (2013) 65-77 – Lebanon has refused to sanction camps for Syrian refugees: hence those ‘tented settlements’ on the map above (and see the image below).
This strategy, or lack of it, is in marked contrast to Jordan, where Al- Za’atari, which opened in July 2012, will soon become the largest refugee camp in the world (below): you can find a sequence of satellite images showing its explosive growth here.
But Lebanon is adamant that it will not sanction any intimations of permanence. Norimitsu Onishireported recently in the New York Times that
Those fears have forced the refugees to try to squeeze into pre-existing buildings and blend into the landscape. Those with means rent apartments. But hundreds of thousands are living in garages and occupying the nooks and crannies of buildings under construction. Abandoned buildings, including universities and shopping malls, have been taken over in their entirety by refugees.
Here, as usual, there are pickings to be had. Last year Tracy McVeighreported in the Guardian that
‘While there are widespread reports of extraordinary acts of generosity and kindness by Lebanese towards Syrian refugees, many people here are making money from Syria’s war. Landlords are getting rents for barely habitable properties, stables and outhouses. There are hefty profits to be made in the gun-running business, and refugees are easily exploited as cheap labour. The government is getting military resources from America and Europe, which are keen to see it able to protect its borders. But many others are losing out – those who are trying to house and feed large families along with their own.’
And that includes young boys looking for shoes to clean on the waterfront in Beirut. If you want to donate more than the cost of a shoe-clean, you can reach Oxfam here, the International Rescue Committee here and UNHCR here.