Co-authored by a French humanitarian anthropologist and a South Sudanese refugee and environmental activist, both writers situated across the Global North and South, this article argues that artistic practices in displacement operate as infrastructures of survival, whose conditions of existence are both enabled and constrained by external actors. Drawing on a case study of Tongogara Refugee Settlement, it argues that the arts—and, more broadly, knowledge production—constitute key survival mechanisms across psychological, psychosocial, and identity-related dimensions. This article further shows that artistic practices in displacement are not only autonomous expressions of resilience but also mediated cultural forms whose visibility and meaning are co-produced through humanitarian, institutional, and epistemic regimes—including the regimes of academic writing itself. First, we examine art’s three interrelated survival dimensions: psychological (personal coherence amid uncertainty and symbolic mobility), psychosocial (collective bonding and mutual support), and identity (cultural representation, memory, heritage, and self-definition in displacement). Second, we examine how these functions are shaped by interactions with external actors—including humanitarian organizations, donors, cultural platforms, and academic institutions—that may increase visibility while favoring curated representation over sustained artistic development, reflecting broader donor-driven logics of accountability. Third, drawing on reflexive notes from the co-authorship process, we show how academic narration can reproduce these asymmetries, thereby positioning co-creation as both an ethical practice and an epistemic condition of equitable knowledge production. Drawing on humanitarian anthropology, aesthetics, and decolonial epistemologies, we argue that processes of symbolic and cultural reconstruction remain structurally under-institutionalized, circulating across humanitarian, developmental, and epistemic regimes without being fully claimed by any of them. Rather than offering normative prescriptions, the article traces how co-production itself becomes a site where these asymmetries are reproduced and made visible.
Friedrich et al. (Mon,) studied this question.