 Fel cynyddu weithio, mor hynny. Adgoi fod yn ôl i yw'n g contest. Éu bydd gennwys y 7 â ddylu mygwysol yn Diasborol i hefyd, Ac rydyn ni'n ddiolch chi'n cael ei wneud fiolaeth byddwyd darlo. Dydyn ni'n ddysgu dydli'n ran lle ddweud am Llyfriddos Sydney fe ddisgu'r dλαwn. Rhywb bod yn 7 rhywb am gyfl chi. Rwyf wedi cael ei gweld y cerdd, rwyf y ddweud â'r busb, y busb yn ystod, ac mae'r ydych o'r rhaid dechrau working on issues of migration and diaspora has also expanded along with our academic staff. All of which is great and we've also been involved in the last two years in a lot more outreach projects so we're now involved in local community oral history projects in theatre projects working with young asylum seekers, British South Asian theatre project to name but a few. There's quite a lot of things that have been happening as well as exhibitions, book launches etc etc. All all of which is great but perhaps Y ddwy'r gwaith yma yn dweud am gweithio o'r ddechrau a'r ddwy'r dweud, bwyddai'n allu, a mae nid o'n allu, yma ymlaen yn y rhyw ddweud, yn dda i gael arlaeddoedd ymlaen yn y ddweud o'r ddweud ar y ddechrau. Felly mae'n gweithio'n gweithio i'r ddweud ar yr unig sydd ymlaen o'r ddweud, ddweud ar y dyysbeth ymlaen o'r ddweud, ddweud, mae'n ddweud i'n ddweud o'r ddweud ar y ddweud.Gy chorus there's going to be ten years old next year. Would you believe it, and it's a fantastic organisation put together by students which is flourishing unfortunately in some ways but it's going from strength to strength. The other thing I'd like to mention is crew that goes over to Calais to support the migrants there, you can hear's a calcium bone that goes over a yn dweud i'r proetessau yn ymlaen i Calais, a yma ydych chi'n gynnyddio'r cyntaf yn ymlaenion o amlask o'r ysgol, a'r cyfrifol yma, yn ymlaen i Calais, yn ymlaen i'r cyfrifol, ac yn ymlaen i'r cyfrifol, ac yn ymlaen i'r cyfrifol, ac yn ymlaen i'r cyfrifol, felly rwy'n ei fyddion yn ymlaen i'r byw yn ymlaen i'r cyfrifol. A'r cwrwp yn y cyfrifol ymlaen i, mae'n rhaid i'r cyfrifol. Mae'r rhaid i'r rhaid i'r cyflawni ar gyfer mae'r iawn i'r gwaith yng ngyfnodau a gweithio ar gyfer gweithio, ddweud o gweithio cyflawni yn Brithan, a gynnigau cyflawni, yw y gwaith yng Nghymru sy'n gweithio ar gyfer gwnaeth yma fel y ffrendri, ac mae'n rhaid i'r cyffredinol, ond mae'n gwybod i'r byw rydym yn oed yn ni wneud o'r fath o'r cyflawni, is possibly the most talked about topic in the country at the moment. It's even worse at the moment if you can say that we have the vouchers to buy election coming up tomorrow. Dear old Mark Reckless has come up with his plan to send Polish builders back on boats to where they came from. Good luck with that. And if we look around us all we see is reports, opinions, newspaper articles, all of which are asking to make judgments about migration and migrants in rather simplistic terms. We're asked to decide if they're good or bad migrants, whether they're economically beneficial. All of which we ignore the rather mundane fact that migration and migrants are an integral part of this country and have been for quite some period of time. The simple truth is that without migration there would be no Britain as we know it. We're also, I think, acutely aware of the disparity between public opinion and the facts. A lot of us would argue that it's not migrants who are causing problems with access to housing, to schools, to the NHS and to jobs, but a lack of investment and training in this country which is tied up with a wider sort of circle project of austerity. We're also aware about the myths surrounding migration. Benefits tourism, for example, which was in the news yesterday, just one of many. 3% of migrants claim benefits tourism and the public thinks it's something like 30%. So there's a huge disparity between facts and the ffictions of migration which are circulated on a daily basis. So in some ways these issues have always been present. We know in the 16th century they were claiming there were too many migrants in this country. They should send them home. But we have been a visible presence in this country for quite some time. It's 66 years since the windrush stopped at Tilbury. And we've fought our struggles and we've won many of them. In some ways the social and political landscapes have been forever changed by our presence. In other ways, a background of racialisation and marginalisation are depressingly similar. Even if the new migrants are not quite the same, and those who have been here a bit longer are sometimes happy to believe in the migration myths circulated in public discourse. The problem is of course that politicians are only too happy to address these public concerns and this creates a situation where migrants are affected in multiple ways. So what we have overall is a complex and rather contradictory picture which emerges from across the country of different views, attitudes and approaches to migration. There is much negativity but alongside this paranoia and fear we're also very capable as a country of celebrating diversity and often recognising its benefits in just coexisting side by side in very mundane and ordinary ways. My Paul Gilroy has famously argued a few years back that there's no longer what we might call a black community in Britain because the fight to belong to a national community has largely been won. But of course it's not really that simple. New forms of exclusion and inclusion, new hierarchies of belonging to borrow the title of this talk continue to emerge. And when I was thinking about how to introduce our speakers I was reminded of the famous note by Toni Morrison, whose house is this. This lyrics which really for me evoke feelings of alienation and belonging and what we do about that. Some of us do feel at home in Britain and that of course requires being proper members of a political and social community. Others still have an intense sense of unhomeliness, of unbelonging and people continue and continue maybe to be acutely aware that how along we're here that sense of belonging might never come. I was in a taxi just recently with a Bangladeshi driver and he won't surprise my students to know that we were talking about cricket and during the conversation he said to me he'd been here since the 1960s but he still does not feel as if he belonged in Britain but he still felt like an outsider. Now that was not what was shocking to me. What is really more shocking to me is how often people say that to me and that's what we have to think about. When do we stop being migrants? When will people stop asking us where we come from? Who belongs and who doesn't? And how do those hierarchies belonging shift over time and space? And that's going to be the subject of what Lesbac, Shamsa Sinhar and Charlene Bryn are going to be addressing today so I just want to introduce the speakers very briefly to you and then hand over to them. I'm very pleased to be able to welcome Lesbac to speak at Saras. My students have been absolutely delighted. I have to tell them that. There are things about Lesbac coming although there's one thing I might not forgive you for Les and that's the number of years and hours I've had to spend now discussing whether the dancehall is a democratic space out. One of Les's older articles that the students particularly sort of take up and enjoy debating. Les's work is relevant, engaged and thoughtful and that's why they respond to it. He's a Goldsmith's boy through and through. He studied at Goldsmith's and after a brief firing into the big wide world, well, Birmingham, you've got to be surprised Birmingham, part of his studies department, very enviable. He went back to Goldsmith's where he worked with the Centre for Urban and Community Research. Now that centre is 20 years old this year. It's amazing it's been there that long because it's known for very innovative, groundbreaking work rooted in its local communities, doing research that really matters and trying to impact on public policy through that research as well. That's been great. Les's main fields of interest are the sociology of racism, popular culture, music, football and city life. And his work attempts to create a sensuous or live sociology committed to searching for new modes of sociological writing and representation. I think that's partly what we're going to be seeing this evening. The presenters are going to try and move away from just speaking at you and doing something more performative and experimental. Possibly, okay. And this approach of Les's was outlined in the article this year. No pressure, no pressure. The question is on the ground. Right. This approach was outlined in the Art of Listening which came out in 2007 and is also linked to the new book project he's working on with Shamsa and Charlene called Migrants City which is being published next year. And I think what we're going to hear tonight is a section from that book. And he believes in collaborative work and this paper is based on a project conducted with his two colleagues here which I think involved interviewing 30 young migrants in London. Charlene is a graduate of psychosocial studies at the University of East London. She's interested in education studies and is currently doing her teacher's training in primary education. And I'd like to thank Charlene because it was after reading your biography that I thought of Tony Morrison. So thank you for that. She has worked with Les and Shamsa compiling a scrapbook for new hierarchies of belonging. This featured pictures, thoughts and poems. She's a believer that we all need a creative outlook on the world where creativity sometimes gets lost. And that's particularly true, I think, unfortunately, in academia. So through her poem she hopes to provide an exploration of contemporary issues relevant to academic research but also connected with people on a deeper and more personal level. And last but by no means least, there's Shamsa Singhar who's a senior lecturer in sociology and youth studies at University Campus Suffolk. And he's interested in the study of racism in youth and in particular he's worked a lot with separated and unaccompanied young people. Methodologically, Shamsa's interest line experimenting with moving away from working with research participants and involving them as co-authors. And I think we'd all be really interested in how he thinks we can achieve that. So in this lecture what they're going to talk about is how the so-called crisis of multiculturalism is affecting the regulations, scrutiny and surveillance of migrant communities. Which is a big problem, as some of you might have heard, the charities at the moment which are being monitored, et cetera, et cetera. And they're going to do this through the story of young migrants and explore the ways that the old hierarchies of belonging are taking new forms within the social landscape of contemporary London. This biographical case study is drawn from a larger qualitative study of 30 young migrants, as I said. So shall I hand over to the three of you now? And let's give them a warm welcome. Thank you. It's such an honour and also a pleasure to be here. And so many of you to come to tonight's session. So what we've got planned for you is something a little bit different, we hope. The project that we're going to be talking about is a book that we're close to completion. It's really the story of London through the eyes and ears of 30 adult migrants. And in the book what we've tried to do is to really take the idea of collaborative work very seriously at all levels, you know, from the way we've conducted the work to the way we've analysed the work and now the way that we're going to try and communicate it. And I thought what might be nice is to start with the problem that has been kind of complexing us. That's the degree to which a city like London and a society like Britain is transformed. And I just wanted to bring the voice of Stuart Hall into the room. He passed away very sadly. So an interview with him which neatly connects to the points that Perra was saying called at home and not at home. So let's just hear from Stuart. Well, things are not going so well, really. There hasn't been a profound change in British society. We haven't got to the deep level of racism in the culture that I think throbs on. Well, there's nothing changed. Yes, something has changed. You go into the street and I came there in 1952 and it just looks different. Britain will never go back to being a multicultural and cultural society ever again. It can't. It can't have bridges and throw people out into the sea. But it can't go back to being stable and steady on its own moral culture foundation. It can't happen. So there's no going back. And just think about the walk here. It always strikes me. What must it have been like for someone like Stuart Hall to get off of the train and encounter Britain in the 40s as he did? There's no going back. And yet we have, as Perra very eloquently said, a kind of auction of moral judgments what Doug Massey calls anti-immigrant times. Every day, ceaseless, talk about the problem of immigration. Now, the short version of the argument that we want to try and present tonight is if there's no going back what's happening in our moment now. Well, our argument is that what's happening in our moment now is a kind of reordering, a sifting of difference along new hierarchies of belonging. So if there's no going back then how does the work of racism unfold in our time? And we would argue that it unfolds through creating hierarchies of belonging. A kind of ladder of entitlement within the context of British society as a whole and London life particularly. And what we've been trying to think about is how to really speak back to the talk about the crisis of multiculturalism, the so-called death of multiculturalism, the moral panics about terrorism and the constant state of crisis that we seem to be in at every moment. And in a way what we're trying to argue is that the crisis of multiculturalism becomes a kind of self-perpetuating phenomena where the atmosphere of crisis is policing a crisis that in fact it produced in the first place. The atmosphere of crisis is policing a crisis that it produced in the first place. That's why the headlines in the newspapers declare every day the latest anxiety of anti-immigrant times. And what we've been trying to do in this project which we've been doing for five years is to try and find a way to introduce a different kind of story of what it means to live in a profoundly multicultural city. One of our characterisations of that reality is that we live in a world of divided connectedness, paradoxical divided connectedness. Where our mobile phones connect us potentially globally around the world but they can be the very same instrument through which UKBA and the Home Office used to try and police and track people. We got involved in last year the scandal about the go home texting campaign. I don't know if you've heard of that. Actually I think it was shaped for a nice proudest moment when David Cameron was forced to make a statement in Parliament about it. A world of divided connectedness. Now you know I guess many of you will have encountered ideas about the changing relationship between time and place time space compression and so on. But I just wanted to show you this very quickly as a way of trying to make a simple point of what it means to live in this paradoxically divided and connected world. Paru mentioned the Windrush. The Windrush travelled of 15mph and brought 492 colonial citizens not immigrants, colonial citizens to Tilbury. It took 22 days. In 2012 when I did this calculation the same journey on an air Jamaica travelling at 175mph cost somewhere between 600lbs 800 or so euros took 9 hours. In a way that makes very powerful and very clear the shifts in the relationship between human mobility. But the thing that comes through in the word that we've done is that mobility in a globalised world is profoundly uneven. There are some people who can move quickly and freely and others who can't. And London is a kind of world city of multicultural is a particularly interesting important case. I just wanted to show you these statistics not to try and be impressive in any way but just to point to this very interesting phenomenon. If you look at the growth of London as a city between 2001 and 2011 London is increased by around a million people. And that increase is almost completely accounted for by the number of non-UK passport holders. And that those young people predominantly, and this is the sort of age pyramid of that are no longer dominated by male migrants but in terms of gender balance. So when John Berger wrote his famous book, A Seventh Man with Jean Moore in the 70s a book that we've been very inspired by the title tells you everything in a way every seventh man in Europe at that time was a migrant. Today in London where people of migrant origin number somewhere around three million most every second man a woman as we walk down the Charing Cross Road the 30 lives that we've people that we've worked with over the last five years have just tried to represent in this beautiful map that Rachel Murray made for us as a visualisation the sort of threads of connection and I think it's in a way shows in a snapshot the sort of places that London's life is linked to in the context of our project. We've also went through this experiment of trying to represent those movements as single lines as you can see some of those lines are fairly straight and others are very circuitous. The circuitous wiggly line is a clue often a clue to the ways in which some people's movement across nation states takes on this kind of circuitous fugitive line fugitive route. One of the things that we've been trying to do is to argue against or at least to try and problematise what we've called and others have called a migrancy problemat, to try and connect the experience of global mobility in our time with the sort of dynamisms of racism in our society. The other thing that we've tried to do trying to get through this so we can get to the good parts of this talk is to take seriously the idea of what a sociable kind of sociology be like. The way in which we do our research often is not very sociable we find a quiet place we take a tape recorder or a digital voice recorder these days and ask people to tell their stories and then we run away. Whereas what we've been trying to do is to use a whole range of devices from photography to writing to creating scrapbooks as a way of pluralising the vantage points of observation in a way what we wanted to try and do is to work with the participants in our project so that we could pluralise the vantage points of observation to make the participants observers in their own lives. That's not to necessarily flatten or simplify that observation but to in a way make those observations part of another dialogue and we're going to give you an example of that in a minute. So to develop mobile modes of attentiveness and widen or shift the analytic frames and so we're going to basically talk about one part of this experiment which involves my friend and colleague over there Charlene Bryant who was one of the participants in the project and Charlene is going to read some of the pieces of briefly and then she's going to read some things she made for the project and then we're going to talk a little bit about how that process of writing produced a whole series of dialogues that resulted in the argument that we want to make about the emergence of these new hierarchies of belonging. So Charlene. You may have guessed by now that I am a migrant. I've been asked to say some biographical bits about myself but Peru covered most of what I wanted to say. So the only thing I can add is that I came here in 2006 that's roughly eight years ago and I came here to study and then I met my husband who is in the house and so I've decided not to go home because he's here so why would I be there? I studied at UEL and that's where I met Shamsha he was my seminar tutor and I didn't like him very much. That being said after I left we bounced each other up on a train from Leighton Stone and I was asked to take part in the Euromagins project that he was working on and of course being the person who likes to be in everything I said yes. So here I am today going to read you one of the poems that I did for the study. It was called on the inside She looked at me eyes piercing through my skin It was as though she knew that this was the first time I had ever been. I registered the contempt plastered on her face her rigid posture screamed foreigner know your place As I stood there hitting the unspoken message she had no choice but to bid me safe passage. Still I was puzzled I posed not a threat to her but I knew she felt threatened because I was an outsider She must have heard it in my accent or guessed because of the excited twinkle in my eye Maybe she felt the unbridled energy pulsing through me aimed at the sky But when she gave me my passport suddenly I knew she didn't want me here for fear that I would show her up because she with all her British chit chat was an outsider too The people who segregate us the most are our own people The people we segregate the most are our own We categorise and we label We place everyone into a box We bag them we tag them and we leave them there until an instant causes us to reach into our existing ideas and we achieve our neatly packaged boxes Taken part in the Euromagin study I was able to reflect sociologically on my own position within the dynamics that I have struggled against since I came here As a migrant Londoner I myself was fighting to find a place in a city filled with people who had come before me I wanted to fit in but I was always afraid that I never would and in a way I guess I never will I am just too dominican But what of those who do fit in I mean I wanted to show through my poem that us migrants we all go through this battle at some point The battle first to prove that we are good enough and then the battle to prove that we are better better than those who come after us We always have a point to prove Our position however is a fragile one As the study and the poem shows this is because we try to elevate ourselves We try to bring ourselves up to a certain status as migrants but the new migrant people who come in remind us that no matter how long we remain in this city we never really fully belong someone will always come up to us on the bus in our workplace and ask us where are you from How many of you have had that In the poem it is the migrant immigration officer who reminds me of my own place my own box it would appear that she was threatened by me why I didn't know but then thinking through it I realized that I reminded her of what she used to be probably not directly but what someone she knew used to be Of course my accent is a dead giveaway that I am foreign My immigration worker who has a British accent she may have adopted her accent or she may have been born British I will never know for sure but accents always tend to be a dead giveaway whether we like it or not I'm struggling at the moment because I'm learning to speak phonics the way that we teach our children and my accent stops me saying certain sounds I'm a migrant so I use that as an excuse through the poem I showed that I was labeled later on however I found myself labeled in others as well and that is the dilemma that I think sometimes we all face I always was asking why are they acting like that why are they speaking like that why are they saying I don't speak English did they not come to England looking at people critically is something that I found I did as a migrant more often than I should have more often than I think that if I was told I was doing it then I would say no wasn't but I was in many ways I have moved myself up to the next level by making people by asking the questions why are they acting like that why are they talking like that I have moved myself up to the next level I catch myself turning up my nose and think now there it is I am caught in this dynamic where even though I try consciously not to how can I not as a migrant in the city of London no matter how much I try to distance myself from who I am where I'm from I will always be Charlene the lady who is foreign thank you hello everyone I am Shumshare so I am going to start by picking up on the stuff about ranking and ordering and bagging and tagging that was one of the phrases you used bagging and tagging I have been doing a piece of research on Shumshare to the EU Margin study in Hackney Newman Tower Amnots which was about sexual health and young people and also some associated work with unaccompanied asylum seekers and just talking to young people ostensibly about contraception protection sexual behaviour intimate relationships and so on and so forth but what I noticed was something about something new was happening something new was emerging this was in sort of 2004 2002, 2003, 2004 that I hadn't heard so much before and that was the way in which people who maybe would have been written about as outside as 10 years previously and possibly still would be written about as such today in the kinds of books around race and ethnicity that I read as an undergraduate were ranking and ordering other people themselves and necessarily as a reflection of that placing themselves within some kind of ranking and ordering so some young Somalis are recalled were being told that they weren't proper blacks because they sounded Arab their hair was different alongside this there were young Kosovans asking what are you doing here you shouldn't be here, you shouldn't be in this country and that was done by the sons and daughters of migrants and I thought what's that steak here and I thought about it in relation to Fanol's work which we use in some of our articles and stuff as well and what's that steak in putting someone else down so you feel higher yourself what's that steak in that not only psychosocially but what is that related to materially in wealth and opportunities in jobs, in housing in the way two different mothers might be treated differently at a creche and as we spoke and talked with the other people who were taking part in our work on the EU margin study we began to see how okay if you're undocumented you won't have the right to work your position regarding welfare would be precarious to say the least if you're seeking asylum maybe there is some level of welfare rights you get if they've been administered correctly but you're very unlikely to have the right to work unless the home office have acknowledged a mistake they've made and because they can't make a decision at that time that you see a national insurance card so maybe then you'd have a right to work but then there are also those people who do have the right to work such as non-EU students on student visas but that right to work is limited in terms of hours and then you have EU migrants who have the right to work in the UK and they can be here for whatever period of time that doesn't mean to say they don't stuff modes of exclusion but it's just the way of saying that there is some kind of mapping taking place as a response to the fact that there is this multi-cultural drift yet at the same time people are coming in people are coming into London and different parts of the UK and different parts of Europe as well and that that drift and that hierarchy that's produced I began to think about that the old stuff that I'd read about racism people like Gobinow I'm not sure is that how you pronounce his name Gobinow the racial scientist of the 19th century a range of other racial scientists and the way they draw their diagrams of different races who had different places in hierarchies of belonging that related to quite overt biological categories of race and the ways in which there seems to be a reworking but another kind of way of imposing a set of racial categories on people related to what they can do where they can go, what resources they can access but in a very real sense how they feel about themselves what worlds are they held in within their own minds I guess that's why the work of Fanol spoke to us especially in this particular chapter that we're talking to you about and I'll have those, you know Les? So this is how the I need to tell you a very small story about how we worked to try and illustrate the point that I think is really important that Shams has touched on so we would invite people Charlene in this case to write something then we would get together and talk about it and I remember the second time that we got to we got together to talk about the scrapbook and also the poem that we drafted a version of the argument that we're trying to present to you tonight and Shams got up and went to the little one point and Charlene just took me by the arm and said, you know how do you know this stuff about me? How do you know all this stuff about me? And it was a really wonderful moment and I just remember turning to you and saying, well we know Charlene because you told us and I'm sure she'll have her own version of this conversation in a minute because we've talked about it since but what we were trying to do in a way was to create a kind of a movement of imagination use the writings as a kind of as a kind of sphere for dialogue and in a way I think the powerful in what Charlene wrote and then what we talked about is exactly that sense of a double movement that she talks about the encounter with the black immigration officer you know, I'm sure the Home Office liked to parade as their credentials for it being in the multicultural institution right? The Home Office can't be racist or the UK bit, look at our workforce right? So on the one hand there's that kind of encounter but then the other thing that she talked about so eloquently and others have too are the moment when she catches herself in that process of putting others lower on this sort of steps if you like of belonging that double movement of catching that process Now what we're trying to think about is how the checkpoint doesn't stay at the edge of the political territory any longer than it never did but moves into our most intimate personal spaces right? The mobile phone in our pocket and those people who get text messages from UKBA or for that matter the way in which university teachers become complicit with the process of bordering and monitoring overseas students by the way in which the Home Office is using class registers so that sense of complicity isn't just I mean I want to say my main point from this segment is to say well we are talking about and we think it's important to talk about that process of hierarchisation that's going on amongst people who are living migrant lives and are part of migrant families but at the same time I think what we want to try and argue is that this is a process that makes us that in a way calls us all into a sense of implication in different ways different levels and in a way I think that's what makes friends Fanon's writing such a resource for us now and the link that there is I think between the way he and others were trying to understand colonial racism as we move into this really difficult neoliberal sort of quotes post-colonial moment it seems to me that Fanon's insights and Fanon's writings about precisely that way in which we become complicit in these forms of power are more relevant now or as relevant now as they were when he was writing particularly his essays in Towards an African Revolution and I think I read those essays and we've something that we've thought about a lot in the context of the project and they seem so incredibly relevant to us now OK so, Siobhan I'm going to take us in a slightly different direction majority of what I'm going to say now doesn't link to what Les has just said but I will be talking about the scrapbook when asked to do the study I wasn't sure what exactly to do and so Les said to me go home and have a little think about it and maybe you could do pictures or maybe you could do whatever you like and so I first started walking around London with my camera that Les borrowed to me so it wasn't really my camera actually and I started taking pictures of things that I felt I connected with and then I wrote bits because I am more of a writer than a picture taker really I'm not a photographer I am more of a poet and so I decided to write bits on the reasons why I chose those particular areas in London to put in my scrapbook and the reasons why I felt like I connected with them and as you may have already picked up from my talk and Les and Shamshers is that I am more of a sensationalist than they are so every moment encompasses past present and future within us lies a complexity of time because we are never present we are never really in the moment even when we are this idea ties in very nicely with my own experiences in London as a migrant I am always placed between past present and future each experience I have I try to place it within a context as a migrant I organise my life around commonalities I try to find things which connect me to Dominica while at the same time places me within London and these places here did just that I mean we don't have a tower of London in Dominica of course but the sunset here over the London bridge tower bridge that's it is what I've focused on I try to find things of course that connects me and so it is here that I recognise that I am in the past while I remain deeply rooted in the present the sun is really important to me even today it still baffles me that that sun which sets in London is the same sun that sets in Dominica time difference being taken into consideration and all that we do have I think it's four hours behind now and it's normally five hours in the summer so when I first came here I was thinking it can't be the same sun obviously it must be a different sun but it turns out that it is the same sun right so in my scrapbook as you see on the screen I am captivated by London I am in love with this city happy that my experiences are shaped by it at the same time I still try to link it to Dominica I take myself back there even while I'm here I make every moment that I think about in this time about the home that I've left behind back then my friends some of them here will tell you that my every next word is a story about something I did on the island not if you agree friends right it's always something about home something about my dad something about my sister although this is my home today now is my time my past present and future allows me to relate to London in one sense but on the other hand it also allows me to maintain my identity as a Dominican a lady from the commonwealth of Dominica not the Dominican Republic as a lot of people seem to think and in the beginning I did speak a lot to les about the confusion about where I was from and I still get it sometimes when I say to people that I am from Dominica they say oh I know where that is it's the Dominican Republic I say no I don't speak Spanish and it still really upsets me even now that people don't know that I'm from Dominica not the Dominican Republic but it is two different places I did say to les I can't remember if les remembers this but I did say to les that I was tempted early on to walk around with a map of the Caribbean on me just to point it out but I didn't have to because I had to calm myself down and so doing the scrapbook and taking part in the study did remind me that I am connected like a lot of us in a lot of ways connected to the place that I came from and connected to the place that I am here that even though earlier on I said that I will never really belong in a way I do belong in London I belong here like every other migrant I've got a community of people from Dominica or people from the Caribbean as a whole and people from Ghana because I got married to a Ghanaian and I've got friends who are Ghanaians mentioned you and because of that I've now widened my community I've widened it to a place where I can go and sit down and say I am actually a part of this I do actually belong there and even though I take myself away from that and say I will never fully be a Londoner which I won't I do recognize that I do have a home right here in this country so I'm going to draw some strands together just something from what Lea said and something from what Charlene was saying let's talk to bit briefly about border control and the ways in which border control has moved from the extremity of the national border into what we do as lecturers or what GPs do or what your A&E people that accident and emergency at the local hospital checking your immigration status want to draw that strand together with this notion of is it the same sun that Charlene briefly mentioned just then because the ways in which when we were talking to young migrants on the study particularly to certain young migrants the ways in which they were conceiving of space and time were directly related to immigration surveillance and its material and cultural fallout so I'll give you one example which I'll condense is a young woman who's from Ethiopia and she went to her local Cres to put her baby in the Cres so she could go on to do her college course art and design very good she's a very good painter in fact she painted some stuff for us which we were very lucky to have and it was only when she put her daughter son in the Cres that the people at the Cres rang through to I believe it was the local council to check whether she had the correct kind of permissions that she could get that she could have access to that Cres it was only at that point that her number that she gave them didn't check out immigration number and it was at that point that she came under immigration surveillance because as it turned out her current immigration visa had run out and Melissa who was meant to be representing her had not applied for a further visa for her to stay in the country and this meant that this rendered her subject to this meant that she didn't have automatic rights to a range of welfare and a range of benefits although her local council put her in some emergency accommodation at that point this is where the space and time thing comes in she her surroundings were quite dangerous dangerous for her baby there were lots of needles in the doorways and piss and whatever and it was quite dangerous for her she felt and she was worried about going out so that constraint started to circle around her if she couldn't go out and live in the present then she tried to mentally think of the past and of the future as the immigration constraints and the uncertainty around whether she would be deported heightened she found she couldn't think of the future anymore she couldn't envisage that brighter future anymore so where did she go into the past only a past had family members whom she didn't have contact with one of whom she didn't know where he was and another of whom was very ill and she couldn't reach her mother and the past that revisiting of the past for her was quite traumatic and that the way in which space and time contracted around her was a direct result of the fallout of her uncertainties around her immigration status now I want to count the pose that kind of view of what happens to people and the other thing I want to say on that is when you can't when you don't have your past your present and your future then that can affect your sense of self and your mental wellbeing and so on as you could imagine from the kinds of uncertain circumstances she was living in so I want to count the pose that with the world of say what's Putnam's first name Robert David Robert Robert Putnam and some of his stuff about hunkering down and that philosophy or that automatic way of thinking that's echoed in the politics we read and see and in lots of sociology and in various places is that somehow diversity is going to put in danger how we're connecting and living with each other but what we say in the hierarchies of belonging stuff that we've written is that it's racism that produces this it's racism that produces these different hierarchies it's racism that means that this particularly young woman from Ethiopia couldn't have her children at the local creche her son at the local creche and that is the social weight of racism and it's material context and it's material fallout that have a deep psychosocial fallout for people who wonder where their place is philosophically, physically and it's that kind of degradation of the human spirit and sometimes the attack on the ego that produces that kind of displace and that kind of need to put someone else even further down to show your above them if you are that person on board a control who sees shining coming through or whatever context it might be um, reckon that's it