The next steps

A workshop at Torpoint College next Thursday on I Packed This Myself with Inga (who worked with us in January) ... looking forward to it, and also to developing our new project which naturally arises from the work with migrant workers.Will be in Cornwall all week. It will be key, of course, to build partnerships - and first and foremost follow up the leads and foundations built with Migration Impacts Funding via Inclusion Cornwall and Cornwall Council. Really would like to meet Inclusion Cornwall and Cornwall Works manager Andrea Gilbert - but she is an extremely busy person. She does have the morning of 17th April free - and we arrange a conference call. At least this is a start.

Worklessness: a definition

I've mentioned the term 'worklessness' to people a few times recently (as I started to hear the word when we embarked on work with migrant workers in Cornwall). It's been surprising to find that it's not a familiar term to anyone outside the employment sector. The word has been buzzing around my mind ever since I first heard it. Here's a definition I found with Google's trusty assistance:

Worklessness is a less familiar term than unemployment to describe those who are economically inactive. The economically inactive are people of working age who are not working, not in full-time education or training and are not actively seeking work.

Source: http://www.idea.gov.uk/

Understanding the Migrant Experience

It's taken me a while to post this up! But click here for the briefing paper including my presentation on I Packed This Myself for the Economic and Social Research Council (ESRC) Seminar Series, 'Understanding the migrant experience'. This all took place at Swansea University. 

Crossing the Tamar

Very misty crossing the Tamar. For me, going across the railway bridge was always the real wrenching moment when I 'left home' for Uni, work or whatever. Home, of course, defines who you are. And you are on your own when setting off into the world.

Migrant workers and the WI

On the train back to London after speaking last night to the WI (Women's Institute) in Praze, Cornwall about our work with migrant workers. There is a competition at the meeting (there is every month) themed around my talk: 'What would YOU pack if you had to work abroad?'
There are 11 entries for me to judge. Reading through them now - a tough call, but the best lists include things that are reminders of home.

Natural beauty and child poverty

A rhapsodic sunset in west Cornwall. Know it's a commonplace but find it hard to reconcile this natural beauty with the fact that a few miles away are towns with some of the highest levels of child poverty in the country.

Migrant artists at the Tate

Sunday morning, quite early (1030am) and the Tate Britain is already busy. Crowds of people at the Picasso exhibition. But I found another, much less busy, show more appealing. Migrations: journeys into British Art has some interesting paintings, and statistics. The exhibition shows how migration into this country has influenced British art over the past 500 years. There's quite a big gap - the 19th century! - but otherwise some fascinating insights.

In the 16th century, artists from the Netherlands introduced a new style of portraiture. Here Portrait of an Unknown Lady by Hans Eworth. He - and others - created iconic portraits of celebrities of the day - in other words, royals and the nobility. No one now knows who the unknown lady in this portrait is/was. But her clothes and jewellery show that she is clearly of high status.

Two hundred years later Italy and its classical tradition had a strong hold on holiday choices and painting styles. The Grand Tour - wealthy young Englishmen's equivalent of a Gap Year expedition - was popular and sparked an interest in antiquity and classical art. A new, neoclassical style developed and greatly influenced the development of art in the UK. A VERY interesting statistic (source: Tate Britain): a third of the founding artists of the Royal Academy were migrant artists.
Here, one such artist: Canaletto and his painting of Horseguards Parade (central London). Canaletto, famous of course for his Venetian scenes (often painted for British tourists), lived in London for nine years. Have made a mental note to seek out his house in Beak Street, Soho.

Then there were the Americans, in the late 19th century, who injected the energy and fresh vision of the New World into portraiture, raising eyebrows in some cases. John Singer Sargent's Study of Mme Garnier (an American herself) is a good example of that.

The Tate, in its free leaflet accompanying the exhibition, garners comments from Bonnie Greer (playright (sic) and novelist), Michael Rosen (broadcaster, children's novelist and poet) and Shami Chakrabarti (Director of human rights organisation, Liberty).

"This exhibition interests me because it addresses one of my favourite topics  - 'interculturalism'. People have always migrated, whether it has been to escape persecution or poverty or to exchange ideas. We should get away from the notion of host and migrant. Cultures mix and we should celebrate that." Michael Rosen

I visit Migrations with my son's wise words ringing in my ear: "Of course, Mum, only white middle class people go to that kind of exhibition." And sadly, to judge from the visitors on Sunday morning, he was right.