Wednesday, August 12, 2020

Expat Exodus In The Middle East

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Vanshita Banuana

Article Title

Expat Exodus In The Middle East

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Global Views 360

Publication Date

August 12, 2020

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A photograph of Dubai

A photograph of Dubai | Source: Fredrik Öhlander via Unsplash

The COVID-19 pandemic has hit people and economies worldwide, sparking a global recession and financially destabilising millions of people. In the Middle East, dipping oil prices have only worsened the threat to the economy. Businesses are shutting down, and many are trying to survive by cutting the salaries or laying off of workers. Large segments of the workers in these countries are expatriates, and many have struggled to make ends meet as unemployment soared.

The development of the Gulf countries has always been intertwined with their large expat populations. These workers are often vital to the economy, not just as part of the workforce but also as consumers by enabling successful malls, restaurants and other forms of recreation and tourism. Countries like Saudi Arabia gain valuable non-oil revenue in the form of increased Value Added Taxes (VAT) and by imposing a monthly fee on migrants who want to sponsor family members.

Many of these workers are from developing Southeast Asian countries such as India and Pakistan, and contribute greatly to their home country’s economy in the form of remittances, i.e sending money back home. Those who are facing unemployment or salary cuts are eager to be repatriated, especially since in many Gulf countries visas, rent, and even phone lines are linked to jobs, and expats have little to no social safety nets to fall back on.

Panicked” Indians applying to go back home crashed the Dubai aviation ministry’s website for applications in the process. The consulate says it has received around 200,000 applications for repatriation of expats from as many as 12 countries.

For some, closing businesses are forcing them to go home. For others, the cost of education is the major concern. The Emirates group, Uber’s Middle Eastern counterpart Careem, and hotels are some of the few major employers considering laying off large portions of their staff or reducing salaries.

Dubai has been one of the hardest hit, as expats form an estimated 92% of the population. Dubai based movers estimate that they’re getting up to seven calls a day to ship belongings abroad. It is extremely hard to gain permanent resident status in countries such as the UAE, and the costs of living and education are quite high and often provided by employers, which has made leaving the only option left for many laid-off workers across all fields.

The UAE has tried to offset the damage by granting automatic extensions to expiring work permits, waiving of work permit fees and fines, and providing interest-free loans and repayment breaks.

Meanwhile, governments in Kuwait and Oman are trying to mould the exodus into an opportunity to boost local employment. On the other hand, the Saudi Arabian government has been criticised for not taking enough measures to protect the local workforce.

While the Gulf countries have been trying to decrease their dependence on oil wealth and foreign workforce, it is not something that can be accomplished soon, especially given the great dependence of the Gulf economies on both those factors.

There is still too unavoidable a gap between the current skill of local workers and the training needed to compete with foreign professionals, making it hard to simply employ domestic workers in place of foreign ones. The pandemic, however, might not leave much of a choice.

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February 4, 2021 4:48 PM

Bias and Nostalgia in Hergé’s Tintin

Some of my fondest memories involve sitting under the guava or the European gumtree, perched on the wall of our garden as the sunlight dappled on an old copy of a Tintin comic. For some years, at least, before the gumtree was cut down, the leaves bore witness to me following the globe-trotting adventures of the Belgian reporter, replete with hilariously-named companions and witty play of words. My nostalgia is as much for the inked characters and words on the paper, as for the musty smell of the oft-thumbed and yellowed pages of the comic, and the permanently romanticized view of the sunny garden. The comics have left a palpable imprint on my sense of humour and love of a certain kind of literature. And perhaps it is this imprint, along with my pleasant nostalgia, that makes it a struggling task to accept Hergé’s racism through his Tintin comics.

Hergé’s (or Georges Prosper Remi’s) writings were, undeniably, a product of their times. His first two series in the Adventures of Tintin comics, Tintin in the land of the Soviets (1929) and Tintin in Congo (1931), have famously been the subject of much debate, since the late 1900s. In Soviets, Hergé offers a crude critique against Marxism – meant to inculcate anti- Soviet sentiments in the European youth at the time, by portraying the Bolsheviks as inherently evil without a full comprehension of how they rose to power or what their political views were.

In Congo, African tribes and leaders are portrayed as either infantile, or in need of saving, to the extent that Tintin becomes the embodiment of fairness for young Africans, even having a temple made after him. Congo itself was a colony of Belgium from 1908 to 1960, one of the two colonies that Belgium governed, and the comics grossly ignore the labour politics of the Congolese and their efforts in both the World Wars. It was not until after the decolonisation of Africa that European perception of ex-African colonies changed.

Much of the modern debate surrounding the banning of select Tintin comics is centred around the depicitons of big-game hunting in Congo and the anti-Semitism in the The Shooting Star. Besides the uncomfortable portrayals of the Congolese, a few panels in the 1931 edition of Congo depicted Tintin drilling a hole into a live Rhinoceros, filled with dynamite, and blown up. In the 1946 edition, this scene was replaced, with Herge apologizing for what he recognized as “youthful transgressions''. In the Shooting Star, the villainous financer was renamed, from the Jewish Blumstein to the innocuous Bohlwinkel.

Hergé’s subsequent works became politically neutral, written after the German occupation of Belgium and the German takeover of Le Vingtième Siècle, the conservative Catholic newspaper he wrote for. While the white-saviour narrative continued with Tintin leading as the embodiment of Europe that “natives” had to follow, the later works are much less politically biased.

However, he prefaced Tintin in America with a critique against the racism in the United States, alongside his anti-imperial stance in The Blue Lotus. He is also known, famously, for not joining with the far-right extremist forces in German-occupied Belgium at the time, as many of his colleagues had. Michael Farr, a British expert on The Adventures of Tintin series, claimed after a meeting with Hergé that “you couldn’t meet someone more open and less racist”. Others have called him an opportunist, heaving towards the side that was popular. Perhaps this was indeed the case, or equally, perhaps Hergé did change his views, and his writings in Soviet and Congo are merely reflective of the predominant Belgian culture at the time.

At any rate, the question still remains: how do we read, or re-read, Hergé (or many such childhood-favourite authors, like Dr. Seuss)? Shelving the books and forgetting the authors is undoubtedly impossible, and misguided besides. A recognition of the biases, and a plethora of context surrounding these texts must be made available at all times. A celebration of a character or a person must not come at the cost of ignoring their uncomfortable stances.

The depiction of Africa in 20th century comics has been abysmal. A tendency of depicting the 'other' as a 'noble-savage' is a familiar concern to those readers who have spent much of their lives in recently liberated colonies. It is, perhaps, especially imperative for such readers to keep this in mind and not repeat them.

In our Consumerist times, it seems, we sometimes forget to start dialogues on themes that are unfamiliar and maybe even uncomfortable to us. We forget which stories desperately need to be told and which have not seen the light of day under the shadow of popular literature.

This, at least, is what I have strived to do: to maintain a balance between nostalgia and a recognition of biases. My memory of the Tintin comics will remain just as romantic as the idyllic memory I started with in the beginning of this article.

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