Homepage, Our Migration Story website

What is “Our Migration Story”?

“Our Migration Story” is an online teaching resource, launched in 2016, to provide teachers with resources and tools to engage students with lessons on migration in Britain. It uses unique open source technology to widen access to original academic research and be used by anyone interested in learning about Britain’s migration history.

The information on this website is clearly organised in four historical categories:

  • AD43 – 1500: Early and Medieval Migrations
  • 1500 – 1750: Early Modern Migrations
  • 1750 – 1900: Industrial & Imperial Migrations
  • 1900 – 2000s: 20th & 21st Century Migrations.

Each category is introduced through a short video and an overview text that covers the general characteristics and the major movements of that period. This is followed by a collection of untold stories of specific communities and individuals arranged in the form of a timeline. Each story is written by one of the collaborating historians and is supported by images and personal stories and provide links to additional references.

One of the most interesting aspect is the Questions and Student Activities section at the end of each story which provides provocative questions and classroom activities that are, in most instances, related to contemporary issues that students can relate to. Additionally, the Teaching Resources area provides teachers with lesson plans and classroom activities.

The “Our Migration Story” project is a collaboration between the Runnymede Trust which is an independent race equality think tank, the University of Cambridge and the University of Manchester. It is funded by the Arts and Humanities Research Council and builds on previous research and two other projects – Making Histories and Bangla stories.

These projects involved engaging with young people to explore, collect and document stories around migration. “Our Migration Story” was created as a response to the questions that arose around race and inequality in education in contemporary Britain and more specifically with the content of the current national curriculum. Despite its straightforward approach, the project uses innovative methods to tackle the exclusion of minor ethnicities and communities from migrant backgrounds.

What can CultureLabs learn from “Our Migration Story”?

In order that CultureLabs gain a deeper understanding of the project and learn from the experience of its organisers, Abir Tobji (CultureLabs Project Manager at People’s History Museum) met with Professor Claire Alexander, from the University of Manchester, one of the leading researchers in the “Our Migration Story” project. Below, it’s possible to find the key elements of the “Our Migration Story” that will be relevant to CultureLabs methodology:

Participation and engagement

Throughout the different project stages, the team worked collaboratively with both individuals and stakeholders; teachers, academics, local historians, policymakers, exam boards, teachers’ unions, and teachers’ training boards. The topics included in the website were chosen through round table discussions. In addition, the team worked directly with schools to engage students to build the content and test the developed resources. This was critical in building a sense of ownership and will make the project sustainable beyond its expected timeframe.

Identifying end users’ needs

The long term aim is to change the national curriculum to include mainstream race and diversity however the organisers acknowledged both the complexity and time required to achieve this. Their initial aim was to encourage teachers to work within the existing boundaries, while continuing to advocate for a systematic change. As a result, the needs of the end users were identified in order to be met in the best possible way. Surveys and focus group discussions with teachers revealed that many teachers had the motivation to be part of the change but did not have the time or the capacity to do all the research required to develop teaching resources. As a direct result, the project provided ready-made resources for teachers to use.

Culture Heritage

The website uses digitised museum and archive collections as resources and links those objects with personal stories in an interesting way that brings those collections to life and in context.

Dissemination and sustainability

The addition of additional content to the website is something that the organisers are considering, however, their priority is to focus on the dissemination and promotion of the current resources.

 

“Our Migration Story” project constitutes an excellent example of innovation in its use of technology for social inclusion. At CultureLabs we are looking forward to launching our platform, where we will be able to add the “Our Migration Story” project as one of our ingredients; it is a great example and a useful resource!

We are very much interested in learning about your experiences. If you have been involved in any similar initiatives please get in touch at info@culture-labs.eu

There’s an alternative “Black Friday” from which CultureLabs may be inspired

If we say Black Friday the mind goes to the hectic, and sometimes compulsive, shopping day of the fourth Friday of November.

But this year we collected an alternative, that took place the third Friday of December. A way to escape from the Christmas hustle and bustle, a peaceful moment to listen someone else stories: that’s our favourite “Black Friday”, organised by MALTE – Musica Arte Letteratura Teatro Eccetera, Hexperimenta and Casa delle Culture in Ancona.

The last Friday 21st December, in the main pedestrian and crowded shopping street of Ancona, a group of migrants decided to give as presents to the interested citizens their Christmas stories. 7 locations were positioned at 100mt distance each other, with two facing tools, one for the migrant and the other for visitor. Who sat there could listen a short recorded story through cuffs, without interacting with the silent teller.

Black Friday in the United States is the day that starts Christmas shopping. We have also decided to invent a Black Friday, made of gifts, packages and reciprocity. The difference is that our Black Friday is really black. And that for us the gifts are not objects, but people, real people, of flesh and blood, who tell us their Christmas, their Christmas, and they do it without asking anything in return, as a gift” said the organisers.


What does CultureLabs can take from this experience?

  • the event aims to share how Christmas is in different countries, cultures and religions, thus making migrants’ cultural traditions known;
  • it is a way to reformulate the concept of “gift” giving the citizens a story as a Christmas present;
  • it represent a co-creation example: migrants are directly involved as they are the tellers of their stories, which they offer to whoever wants to listen to them;

… so it is a perfect recipe for our CultureLabs platform!

If you would know more about it, just following our upcoming pilots activities.

What can the visit of a Maasai delegation to the Pitt Rivers Museum teach CultureLabs?

The Pitt Rivers Museum hosts the archaeological and anthropological collections of the University of Oxford, United Kingdom. Amongst these are displayed more than 500,000 items arranged by object type rather than by time or geographical region. Many of the collections are populated by objects “acquired” by colonial functionaries, missionaries, and anthropologists during the British Empire.

Yohann Koshy’s article “Hey, that’s our stuff: Maasai tribespeople tackle Oxford’s Pitt Rivers Museum” published on the Guardian on the 4th December 2018 shares a key episode happened recently at the museum when a group of Maasai activists has been invited by the management to participate in a project rectifying the purposing of some of its collections. “Keenly aware of its problematic origins, the Pitt Rivers, like many museums, engages “originating communities” – in the museum-world lingo – to allow them to reclaim the narrative around their objects.

In what Koshy’s defines as part of a “process of cultural decolonisation”, the Maasai delegation has been invited to Oxford to help the museum rectify errors in the cataloging of the Maasai collection and providing more accurate information about the object hosted by the Pitt Rivers Museum.

As it can be read more thoroughly in the article, the visit allowed to identify a number of problematic issues within the collection and within the broader museum acquisition procedures. To the great astonishment of the Maasai delegation, within the items in the collection were included fundamental elements of the Maasai culture (for example the orkatar bracelet or the isurutia neckless) which are regularly transmitted within families and never given up to external parties. This suggests that the acquisition process of the elements is likely to have happened through forceful measures, if not violent. Of the 60 objects examined, the Maasai came across five that are sacred, which “they would not expect to find elsewhere apart from within their community”.

This episode left us asking ourselves questions that we consider very important for the CultureLabs project we are part of and for the participation methodology that Platoniq brings forward in this context. CultureLabs intends on developing participatory projects across different European countries (Italy, Finland, and UK) which promote social cohesion through the means of Cultural Heritage.

As the CultureLabs team keeps exploring more and more the Design Justice principles, pushing for a more just, intersectional and accountable project design, implementation and evaluation, this episode and article point at key issues we are and have been interrogating ourselves on, such as:

  • How to account for and try to equilibrate power imbalances between the different parties involved in the co-creation process? 
  • Who gets to frame what counts as “Cultural Heritage” and how will the sense-making work? How to be self- aware of the power in this sense-making process?
  • Who will ask questions framing the development of the participatory projects? How and how often are the protagonist of the projects involved?
  • How to move away from tokenism and neo-colonising and move towards decolonising memory and archiving processes? How to transform Cultural Heritage institutions?
  • How to avoid harm and how to create conditions for safe(r) spaces whilst involving different communities in storytelling and sharing dynamics?
  • How to ensure that the participatory projects are centered on self-representation as much as possible and how to create the conditions for a safe(r) process in telling one’s own story?
  • How can the participatory processes avoid exoticising Cultural Heritage from different countries and fixing them into time?
  • Who is accountable for the responsibility of the project design and how does this accountability process work?

We are exploring approaches and methodologies to answer these questions as we proceed with CultureLabs and more participatory projects. If you have any ideas on how this can be done or would like to chat to us about it, please get in touch with us at info@culture-labs.eu! The Platoniq team, that is part of the project, will take care of your feedback!