Research Notes for Iqra

The key research questions this project will ask are thus as follows:
1. What is the Role of Art in Peace Education and how visual
Depictions further enhance the Human Quest for Peace?
2. What role can grassroots arts play in different types and stages of
war and what ground is to be used for display of such Arts? Can a
military conflict zero zone depict Art?
3. Based on these insights, under what conditions can the creative arts
and peace formation processes be best integrated with each other?
4. How can we measure and understand the extent to which
grassroots creative arts projects help external or internal norms of
peace to be adopted on a broader social level, or do they highlight
local norms?
To address these questions, we have identified four principal objectives:
 To develop a deeper understanding of the multiple ways the arts
can support processes of peace formation in different conflict
contexts and different conflict stages.
 To facilitate meaningful and productive working relationships,
inspired by a reflective and ethically sound form of cooperation, a
community of practice, between artists, peace builders, policy-
makers, communities, donors and audiences
 To investigate ways of assessing arts-based peace building and
develop and disseminate new evaluation frameworks, developed in
cooperation with our project partners and local artists.
  To advance understanding of the role of community devised and
led arts projects in peacebuilding.

FURTHER NOTES
 throughout the world, community arts-based processes have
become an essential component of peacebuilding work in societies
experiencing severe conflicts. Both during a conflict and in post-
conflict peacebuilding efforts, community based arts processes can
be an especially effective tool to bring together identity groups
through sharing common cultural experiences, raising awareness
about past suffering, and engaging communities in creative
projects.
 One of the most helpful models that several scholars have
developed is the distinction between peacekeeping, peacemaking,
and peacebuildingccording to this model, there are different
processes and approaches that can be used for conflict resolution
work, which depend on the particular stage of the conflict.
 Within the two categories of peacemaking (addressing a specific
conflict) and peacebuilding (transforming relationships and
institutions), significant emphasis has been placed on the
importance of civil society based initiatives The underlying basis
for this approach is that an essential component of reconciliation
and trust building involves the reconstruction or reconfiguration of
relationships between parties in conflict To date several initial
works have appeared linking conflict resolution and art. The most
significant work to address the connection is the book, Arts
Approaches to Conflict, edited by Marian Liebmann (1996), which
consists of essays by art therapists using arts techniques with a
variety of populations. Although the work presents a number of
interesting cases, there is little development of theory or of the
 application of the arts-based approaches beyond the interpersonal
level.
 Another collection of essays on the arts and conflict are in the book
People Building Peace 35 Inspiring Stories from Around the
World, in particular writings by Kees Epskamp (1999) who has
conducted extensive research on the role of arts in development.
Apart from efforts in the Balkans, in conflict regions throughout
the world, the arts have often had a significant impact on bringing
together divided communities. Examples include community
theater productions and mural projects in Northern Ireland, Africa,
and the Middle East; peace concerts on the dividing line in Cyprus
and Angola; and bi-communal orchestras and poetry groups in the
Middle East. Local community groups, artists, and NGOs
conducting peacebuilding work have organized the majority of
these efforts.
 In conflicts on the verge of violence, the arts can also help raise
awareness of the dangers of impending conflict and speak out in
favor of peace. Throughout the world, arts- based forms of
expressions have been an essential component of anti-war
demonstrations and protests for social justice and equality.
Moreover, theater and other arts based activities have long been
used as a tool for educating and uniting communities to work
towards collective action or to facilitate community problem
solving within the field of development (Mada,1993). Moreover
during the war in Bosnia the arts also played a vital role in the
struggle of the citizens of Sarajevo to survive the years of siege.
Through underground concerts, plays, and performances, the city
was able to keep hope alive, provide entertainment to people, and
keep the creative spirit alive.
The Role of Art during the Different Phases of Conflict

State Repression and Authoritarianism:

During periods of state repression and authoritarianism, art and cultural
activities can serve different purposes. For example, events such as
music festivals, documentary films, and art exhibitions can raise
awareness about the oppression. Serves as an early warning of conflicts.
Supports resistance. Raises awareness. Promotes rebellion
In-conflict:
While conflict contexts may prove dangerous for artists, when
accessible, safe, local performing art events, and traditional ritual
ceremony, for example, could serve the following goals: Relativizes the
conflict. Shows sympathy and concern for those affected. Serves as a
coping mechanism. Renews hope.
Post-conflict:
In the aftermath of conflict, there is a range of recovery and
reconstruction needs. Activities such as commemorative ceremonies,
memorialization initiatives, performing art productions, film and visual
art could serve broader rehabilitation and reconciliation needs. Healing
and therapy. Creates spaces for dialogue and engagement. Facilitates
empathy. Promotes new identity formation. Recognizes victims. Fosters
cross-cultural fluency. Builds tolerance. Rebuilds trust.