Glasgow Refugee Asylum Migrant Network (GRAMNet) organise a successful film series which explores the lives and experiences of migrants, refugees and asylum seekers, and celebrates diversity in Scotland. We spoke to Poppy Kohner, who co-ordinates the film series along with Rebecca Kay, to find out more about the aims behind the series and how they attract such a varied audience.

Q. Can you tell us a bit more about GRAMNet and its aims?

In addition to its long history of hosting large communities of migrants, the City of Glasgow is host to the largest population of refugees and asylum seekers under the dispersal policy. GRAMNet aims to bring together researchers and practitioners, NGOs and policy makers working with migrants, refugees and asylum seekers in Scotland. GRAMNet has many different manifestations. This includes a very popular seminar series, a book club and the film series, as well as research groups, a strong social media presence and a range of creative endeavours. We are extremely proud of our wonderful poets, artists and film-makers-in residence who bring a creative dimension to the network. The network is currently funded by The University of Glasgow.

Q.  How did the film series come about?

The idea of screening films which represent stories and experiences of migrants, refugees and asylum seekers was suggested at the very first scoping workshop when the idea of GRAMNet was first discussed. Mariangela Palladino, a founder member of GRAMNet, proposed a screening of Maryse Gargour’s historic film The Land Speaks Arabic in 2010. Screenings started at the university, but drew in diverse audiences and prompted lively debate involving academics, activists and practitioners. This led to a small group within the network, initially Dr Palladino, Taulant Guma and Katie Farrell (GRAMNet PG convenors) and Lauren Roberts (GRAMNet administrator), developing the idea of a regular film series in conjunction with the CCA. This was supported financially by BEMIS as GRAMNet partners, as well as from GRAMNet’s own University budget and the first series officially took place at the end of 2010.

 

The first screening at the CCA featured VisibleHuman Beings (2010) by Fatima Helow, a short film about two people seeking asylum in Glasgow and Those Left Behind (2007) by Camcorder Guerillas, which was a documentary looking at the brutal dawn raids that were taking place within these communities in Glasgow. As the series developed it became clear that the films themselves were often quite emotionally challenging, though important, to watch. The decision was taken to link each screening to an international day of commemoration or celebration and to invite local organisations, relevant speakers and film makers. This was to encourage discussion, but also to balance the difficult subject matter with a focus on positive actions, campaigns and events that people could get involved with.

Q.  What are you most proud of?

I am most proud of the diversity of the program that we deliver.  At a GRAMNet screening you can expect to see some films which are difficult to come by, such as Joanna Kos-Krauze and Krzysztof Krauze’s stunning film Papusza (2013) about Polish-Romani poet Bronisława Wajs, or Slawomir Grunberg’s Karski and the Lords of Humanity (2015). The Polish films in our series are programmed by Dr. Elwira Grossman. She has provided so much insight and expertise to the film series. We have managed to secure block-buster films, such as Talal Derki’s Return to Homs (2013)and Paddington (2014), as well as supporting film-makers and researchers who are creating work locally. Last month, we screened Yasim Fedda’s award-winning documentary Queens of Syria (2014) along-side Glasgow-based artist Valentina Bonizzi’s short film Cartographers (2015).  We are also working with Glasgow film-maker Basharat Khan and the Islamic University in Gaza. They are currently creating a film for our screening on 11^th May 2016 to commemorate the Nakba. Being able to provide these films to the public for free is also an extremely important aspect of our work.

Q.  What has been the biggest obstacle or difficulty you faced in setting up the film series?

I’m not sure that there have ever been any huge obstacles. Actually, I would say the series always took on a momentum of its own. The rotating group of people within the network taking responsibility for it really helps to generate new ideas and energy each year. We have been very lucky with the ongoing support of BEMIS, Iona Community, Equalities and Diversities Unit at Glasgow University and the CCA as a wonderful host venue. The film series has gained a very positive reputation and frequently attracts sell-out audiences as well as thought provoking and thoughtful debate.

Q.  What’s been your most important learning been from the process?

I have learned the importance of creating a space for critical dialogue when presenting such emotionally and politically charged films. I have also learned not to be afraid or feel limited by a small budget. Often being bold and upfront has managed to secure unexpected films and opportunities. Empathetic producers, directors and filmmakers have been very generous in providing us with film rights at a discounted rate, or even for free. It is this real sense of a wide-reaching, concerned and caring community that keeps this film series so successful.

Q.  The film brochure mentions that you have a particularly diverse audience (from different academic, organisational and societal backgrounds). Why do you think you attract such a varied audience and have you done anything in particular to encourage that?

I think it is a strength of the structure of GRAMNet as a wide and lively network, as well as the CCA as a venue. We have started sponsoring the really wonderful organisation Unity Sisters, a group of women who meet to support and empower each other while going through the asylum process, for travel to the films which has also helped the series become more accessible.

Q.  What advice would you give to arts and cultural organisations aiming to improve their access and equalities?

Accessibility is everything, but so is communication. We realised that, although our films were free to the public, we hadn’t considered how particular communities could travel to the venue. It was through speaking to, and taking on board the constructive criticism from the Unity Centre that we realised that providing all-day bus tickets for the day of film screenings we could help remove other financial barriers to attendance. We now provide Unity Sisters with 10 bus passes for the days that the films are on.

Q. Is there anything else you’d like people to know about your work in this area?

We are very open to suggestions for the film series and encourage people to get in touch with films that they would like to see. See our blog, our Facebook page or Twitter feed, and contact us with your ideas. We are also very excited to be part of the Refugee Festival in June with a screening of Transit Zone (2015) by Glasgow based filmmaker Frederick Subei, and a corresponding photo exhibition by Iman Tajik, both about ‘the jungle’ camp in Calais. Local film-maker and descendant of Irish migrants Colin Morris will also present his short film If I Were You about detention centres in Ireland.  Hope to see you soon at one of our screenings!

If you’re aiming to reach a wider audience we’ve got some great online resources to help you become a more accessible organisation and engage with populations that are local to you.