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CONFLICT TRANSFORMATION ART: Cultivating Coexistence Through the Use of Socially Engaged Artistic Practices

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CONFLICT TRANSFORMATION ART: Cultivating Coexistence Through the Use of Socially Engaged Artistic Practices 04 CONFLICT TRANSFORMATION ART FOR PRINT.qxp_Layout 1 18/11/2019 2:42 PM Page 1 This study considers how arts and cultural practices in Cyprus have been used in Conflict the context of conflict transformation and the role that the arts can play to alter Transformation Art: policies and social practices at the grassroots level. It is embedded in a social understanding of the role of the arts in addressing conflict and looks at how Cultivating coexistence creative practices can build community, social engagement and public through the use of involvement. socially engaged artistic The phenomenon of social engagement in the arts is discussed in parallel with the practices use of art for the purposes of conflict transformation, with a particular focus on the perceived capacity of the arts to act as a catalyst for empathy and to facilitate contact and exchange across estranged communities. To understand the social and community dimension of contemporary arts practices a number of Cypriot cases Evanthia Tselika that involve different aspects of arts organisation and cultural production across creative fields are mapped. The specific cases are examples of good practice and represent direct inter-community involvement, as well as long-term structures of creative collaboration that have focused on building social relationships and exchange. In order to learn from other international experiences where art and culture have been used as tools to resist ethnic and social divisions, a series of place specific case studies are examined -- South Africa, Bosnia-Herzegovina, Northern Ireland and Rio de Janeiro (Brazil). The examples discussed here allow for a wider understanding of how arts and cultural practices enable inter-communal patterns of cooperation, which bridge divisions and offer insight into diverse modes of practices that use the arts for the purposes of relationship building and dialogue. Learning from these local and international practices a series of recommendations are then outlined. These policy suggestions emphasize community and socially engaged arts practices and place the focus on how to shape cross-cultural policies, considering institutional collaborations, grassroots initiatives, private-public backing and the restrictions on the involvement of state bodies. ISBN 978-82-343-0032-5 (print) PCC REPORT 4/2019 The report can be ordered from: PRIO Cyprus Centre P.O.Box 25157, 1307 Nicosia, Cyprus Tel: +357 22 456555/4 [email protected] 04 CONFLICT TRANSFORMATION ART FOR PRINT.qxp_Layout 1 18/11/2019 2:42 PM Page 2 About the Author Evanthia Tselika (PhD) is a visual arts researcher, writer, producer and educator. She is an Assistant Professor at the University of Nicosia, where she is also currently acting as the Fine Art program coordinator. Her practice and research are focused on contemporary art, curating, art education, community processes and socially engaged art practices and she completed her practice-led PhD at Birbeck, University of London in 2015. She develops and researches participatory art practices within the context of segregated cities and has worked, exhibited and collaborated with various art centres and museums locally and internationally. Some of these include the Municipal Arts Centre in Nicosia, the Department of Antiquities of Cyprus, the October Gallery in London, the Modern Art Museum of El Salvador, and the MAC Niteroi, Brazil. Currently, she is coordinating socially engaged contemporary art projects under the Interreg Balkan Med funded programme Phygital (Greece- Albania- Cyprus, 2017-2019). Other recent projects include the European Cultural Foundation Shaping Common paths (2017-2018), as well as being the main researcher and curator for the Cypriot dimension of the European Artecitya platform, run by Artos Foundation in Nicosia. Her articles are published in journals such as Visual Studies and Public Art Dialogue. In 2019 a collective volume publication she is co-editing on contemporary art and Cyprus is due to be published by Bloomsbury. The report can be ordered from: PRIO Cyprus Centre P.O.Box 25157, 1307 Nicosia, Cyprus Tel: +357 22 456555/4 [email protected] CONFLICT TRANSFORMATION ART: Cultivating coexistence through the use of socially engaged artistic practices Evanthia Tselika Report 4/2019 Peace Research Institute Oslo (PRIO) Hausmanns gate 7 PO Box 9229 Oslo NO-0134 OSLO, Norway Tel. +47 22 54 77 00 Fax +47 22 54 77 01 Email: [email protected] Web: www.prio.no PRIO encourages its researchers and research affiliates to publish their work in peer-reviewed journals and book series, as well as in PRIO’s own Report, Paper and Policy Brief series. In editing these series, we undertake a basic quality control, but PRIO does not as such have any view on political issues. We encourage our researchers actively to take part in public debates and give them full freedom of opinion. The responsibility and honour for the hypotheses, theories, findings and views expressed in our publications thus rests with the authors themselves. © Peace Research Institute Oslo (PRIO), 2019 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or utilised in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without permission in writing from the copyright holder(s). 978-82-7288-982-0 (online) 978-82-343-0032-5 (print) Photo cover: Evanthia Tselika Production and Cover design: Crystal Graphics CONTENTS IntroductIon ............................................................................................................................................. 3 research framework and methodology .................................................................................. 5 lIterature revIew ..................................................................................................................................... 9 mappIng socIally focused art InItIatIves for purposes of conflIct transformatIon In cyprus ...................................................... 13 learnIng from InternatIonal experIences: art and culture as tools to resIst dIvIsIon ........................................................................... 27 polIcy recommendatIons ................................................................................................................. 33 conclusIons ............................................................................................................................................. 41 references ................................................................................................................................................. 43 3 INTRODUCTION thno-national narratives have largely shaped the institutional cultural frameworks on both sides of the divide in Cyprus, but peace-building mechanisms assisted by E international bodies —such as the United States Agency for International Developmen t (USAID), the United Nations (UN) and the European Union (EU)— have also promoted the use of art and culture for purposes of conflict resolution. Johan Galtung argues that peacebuildi ng and creativity are similarly ‘located in the borderland between the intellectual and the emotional,” where knowledge and emotions fuse to facilitate ‘transcendence’ (2004, 160). Conflict resolution analyst Craig Zelizer believes the arts can help raise “awareness of the dangers of impending conflict and speak out in favour of peace,” and his research in Bosnia- Herzegovina highlights how artistic practice can be used to challenge prejudices and create bridges between communities (2004, 4). Using art and culture for conflict resolution facilitat es inter-group contact, encourages collaboration, and builds social bonds and relationships (Epskamp 1999; Zelizer 2004,2007). Conflict resolution and peacebuilding are inherently political processes. However neither conflict nor peace is driven exclusively by rational considerations and calculations, or by objective flaws and malpractices that motivate state and non-state actors, communities and political groups, men and women to resort to violence or champion non-violent social change . Emotional and communicational components are powerful in shaping individual and social decisions. Art as a quintessence of emotions that are expressed using allegories or symbols evokes emotions and becomes a potent tool in both conflict and peace. Whilst art cannot resolve conflicts or politically build peace, it can generate a unique process of people-to- people interaction that can contribute to the process of overcoming deep social, political and geographical barriers and divisions. The focus of this study is to consider how art practices in Cyprus have been used in the context of conflict transformation, and to look at the role that the arts can play to alter policies and social practices at the grassroots level—i.e., to assist people in both communities experience coexistence in their daily lives. Artistic interventions unfold in parallel with institutionalized exchanges and projects, and help transform the very space where the latter occur. Examples of socially engaged art practices in other conflict areas are discussed to see how they enable inter-communal patterns of collaboration and bridge divisions. 5 RESEARCH FRAMEWORK AND METHODOLOGY he research framework of the current research report is embedded in a social understanding of the role of the arts in addressing conflict, and looks at how creative T practices can build community, social engagement and public involvement. In the
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