In February 2022 Russia’s invasion of Ukraine started the war that would lead to the largest refugee crisis in Europe since World War II. In response to the war, SWAN, the Swedish Artists Residency Network, initiated the project Emergency residencies. During 2022, the network’s artist residencies opened up to provide safety for Ukrainian artists fleeing the war. Through an ethnographic case study and in-depth interviews, this thesis explores the experiences of four Ukrainian musicians in times of war and displacement, that took part of the Emergency residencies. It also investigates the function of SWAN’s Emergency residencies for musicians facing forced migration. The purpose is to shed light on the experience of musicians in a refugee position and the residency as a space that may contribute to uphold music-making and musical labour for refugee artists. This thesis uses a transdisciplinary approach. It draws on notions of music as an emotional resource, music becoming political, and theoretical concepts regarding identity, belonging, and detachment, as well as translocality and transcultural capital. SWAN’s Emergency residencies is shown to provide several benefits for musicians displaced during Russia’s war on Ukraine. It includes the contribution of economic resources, opportunities for artistic practice and development, and promotion of cultural understanding and social inclusion. It also suggests that typical benefits provided by artist residencies gain added value for artists experiencing war and displacement, as it answers to losses typically experienced in forced migration. The war and refugee position are embedded in the daily experience of musicians facing war and displacement. This thesis suggests that musicians can use various strategies to either enforce, dismiss, expand or change the view of their prescribed identity in relation to the war and the refugee position. A Ukrainian identity is enhanced to show pride of their country, create awareness of Ukraine’s situation or foster a sense of belonging. Music can also be used to detach from positions and preconceptions surrounding such labels and connections, either through performing other identities or releasing from all categories. Furthermore, music and music-making can act as an emotional resource that helps regulate emotions or become a vehicle for political mobilisation and support for Ukraine. The politicisation of music is also actualised by the refugee position in itself and public perceptions of such positions. Transcultural capital highlights the capacities and strategies of musicians to create various economic, cultural and social opportunities through links to both their host and home country.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:uu-505330 |
| Date | January 2023 |
| Creators | Hellström, Hanna |
| Publisher | Uppsala universitet, Institutionen för musikvetenskap |
| Source Sets | DiVA Archive at Upsalla University |
| Language | English |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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