Asylum Seekers

Baroness Bakewell Excerpts

Monday 20th May 2013 Lords Chamber

[Earl Attlee]

The noble Lord is right: denying asylum seekers the ability to work makes it difficult for them to integrate into our society, and that is what we want. We do not want asylum seekers who have not determined their right to be in the UK to become integrated into the UK, as it makes it more difficult for them to return. When we find that someone has a good claim for asylum, asylum is granted, they can work straight away and we can then try to integrate them into our society as fast as possible.

[Baroness Bakewell]

The noble Earl will know that when women seek asylum following often violent sexual abuse in their country of origin, they are most likely to have their application accepted on appeal, so while they hang around without any income, many of them become destitute. How does he propose resolving that problem?

[Earl Attlee]

My Lords, the legislation is specifically designed to make sure that asylum seekers do not become destitute. They are supported under Sections 95 and 4, particularly Section 95 when their application is being determined. I would like to discuss with the noble Baroness privately why she thinks that female asylum seekers should be more vulnerable to becoming destitute. She has also previously raised with me the difficulties experienced by female asylum seekers, particularly in respect of torture.

Asylum Seekers

Baroness Bakewell Excerpts

Tuesday 11th October 2011 Lords Chamber

Asked By

[Baroness Bakewell]

To ask Her Majesty’s Government, in the light of the number of asylum decisions overturned on appeal, in particular among female asylum seekers, what steps they are taking to ensure that women fleeing gender-based persecution receive fair asylum decisions.

[Earl Attlee]

My Lords, the Government recognise that women can face particular forms of persecution that are quite often different from those faced by men, and are committed to ensuring that women’s claims for asylum are dealt with as fairly and sensitively as possible. The UK Border Agency is working closely with a range of key corporate partners in developing improvements to the asylum system. This will increase gender awareness throughout the asylum process.

--- Later in debate ---

[Baroness Bakewell]

I thank the Minister for his reply, and for implying that there is still space for improvement. Perhaps he knows the case of the playwright Lydia Besong, who sought asylum here in 2006 having been imprisoned and raped in Cameroon for being a member of the Southern Cameroons National Council. She has been refused asylum and is under threat of removal. Does the Minister agree that women such as Lydia—and there are several—who suffer gender-related persecution should be protected rather than sent back to face further risk, and that early access to legal representation for appeal would reduce the costs of the asylum process?

[Earl Attlee]

My Lords, Miss Besong is a failed asylum seeker, having had her appeal and further submissions dismissed by the courts, not by UKBA. She became appeal rights exhausted this year and therefore subject to enforced removal action if she refuses to leave the UK voluntarily. On the noble Baroness’s second point, about leaving it to appeal, it is open to legal and other advisers to introduce new evidence to the UKBA at any point between the original decision and the appeal hearing. Asylum could then be granted before the appeal is heard. It is not clear to me why this does not happen more often.

Visas: Points-based System

Baroness Bakewell Excerpts

Thursday 10th March 2011 Lords Chamber

[Baroness Bakewell]

I offer my congratulations to the noble Earl, Lord Clancarty, for instigating this pressing debate. I rise to join my voice to those of others in expressing my most extreme concern as to how the points-based system of issuing visas to visiting artists is affecting the arts in this country in their capacity to sustain their worldwide reputation for excellence. It is jeopardised daily by the arbitrary, overbureaucratic and inconsistent application of an already complicated system.

I speak with the experience of the National Campaign for the Arts behind me. I was its chair when this problem first loomed on the horizon, and when I ceased to be chair last year the problem was still with us, and getting worse. From the very first moment when the points-based system was mooted, the NCA brought to the attention of the immigration authorities what it would mean for the arts. They were genuinely surprised, as it simply had not occurred to them the scale of ongoing problems that the PBS would cause.

International performers and artists are a vital part of our internationally renowned UK arts scene. In a recent survey of the NCA's 550 members, including everyone from the Royal Shakespeare Company, the leading orchestras, the Sage, the Tate, the Lowry, and so on, 76 per cent had hosted artists from outside the EEA in the past two years, and 55 per cent considered it essential to their business. No other activity is so instantly global in its reach: music, painting, dance, sculpture, mime and even circus all transcend language, and performances and performers are interchangeable across sovereign frontiers. Indeed, it is one of the glories of the arts that they transcend frontiers and reach immediately into the hearts of all people.

These visa problems are not occasional, but the daily nightmares of concert planners and managers across the country. It does not have to be so but, in fact, it is threatening to get worse. More and more UK consular posts overseas are withdrawing their visa services. Los Angeles is closing its visa section and all applications now have to be processed via New York. The length of time it takes, when time is of the essence, is getting longer. Dusseldorf closed its office on 1 March, and now all applicants in Germany have their passports and support documents shipped to the UK and back for visa processing. Some artists enter the UK to take up the offer of long-term employment. The listing of ballet, contemporary dancers and orchestral musicians on the shortage occupation lists has been very encouraging. However, the recent imposition of an immigration cap with those now seeking to enter under tier 2 needing to demonstrate degree-level qualifications is quite inappropriate. The arts are not like that: they do not operate on conventional and business models. Innate ability and naturally blossoming talent is often the most precious thing an artist can have, which others wish to enjoy; academic qualifications do not necessarily come into it at all. Records of sustained employment do not fit either. Even the most outstanding performers rarely have careers of non-stop working; artists are freelances. Their earning patterns may be wayward and erratic and are certainly no guide to their talent. So the new criteria are squeezing artists doubly hard.

The world of art is international: its practitioners speak to each other, exchange gossip and advice, career hints and touring tips. The reputation of Britain is high in their estimation for our venues, our audiences and our enthusiasm. It is damaged around the world by the way in which the points-based system is operating; it is doing this country a disservice. A full review of this system is pressing.