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Tag: Refugees

India’s transformation to a cashless society: what does this mean for the financial inclusion of refugees?

The Ara Trust is a women-led organisation that seeks to use innovative methods to expand the space available for forced migrants and refugees in India. Aman, Financial Consultant at The Ara Trust, discusses the transformation of India into a cashless society and the access of refugees to financial services.

With over 200,000 asylum-seekers and refugees, India is at the heart of refugee movements in the South-Asian region. As per the UN High Commissioner for Refugees (UNHCR), the majority are from Tibet, Sri Lanka, and neighboring countries other than Myanmar, and are issued documentation directly by the Indian Government. The others, such as those from Afghanistan, Myanmar, Somalia and DRC, are supported and issued documentation by the UNHCR. Despite these numbers, refugees, particularly the ones under the UNHCR mandate,  encounter difficulties in accessing the formal labour market due to ambiguity around their legal status. As a result, this has led to them encounter difficulties in accessing mainstream systems, including financial services.

India: Aadhaar and Financial Inclusion for refugees from Migration & Asylum Project on Vimeo.

Our project, conceived by The Ara Trust under its Migration and Asylum Project (M.A.P), aims to assist in the integration of refugees into the financial system, particularly after the move, by the Indian government’s November 2018 demonetization policy. The policy sought to remove existing 500 rupee and 1000 rupee notes from circulation, rendering them illegal.  As per the Government, besides targeting black-money, this was also a step towards achieving complete financial inclusion by transforming India into a cashless economy. Every individual would need a bank account, thereby eliminating the underground economy.  With no access to banking services because of the lack of identity documents, cash savings that were rendered worthless, and the difficulty in acquiring the new currency – the impact of the policy was severely felt by the country’s refugee population . The project, thus, focuses on refugees, especially women refugees, who work in the informal sector and earn their income exclusively in cash.

Aadhaar, the government-issued biometric identification card has been designated as an almost-indispensable proof of legal residence, and as a core tool of the government’s drive for socio-economic inclusion. Over the past 9-months of the initial project implementation, it has emerged that those who lack access to Aadhaar, including refugees, are unable to access financial services (including bank accounts) and find themselves excluded from the economy and relegated further to the margins. The Aadhaar Act is not linked to citizenship, and states that anyone residing in India for at least 6 of the 12 months preceding the date of application is eligible to enrol if they furnish proof of identity and address from a  wide range of options available. It should follow that refugees are issued Aadhaar if they meet the residence and the documentation requirements. However, many refugees report that they have been turned away by Aadhaar centres. To add to this, many have not applied for Aadhaar due to the fear of being wrongly prosecuted, as local authorities often incorrectly equate them with illegal immigrants.

‘The project, thus, focuses on refugees, especially women refugees, who work in the informal sector and earn their income exclusively in cash.’

The lack of Aadhaar has paralyzed refugees. Post-demonetization, employers are reluctant to pay wages in cash; thus, even refugees with professional qualifications are confined to the informal sector as daily-wage laborers because of the lack of bank accounts.  Aadhaar is also being increasingly enforced as a precondition to access many services that they could once avail – such as education and healthcare. Further, many refugees report facing day-to-day difficulties like getting a SIM card, leasing accommodation, or receiving money transfers from outside India. This is resulting in refugees being steadily excluded from mainstream systems and leaving them extremely vulnerable to exploitation.

At M.A.P, we carried out a pilot study to assess the roadblocks refugees face in enrolling for Aadhaar. We discovered that most enrolment centres were not clear about whether refugees were eligible, and refugees reported that they were turned away by centres due to the lack of clarity on their legal status. Further to this, we observed that their documents were also not recognised as valid proof of identity or residence; it did not help that these refugees presented varying sets of documentation (stay visas issued by the government, others their UNHCR-issued refugee cards, yet others with their national passports or rent agreements).

Above: Members of The Ara Trust with colleagues from the Commonwealth Foundation.

The requirement of Aadhaar for accessing essential services has been challenged before the Indian Supreme Court, and its decision is pending. However, for now, we acknowledge that Aadhaar is indispensable in allowing refugees to access essential services, and, in turn, integrate them into the mainstream economy. We at M.A.P therefore, find it necessary at this stage to sensitize and seek clarity from the relevant authorities, so that standardized guidance can be issued to include refugees within the purview of Aadhaar and consequently ensure their socio-economic inclusion.

Aman is a Legal Consultant for Ara Trust. 

Through a different lens

Despite extensive planning, when Commonwealth Writers start work on a creative project, we don’t always know the exact course it will take or what unexpected results it will achieve.

In 2012 we launched a capacity building scheme to give emerging writer-directors the opportunity to make a film on the theme of relationships. Five filmmakers – from Bahamas, Barbados, Canada, Kenya and New Zealand – made short films which highlighted issues affecting them and their communities.

The subject of one of these short films, Passage, by Bahamian filmmaker Kareem Mortimer, is now an award-winning feature film, Cargo, which won the Amnesty International Human Rights Award at the Trinidad+Tobago Film Festival recently. The Award recognises the importance of film as a vehicle for raising awareness about human rights issues and advancing inclusion and social justice. Films such as Passage and Cargo tell the personal story and human cost of illegal migration, putting dangers and suffering under the spotlight, and giving the viewers a different perspective.

‘Cargo examines the world’s refugee crisis from a very local perspective’

Kareem has described Cargo as the ‘feature version of (his) short film Passage’, feeling that ‘there was a great deal more to be said about human smuggling.’ Passage tells the story of a young Haitian woman and her brother fighting for survival while being smuggled into the United States on a dilapidated fishing boat. With over fifty screenings to date, including showings in New Zealand, Nigeria, Europe, the Caribbean and the US, Passage has also won a number of awards including the Best Diaspora Short Film at the Africa Movie Academy Awards 2014. It also made Kareem the first Bahamian filmmaker to show a film in Havana, Cuba, at the International Festival of New Latin American Cinema.

Inspired by true events, Cargo examines the world’s refugee crisis from a very local perspective. When his income, further eroded by his gambling addiction, proves insufficient to cover his son’s school fees, an American exile living in the Bahamas turns to human smuggling in order to raise desperately needed funds. He finds that he is good at this dangerous yet profitable enterprise —good enough to trust himself with smuggling his own girlfriend and her son to the US. But when faced with having to abandon refugees at sea far from Miami shores, he is suddenly forced to reassess his responsibilities.

The largest Bahamian film project to date, this latest feature from Mortimer is, as described by the Miami Film Festival where it premiered in March 2017, ‘a thrilling, vital call for empathy in troubled times.’ As Mortimer has said, he hopes the film ‘sparks conversations …. We live with this and have been living with this for the better part of 30 years. It’s time to address it. Bodies wash up on shore a couple of times a year.’ As well as portraying the human cost of illegal migration, the feature film shines a light on Bahamian culture, something rarely seen in films where the islands are more often simply an exotic backdrop.

‘The last scenes are gutting, yet your heart is left pounding for unexpected possibilities for survival and opportunity.’

One of the judges for the Amnesty Award, Trinidadian writer, activist and scholar Gabrielle Hosein, said that Cargo, ‘presents real life for many Caribbean people in layer after layer of devastating, intimate and disturbingly beautiful detail. The story-telling is deeply personal, yet feels global. You visually connect to the land and seascape of the Bahamas, where Mortimer’s film is based, but cannot help but think about such experiences cross-cutting our blue planet. The film follows multiple vulnerabilities and imperfections as experienced by Jamaican migrant workers, Haitians seeking a better life and middle-class deportees. It also explores the difficulties of family as they intersect love, sex and the global economy, and their complex inequities. While focus is on the disempowering effects of illegal migration, trafficking in persons, the drug trade, and domestic and retail sector workers’ low-status and informal labour, you are left gasping for breath … The last scenes are gutting, yet your heart is left pounding for unexpected possibilities for survival and opportunity.’

Four films from Commonwealth Writers’ latest film project, Commonwealth Shorts: Pacific Voices, are about to be premiered at the Hawaii International Film Festival on 10 and 11 November.

Six writer/directors from Tonga and Papua New Guinea attended script development workshops with local script editors before developing their own scripts and shooting their own films, with the assistance of BSAG Productions in New Zealand. Like the original Commonwealth Shorts, all the films highlight stories and issues which affect their communities, as well as shedding new light on Pacific culture and opening the world’s eyes to talented filmmakers.

Emma D’Costa is Senior Programme Officer for Commonwealth Writers, the cultural initiative of the Commonwealth Foundation.