Showing posts with label appeal. Show all posts
Showing posts with label appeal. Show all posts

Saturday, 16 August 2014

Inside: the power of books in prisons

This is in response to justice secretary Chris Grayling's ban on books and other items being sent to prisoners. This article has also been picked up, here, by the human rights and civil liberties organisation Liberty. For more details on Grayling's measures click here and also here and to sign a petition protesting them please click here. The writer Leah Thorn, who has a decade's experience doing close outreach work in prisons, has granted me an incredibly informative, moving and trenchant interview about prison reform, inequality, incarceration and prison culture here.

I do outreach work in prisons and also in detention centres and I have seen first hand how powerful and important books are to prisoners. Book are vital, not only in providing enrichment for inmates but as a way of connecting with others to talk through, challenge, inspire and provoke debate in a rewarding and constructive way. In all the institutions I have visited, book groups, reading groups and writing groups exert a strong pull on prisoners, who show themselves again and again to be dedicated, committed, passionate and insightful in their work and in their dealings with me and with each other.

A literary culture creates the space for civilised, meaningful relating, for social development, for questioning and self-questioning, learning, self-improvement: all the things a truly constructive prison system should represent. I have seen virtually silent prisoners linger around the edges of a group and then, through a few comments and some close reading, gain confidence, develop their skills and showcase their talent. The books are not just a source of education but also of entertainment of the most enriching and deepening kind. They are, in fact, an essential tool in tackling the poor levels of literacy and the accompanying frustration, low self-expectation, daily obstacles, narrowed opportunities and the intractable economic and social deprivation and desperately limited horizons which contribute to an environment in which petty but repetitively (almost compulsively) committed crimes are almost an inevitability. I am not talking about 'being soft' on rapists, child abusers, batterers, thug murderers, predators and woman-killers but about lifting up and liberating that great miserable body of the prison population: neighbourhood burglars, car thieves, petty hustlers, smalltime crooks, scrappers and scufflers, drug pushers who are addicts, teenage or early twenties wannabe gangsters, holders or passers-off of stolen goods. For these types, prison can be an opportunity either to become grossly influenced by malign individuals even further down the road to moral and economic corruption - or to gain some skills, judgement, backbone (as opposed to bravado) and promise, which can be taken out into the world upon release. Reading skills can contribute to ensuring that, in time, released prisoners might build a stronger and better life for themselves than they had before their sentence, not because of an increase in something nebulous and romantic like dignity but because literacy skills are vital to worldly progress.

As with all teaching, through the collective experience of reading and talking about reading, the prisoners I have worked with have taught me much more than I could teach them or they could teach themselves without the structure and focus of a book to anchor them. Certainly, we all learned a thousand times more in a couple of hours spent together daily than we would have during whole afternoons spent on the landings [where the cells are] watching daytime TV.

Furthermore I have been told directly by women prisoners with initially low literacy skills how fundamental reading has been to them. One woman told me, "My mum didn't know how to read or write, I didn't know how to read or write, that was just the way it was. So I taught myself in prison."

There is a further point, and it is gendered. I am extremely alarmed by the cruelty and punitive malice of Grayling's proposals for women prisoners with children and the suggestion that children cannot send their mothers parcels.

The overwhelming majority of women prisoners are 'inside' for non-violent crimes. The process of incarceration is mentally traumatising in itself and additionally has grave real-world consequences. In virtually all the cases that I have seen, women prisoners had been their children's primary carers and guardians, with secondary care provided by grandmothers and other female relatives. With the central source of stability and care removed and in many cases moved far from families' home towns, if female relatives cannot take on the childcare responsibilities then families are broken up, young children are put in care and a new cycle of deprivation, vulnerability, exploitation, damaging instability, lack of opportunity and circumstantial predisposition to offending begins.

We can see from all this that it is often the supposed cure, not the crime, which creates deep and long term trauma and is a key factor in the pressing issue of women prisoners' mental health and self harm. Incarceration for crimes which are more often than not the result of economic deprivation, abuse, inequality and lack of support inflicts mental wounds, drags an entire family even further down socially and creates the ground for yet more crimes to be committed - out of survival, out of necessity and out of pain.

The sense of isolation in a prison is extreme and is made perversely worse by the sheer numbers of other prisoners, guards and civilian staff. The entire non-prison world is referred to by prisoners as Outside, and the prison described numbly as Inside. Incarcerating people in a way that is mentally violent as a means of punishing non-violent crimes does not work and destroys everything, inside and out, mental and physical. There is little stimulation in a prison except for basic skills learning, a few hours of classes per day, helping out as an orderly, working in various prison areas such as the 'servery' [kitchen and canteen] or packing boxes of goods to go between prisons, sitting in front of daytime TV, idle chat and destructive scheming which is usually the result of boredom and depression. In such a context books are a humane necessity, vital for the intellect, for processing and sublimating the emotions, for socialisation, for education and for development - not a form of empty entertainment to be handed out like sweets to those who behave well. It is a fallacy that prison life is cushy, although the routine and the utter predictability and slow demarcation and regimentation of time may be comforting for those whose outside lives feel insecure, emotionally raw or unsafe. Treats, in the form of everything from letters to books to clothes and sachets of perfume or a nice top, are rare and treasured.

Receiving gifts and messages from their children and having something to talk to them about on visits - something like a story from a book - is many women prisoners' lifeline, their only source of sustained warmth and hope from the outside world. A chat about a book, gifted to a prisoner by her child, may be the only thing which makes a prison visit less frightening for that child. The prisoners pay this token of love and kindness back at Christmas time when they record stories on CDs for their children to listen to.

I hope that Grayling changes his mind and seeks more effective, more humane, less petty and less malicious ways of reforming the prison system.


For more on my prison work see this report by the Prisoners' Education Trust, this from English PEN, this also from English PEN and Rape, Refusal, Destitution, Denial on my outreach work with asylum seekers and refugees, many of whom had experienced detention and imprisonment.

Wednesday, 4 December 2013

Taking action on the global health worker crisis

A couple of weeks ago I covered the importance of a well-trained, well-paid and well-respected human resources system in providing free universal healthcare globally. I analysed the challenges of doing so and examined some of the factors which can enable or inhibit good practice. Since then I’ve become aware of a new drive, flagged up by Health Poverty Action, which highlights the UK’s responsibility when it comes to global human resources in the field of health. It emphasises a developmental imbalance - with serious consequences for developing countries - created by the Western exploitation of global health worker labour.

Health Poverty Action has identified more than fifty countries, mainly in Africa and South Asia, which suffer from a “critical shortage of health personnel” while simultaneously carrying “a large part of the global burden of disease.” At the same time the increased necessity of long term care for ageing populations in European countries is creating strong demand for health workers, fuelling the migration of health workers to Europe from developing countries in today’s heavily globalised labour market.

Image of health worker in clinic in Tsumkwe in Namibia (c) Health Poverty Action

Health Poverty Action has been calling for the UK to “compensate developing countries for its role in the global health worker crisis.” There is a cached copy of the call here; I'm not sure what has happened to the plan to get supporters to write to UK MPs. The charity points to the shortage of health workers in developing countries and the UK's strong record of employing health workers who are originally from developing countries and migrate to the UK to work. HPA is not challenging people’s entitlement to move for work, to earn, to study and to create better lives, but instead seek simply to raise awareness of the consequences of the health worker shortage in developing countries. The responsibility for this must be on world governments engaged in large scale health infrastructure and planning. The shortage of health workers in developing countries results not only in poorer treatment there but in a variety of deficits which weaken the entire health system in the long term, from the under-staffing and under-maintenance of hospitals, clinics and rural health stations to poorer quality and less up to date training and education, the under-provision of medical equipment, the reduced chance of future investment when a future workforce cannot be relied upon and much more.

The charity adds,
It is estimated that 1 billion people [virtually all in developing countries] will never see a health worker, putting them at risk of dying from easily preventable diseases, from childbirth and basic health conditions.
The report Aid in Reverse challenges the UK government to play a conscientious and responsible role in ending the global health worker crisis, which Health Poverty Action labels a developing world “brain drain.” They suggest that in the UK the Departments of Health and International Development could work together on two complementary issues: first, treating the roots of the UK’s own shortage of health workers through better planning, training and education; second, giving something back to the developing countries whose health infrastructures are being weakened through lack – with severe ramifications for those nations’ own long term development – while they contribute so much to developed nations’ healthcare systems.

The challenge to developed nations who use the labour of talented health workers from developing countries to ensure their own citizens’ wellbeing is part of a pan-European initiative aiming to create a sustainable global health workforce. One of the main directives of the project is the implementation of a World Health Organisation Global Code of Practice on the International Recruitment of Health Personnel. The project’s tagline runs,





Bidisha is a Fellow of the 2013 International Reporting Project, covering global health and development.

Tuesday, 26 November 2013

Twice Upon A Time by film-maker Niam Itani: for the refugee children of Syria and Lebanon

Lebanese film-maker Niam Itani - read a wonderful interview with her here - is working on a new documentary project about Syrian and Lebanese children, called Twice Upon A Time, which, as she tells me, "seeks to raise hope amongst refugees and parents of today." Itani has started a campaign page to raise post production funds for Twice Upon A Time and produced a trailer introducing viewers to Khalil, the charismatic and bright boy at the heart of the film:



There are only five days of the fundraising campaign left, and nearly $20,000 still to be raised for this important, humane and uplifting film project.

Niam Itani was born and raised in Beirut and Ghazzeh in Lebanon. The Lebanese Civil War lasted 15 years, consuming 9 years of her childhood. "I witnessed several periods of unrest and violence in Lebanon throughout my childhood and adult life," she tells me. "I’ve had to abandon my city and home with my family several times due to these conflicts; the longest of which lasted five years in the Bekaa Valley - a rural area of Lebanon - in a village called Ghazzeh."

Twice Upon A Time is a film drawing together themes with both political and personal resonance, highlighting the universal impact of war on children and on entire communities. In the campaign briefing Niam Itani writes the following:

"In 1989, my parents left Beirut for a small village in the Bekaa Valley called Ghazzeh. I was eight years old.

"In 2012, Khalil's mother left Syria and took refuge at our house in Ghazzeh. Khalil was ten years old.

"This film tells the story of my friendship with Khalil, and our efforts to find hope and joy in the midst of madness and despair. It is also a personal reflection on childhood, nostalgia, home, belonging, memory and war."

Khalil & Niam assemble kites together, Spring 2013
"The Lebanese Civil War (1975-1990) left behind an estimated 120,000 fatalities. A study conducted in 1992 under the title 'Assessing War Trauma in Children: A Case Study of Lebanese Children' showed that 'on average a Lebanese child has experienced five to six different types of traumatic events during his or her lifetime; some events were experienced several times.' (Journal of Refugee Studies, 1992, Macksoud)

"Twenty-three years later, in what I'd like to think of as a civilized and sophisticated world that we live in, another armed conflict took the same trajectory as the Lebanese one, with more horrifying outcomes. By September 2013, less than three years after its beginning, the Syrian Crisis had left more than 120,000 fatalities and 2 million refugees. The numbers grow on a daily basis. [Read my own coverage of the Syrian humanitarian crisis here.]

"Seeing these two conflicts happen in such a short period of time in history and in two neighboring countries is heart wrenching for me. The most devastating part is that I am forced to watch more children grow in the same damaging conditions that my generation grew up with.

This is not another film about children who are orphaned, hungry or homeless seeking food and shelter during war. This is a film about children with caring and loving parents, coming from middle class families like most of us, but finding themselves in the cruellest human condition of all: war."

Khalil & his siblings pose for a photo before school, Spring 2013
"By telling this story, I hope to bring more understanding and awareness about this issue and to mobilize additional psychological and material support for children refugees around the globe.

"On July 31st, 2012, Khalil's family crossed the Syrian Border into Lebanon to flee the armed conflict in their country. My mother gave them refuge at our summer property in Ghazzeh, in the Lebanese countryside. That is where I met Khalil (12 years) who would later change the course of this project, and therefore, my life.

"But the journey of this film started much before the arrival of Khalil's family to Lebanon, and before the Syrian Crisis altogether.

"It began in 2010 as an attempt to fill memory blanks pertaining to my childhood during the civil war in Beirut. I was searching for "nice memories" during the period between 1980 and 1989, which seem to have vanished from my memory."

This photo of Niam was taken on May 4, 1984, one month before her sister 
Heba (mentioned in the video) passed away at the age of 9
"During our regular visits to Ghazzeh every weekend in 2012, I started to help my mother in providing food and shelter to refugee families. It didn't take long to notice that the plight of refugees in the village was too identical to our own strife in the exact same place, two decades earlier.

"Since Khalil's family technically lives with us, an unorthodox but very special friendship grew between me and him. My witnessing of his daily struggle in the beautiful locale of my childhood served as a wake up call for me. I felt that Khalil was re-living my past right in front of my eyes. And this time I could document it, not only for myself but for the whole world.

"Something was urging me to bring my camera and film the bond that was developing between me and Khalil. A bond built on sharing the war related traumas and many common personality traits. As in many other documentary projects, when I first started to film I didn't know what I was specifically after, but the pieces quickly started to fall in place."

 
Aya (3.5 years old) is a one of the Syrian refugees in Ghazzeh
All principal filming on Twice Upon a Time is now complete. To arrive at this point, Niam has used her own resources and those of her family, friends and friends of friends. The "urgency, intuitiveness and unfolding of the story on a day-to-day basis", she says, obliged her to focus on shooting the film rather than file applications for production support and/or waiting for financial backing from film funds or institutions (which is the classic route). The film team now need your support to raise a minimum of 35,000 USD for this project. These funds will cover part of the post production process and allow them to hire an editor, a sound designer and other artists and technicians to create a fine cut of the film. Once they have that fine cut, they can use it to apply for post production funds from regional and international film bodies.

Niam Itani has been campaigning and advocating for Twice Upon a Time, speaking on Al Jazeera about both her own history, Khalil's experiences and the project:



When I became aware of the project, via an introduction from film-maker Marian Evans, I had to find out more about this skilled and impassioned artist, who studied  for her BA in Communication Arts and a Masters Degree in Education from the Lebanese American University in Beirut, then pursued an MFA in Screenwriting from Hollins University in Virginia, USA. She made her first professional documentary in 2001 for a conference at university when she was an undergraduate. It was a short film entitled Ghareeb (Stranger). In 2005 Itani completed a second short documentary, Zakira Mubsira (A Foretold Memory). Between 2005 and 2010, she got the chance to expand her documentary skills while working at Al Jazeera Channel in Qatar as a Programs Producer. At Al Jazeera Itani worked as assistant producer on the critically acclaimed series Al Nakba and went on to make her first feature documentary, Rokam Al-Bared (Ruins of Al-Bared), a documentary about the destruction of a Palestinian refugee camp in North Lebanon. Her last short film, Super.Full. (2010), played at several film festivals including two Academy Award Qualifying festivals and the Venice Film Festival. Itani's feature narrative project entitled Shadow of a Man, is currently in pre-production and has been selected at multiple regional and international film venues. In January 2013 she co-founded placeless films, a film production company in Beirut, Lebanon. As part of placeless films, Itani also recently launched ScriptExperts, a specialised story & script service catering primarily to writers and filmmakers in the Middle East.

Niam Itani told me more about her intentions as the creator of Twice Upon A TimeBelow are selected quotes from her exclusive, honest and powerful interview:

"The original idea was a personal documentary project, that I started to work on in 2010 – a journey to document my own memories as a child, some of which were very vivid and some missing. I was going to interview family members mainly and try to fill in the memory blanks. This idea took a major turn; however, when Syrian Refugees started coming into Lebanon in 2012. The uncanny similarity of circumstances forced me to shift my focus to the “story” unfolding right in front of me in the present. A present that will be embedded in the memories of this new generation of children refugees. Twice Upon a Time was born."

"[As explained above,] the film is the story of my friendship with Khalil, a Syrian boy who had to leave Syria with his family in 2012, and took refuge in Ghazzeh (the village where we took refuge in 1989) as well. On a second level, it is the story of Khalil’s family and their recent experience of refuge and the story of my family’s experience of refuge 23 years ago and how similar are the challenges that we used to go through as children. On a third level, this is a film about hope, memories, childhood, nostalgia, and the notion of home."

"The film seeks to bring many issues to the fore. Some of them are everyday issues of refugee life like finding shelter, food, health-care, schools and a good environment to live in whether on the level of infrastructure or on a social/interpersonal level, and potential work and education opportunities for family members. Important issues that I want the film to call attention to is the children mental and psychological health during refuge, protecting them from witnessing additional trauma, and encouraging them to have hope, to give them opportunities to play and to pursue their education and bring their dreams closer to reality. Another major issue is the lack of compassion for the incoming refugees among host societies – Lebanon in particular. We won’t be delivering any of these messages to our audience but want them to see for themselves."

"The sources of hope for the Syrian children today lie within us, those who were children during times marked by war, hatred and destruction; and yet we made it to become successful and active individuals in our society today. I’d like to think that I give hope to Khalil when he appreciates what I do today and realizes that I lived most of my childhood years in conditions similar to what he is living through now. Hope lies in sharing the lessons that we learned from our own war, and stressing the importance of education, understanding others and working towards a better future."

"The film is a very personal and intimate story. In the film, the main people who speak are Khalil (he talks to me), myself (through narration and through talking to him), his mother, and my mother. We are exploring ways of partnering with International NGOs to carry this message through a concerted campaign, to raise awareness among both host societies and refugees, particularly across Lebanon, Jordan, Turkey and Syria. While this is the grand plan, we need more players and commitment to make this happen. On a more granular level, my sincere hope is that this film will touch people, irrespective of where they are, by sharing the message of understanding and compassion on a more individual human level."

"Mahatma Gandhi once said, 'If we are to teach real peace in this world, and if we are to carry on a real war against war, we shall have to begin with the children.' I have witnessed war as a child. Once it marks you, it will be very difficult to erase that mark. So the best thing to do is to utilize that effect and make it a tool for peace, love and understanding."

"I would like for viewers to put themselves into the shoes of the refugees, even if it is only for one day or one hour, and take into account the life that they must’ve been forced to leave behind. Their arrival as refugees in a new town or a new country is marked mostly by more hardship and challenges at the very basic level. I want this film to break many stereotypes, to spur people in societies that have refugees to accept them as fellows in humanity, to smile at them – if not for anything else. Ideally, I want people to help refugees wherever they are, to encourage them and support them in any way possible. We were there yesterday, they are here today, nobody knows who it could be tomorrow."

"I would like to bring a future of stability and safety to the children of Lebanon and Syria. One where bombs and bullets are considered dangerous accidents, not everyday life happenings. I want them to have the luxury to play and study without being forced to grow up so fast and carry more responsibilities and burdens than they are forced to do now."

Niam Itani with Khalil
The fundraising campaign for Twice Upon a Time is here. There are just five days left. If you like what you've read here, please support this vital project, which speaks to all those across innumerable countries, generations and cultures who have suffered displacement, conflict, societal breakdown and the fallout of violence and find themselves having to forge new lives as strangers - often traumatised, often mistrusted - in new places. 




With gratitude to Niam Itani for granting me her time and wisdom. Quoted campaign text (c) Twice Upon A Time.  Bidisha is a 2013 International Reporting Project Fellow reporting on global health and development. 

Saturday, 9 March 2013

"My last attack before I got away from my abuser lasted 4 days."

From Mandy Thomas, writing for Women's Aid the day before Mother's Day:
"I have used many Women's Aid services over the years, seeking a place of safety with my children. Sadly, the last service that I used is now closed due to a lack of funding. This is why we need to support Women's Aid now, to help them campaign to protect their member services all over the country.
When it comes to using domestic violence services, I have been there, done that, got the T-shirt. I have been through the system and spoken to people who don't work in specialist domestic violence services and simply don't understand the issue or have any compassion for victims. That is why it is particularly alarming that itis the specialist services that are being hit the hardest by the economic crisis and cuts to public spending. 
The result of our experience of domestic violence, and the traumatic ongoing effects on our family, have meant that I have faced a mother's worst nightmare and buried one of my children, my eldest son Daniel, This should not have happened. He took nightmares to his grave of the things he witnessed. He could not visualise or believe in a change, be it help, or a way out. We need to make a united stand to make the changes happen to save lives.  
Victims need proper support to rebuild their lives. 
My last attack before I got away from my abuser lasted 4 days. I was tortured - beaten black and blue to the point where my children could not recognise me. Cut with knives and broken glass, punched, kicked and bitten, then dragged through the house naked by my hair, burnt with a blowtorch and raped. 
We need to make a change right now so that future generations will not be subjected to such horrific abuse. Our children look to us for protection and guidance. In a way, I was lucky. Two women every week die from domestic violence in England and Wales alone. And that's just what is reported as domestic violence. Domestic violence costs our government £178 billion every year. The cost of the aftermath is huge - hospitalisation, medical treatment, and counselling is needed to help victims deal with the impact domestic violence has on their physical and mental health. 
More specialised domestic violence services are needed, not less. These services really do save lives."



One query from me: why is Gordon Ramsay an ambassador for Women's Aid, listed alongside Tana Ramsay, the woman he sadistically and selfishly betrayed, lied to, tricked and deceived for years, at the same time as pretending to be a family man? He has shown by his behaviour that he is not capable of treating women as human beings worth of basic respect and his presence as an ambassador to this incredibly important charity gives me pause every time I donate to it.