NRPF Demonstration 2002 – In the early 1980s the Tory Government introduced a set of restrictive and discriminatory immigration rules to prevent people from abroad from being able to enter the UK and settle permanently through marriage. The key changes were the introduction of the primary purpose rule (PPR), the one-year rule (OYR) and the no recourse to public funds requirement (NRPF). The PPR required applicants to prove that the main purpose of marriage was not settlement in the UK. However, the rule was implemented in a highly discriminatory way, causing untold misery and suffering to many couples seeking to live together. For this reason, it became the target of extensive campaigns across the UK demanding that it be abolished.
Southall Black Sisters has been campaigning for reform on NRPF for 20 years. In 2007, we established the ‘Campaign to Abolish No Recourse to Public Funds,’ a campaign involving a coalition of over 30 leading human rights and women’s organisations. The Campaign has been working with the Home Office and UKBA on developing and monitoring the pilot scheme, training UKBA officers on how to respond to domestic violence applications and lobbying for a permanent solution to the no recourse problem.
To celebrate Southall Black Sisters’ 40th anniversary, we have printed a pack of six greeting cards depicting key moments in our long and radical history of campaigning on a range of issues of particular concern to BAME women. Taking his inspiration from photographs of these ‘Iconic Moments’, Jagdeep Raina, used his artistic sensibility to recast these scenes with mixed media on paper. He kindly donated these drawings to SBS.
Jagdeep Raina, a young Canadian visual artist, visited Southall in 2016 to explore his Punjabi heritage through archived material and meetings with migrants, activists and organisations. His work has appeared in a number of group and solo exhibitions internationally, including the UK, China, the US and Canada.
Raina says that ‘My artistic practice has always been heavily research-based, mobilising the archive as a medium and subject. … Connecting with the archives of Southall Black Sisters has allowed me to embrace a shift that had been steadily building in my artistic practice; a shift that had led to uncomfortable truths about how marginalised diasporic communities—in particular, the Kashmiri and Punjabi Sikh Community—can perpetuate further marginalisation against their own people including those of different castes, of nationalities, economic status, sexuality or gender, and more widely against people of other races and religions.’