UvA-DARE (Digital Academic Repository) Arts-based peacebuilding Borisenko, L.G. Link to publication Citation for published version (APA): Borisenko, L. G. (2016). Arts-based peacebuilding: Functions of Theatre in Uganda, Kenya, and Zimbabwe General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: http://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (http://dare.uva.nl) Download date: 27 Mar 2018 Arts-based Peacebuilding: Functions of Theatre in Uganda, Kenya, and Zimbabwe by Laurel Borisenko University of Amsterdam, 2016 iii iv Abstract Individuals and communities that have been subject to protracted violent conflict seek ways to move out of a cycle of violence, toward healing and reconciliation. Affected people need tools to critically understand their context and to participate in creative problem solving, thus allowing them to move from victim to survivor, from violence to peacebuilding. Through this dissertation I examine the role of theatre as one form of creative expression and how it can contribute to the process of healing and reconciliation, leading to peacebuilding. Using a qualitative research approach I observed theatre performances and interview theatre participants, audiences, and facilitators in three different locations in Africa whose communities have experienced violent conflict: Uganda, Kenya, and Zimbabwe. I complement this primary field research with secondary data from organizational project reports, websites, as well as other academic research. My research provides an empirical review of responses from these interviewees, incorporating analysis using MaxQDA qualitative data analysis software. Since I was able to return to each research site two to four years after primary data collection, this research uniquely includes a longitudinal perspective. Concepts of forgiveness, healing, reconciliation, and resilience arose as precursors of peacebuilding. I identify positive effects of participating in theatre projects as increased communication skills, community problem solving, and victim-perpetrator communication; increased confidence and positive identity; reduced isolation; and a venue in which to have stories heard. Negative effects include retraumatization and emotional insecurity; physical insecurity; a lack of community ownership of the project; and Non-Government Organization (NGO) or donor control. Finally, conditions by which theatre would be better positioned to make a positive contribution to healing and reconciliation are a safe and trusting environment, physical and emotional security, community ownership, cultural relevance, authenticity, trained and motivated facilitators, and when the project takes place in the cycle of violence. I conclude that theatre as one type of arts-based peacebuilding provides a venue for storytelling which contributes to reclaiming one’s identity, healing relationships, and thus moving affected persons from being victims to survivors, and moving communities from violence to peacebuilding. Key words: protracted violence, political conflict, war-torn communities, arts-based peacebuilding, applied and community theatre, trauma, retraumatization, forgiveness, healing, reconciliation, resilience. v Preface A version of chapter 3 has been accepted for publication: Borisenko, Laurel. “Refugee Theatre as a Tool of Resilience in Kenya.” The Canadian Journal of Peace and Conflict Studies, 48 (2016). A version of chapter 4 has been published: Borisenko, Laurel. ‘Dancing in the Dragon’s Jaws’: Community Response to Harare Theatre as a Tool of Peace Building'. In Post-Conflict Performance, Film and Visual Arts: Cities of Memory, Editors, Des O- Rawe and Mark Phelan, Palgrave Macmillan, UK, 2016. vi Table of Contents Abstract .............................................................................................................................. iv Preface ................................................................................................................................. v Table of Contents ............................................................................................................... vi List of Figures .................................................................................................................... ix Abbreviations ...................................................................................................................... x Acknowledgments.............................................................................................................. xi Chapter 1: Literature Review .............................................................................................. 1 1. Research Question ...................................................................................................... 2 2. Methodology ............................................................................................................... 4 2.1 Sample Selection ................................................................................................... 4 2.2 Data Collection ..................................................................................................... 6 2.3 Limitations ............................................................................................................ 8 2.4 My Place as Researcher ........................................................................................ 9 3. Theoretical Framework ............................................................................................... 9 3.1 Conscientization and Theatre of the Oppressed .................................................... 9 3.2 Peacebuilding and Creative Expression .............................................................. 11 4. Components of Research Question ........................................................................... 13 4.1 Context ................................................................................................................ 14 4.2 Outcomes ............................................................................................................ 16 4.3 Intervention ......................................................................................................... 23 5. Positive Examples of Arts-based Peacebuilding ....................................................... 29 6. Negative Examples of Arts-based Peacebuilding ..................................................... 33 7. Conclusion ................................................................................................................ 36 Chapter 2: Uganda ............................................................................................................ 38 ‘A Geography of Scars’: Theatre as a Tool of Healing and Reconciliation in Post Conflict Northern Uganda ............................................................................................................... 39 1. Introduction ............................................................................................................... 39 2. Methodology ............................................................................................................. 40 3. Context ...................................................................................................................... 42 4. Community Theatre in Northern Uganda ................................................................. 44 5. Findings..................................................................................................................... 48 5.1 Positive Effects ................................................................................................... 49 5.2 Negative Effects .................................................................................................. 54 6. Analysis..................................................................................................................... 56 6.1 Trained Facilitators ............................................................................................. 57 6.2 Community Ownership ....................................................................................... 58 6.3 Cultural Relevance .............................................................................................. 60 6.4 Authenticity......................................................................................................... 61 7. Conclusion ................................................................................................................ 62 Chapter 3: Kenya .............................................................................................................. 64 vii ‘The Collapsible Spaces Between Us’: Refuge Theatre as a Tool of Resilience in Kenya ..........................................................................................................................................