Migration and integration are not only subjects of sociological research but also central topics in artistic practice, which often challenges established perspectives on (forced) migration, provides new forms of representation beyond ethnic ascription, or presents images of alternative (and utopian) social realities. Exploring art’s transformative potential for the sociology of migration and integration was the main objective of the transdisciplinary research project ‘The Art of Arriving: Reframing “Refugee Integration”’. Therefore, a so-called ‘real-world laboratory’ was implemented, where sociologists accompanied artists during the creation and recipients during the interpretation of aesthetic expressions. The aim was to provide a space where scientific and non-scientific actors cooperate in the joint production of knowledge by researching, experimenting and learning from each other.

In a first step, artists from the areas of music, literature and photography were invited to translate their experiences and perceptions of arrival – understood as a long-lasting process – into aesthetic expressions. Three artist teams were recruited, consisting of artists who have experienced recent flight (Syria), artists whose refugee experience lies in the past (former Yugoslavia) and artists without any refugee experience. The research team accompanied these artist teams and observed and documented their joint work. The artworks created in this process (compositions, photo brochures, a short story) were then interpreted in 23 group discussions with recipients (some of them with and some of them without refugee experiences). Particular focus was placed on recently displaced individuals from Ukraine and their experiences of arriving in Austria. Data analysis was carried out by applying methods of reconstructive social research.

The project design, characterized by its close integration with artistic practice, proved to be beneficial in multiple ways and led to highly insightful research findings. The artistic perspective was crucial in expanding our sociological understanding of phenomena related to arrival, revealing dimensions that might have remained hidden through purely sociological methodologies. At the same time, incorporating art promoted the process of decentering, which involves distancing oneself from one's own (sociological) perspective, allowing it to be examined reflexively. Additionally, it became evident that the use of the artworks as an impulse for group discussions enabled people with refugee experiences to speak much more deeply about their own journeys. The results contribute to developing new perspectives on forced migration and integration beyond established approaches; moreover, they enhance methodological considerations for implementing reflexivity in current migration research.

FWF. The Austrian Science Fund.

1000 Ideas Program