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Amid the normalisation of xenophobic narratives surrounding migration, and an overarching 'hostile environment' regulating asylum in Britain, this paper explores music-making as a unique lens to highlight the negotiation of belonging, uncertainty and marginality amongst a group of fifty forced migrants in Bristol. Through a focus addressing the nexus between power, affect and the everyday, this paper discusses how the dehumanising processes that characterise the British asylum regime operate in and through the spaces, bodies and objects constituting its 'ordinary' materiality. Concurrently, this paper addresses how the entanglement of bodies, 'things' and sounds emerging from the co-creation of weekly music groups enabled the group participants to negotiate pleasure, expression and sociality in a context of enforced marginality and uncertainty. Consequently, this paper discusses the music-making sessions as affective practices of diasporic belonging: relationalities arising from multiple forms of displacement that enabled momentary, but productive domains of sociability, co-presence and solidarity beyond ethnic, national, gendered and religious lines. The conclusions consider the contributions of theoretical approaches enabling researchers (and potentially advocates and community organisers) to recognise the stakes and significance of forced migrants' (in)visible forms of sociality that take place beside the discursive and institutional frames of State and humanitarian interventions. [ABSTRACT FROM AUTHOR]

The paper explores Social Dreaming (SD) as a method for understanding the affective responses to one of the exhibitions that marked the bicentenary of the 1807 Act that abolished the British slave trade, Breaking the Chains: The Fight to End Slavery, at the British Empire and Commonwealth Museum (BECM) in Bristol. It asks whether SD can serve the evolving purposes and mission of museums and their role in society. The theory and practice of SD is described and findings are interpreted from a psychosocial and Deleuzian perspective. Finally the value and potential of SD is discussed as a process for attending to audience reactions to disturbing exhibitions. [ABSTRACT FROM AUTHOR]