1st Edition

Post-Conflict Participatory Arts Socially Engaged Development

Edited By Faith Mkwananzi, F. Melis Cin Copyright 2022
    264 Pages 9 B/W Illustrations
    by Routledge

    264 Pages 9 B/W Illustrations
    by Routledge

    This book investigates the power of art to enhance human development and to initiate positive social change for individuals and societies recovering from conflict.

    Interventions aimed at reinforcing social justice and bringing communities together after conflict are often accused of being top-down, or failing to consider all groups and contexts within a society. The use of participatory arts can help to address these challenges by fostering community engagement, social cohesion, influencing public policy, and ultimately, advancing social justice. Arts-based methods can be particularly effective at reaching youth communities, providing voice and political agency to young people who are often not given a platform. Situated at the intersection of participatory arts, social and epistemic justice, this book brings together case studies from across the world to reflect on best practice for the use of bottom-up, participatory, co-produced, and co-designed arts processes in conflict settings.

    This book provides an important guide to the role that arts can play in addressing epistemic injustice and contributing to social justice and human development. As such, it will be of interest to international development and arts practitioners, policy makers, and to students and researchers across participatory arts, youth studies, international development, social justice, and peace and conflict studies.

    1. Introduction: Participatory Arts in Building Socially Just Societies in the Global South, Faith Mkwananzi, F Melis Cin 2. Participatory Arts for Social and Epistemic Justice, F Melis Cin, Faith Mkwananzi Part I: Participatory Process of Arts for Epistemic Justice 3. Seeing Power, Co-creation, Filmmaking, and Intersectionality in Ilizwi Lenyaniso Lomhlaba, Aylwyn Walsh, Scott Burnett 4. Participatory Curatorship: Negotiating Heritage, Memory, and Justice in Northern Uganda, Abiti Nelson Adebo, Francis Nono, Kate Moles, Lizzi Milligan 5. The Use of Political Storytelling in Twitter to Fight Epistemic Injustice Against Women, Aslı Tosuner 6. Re-connecting with Cultural Heritage: How Participatory Video Enabled Youth in Palestine to Protect their Cultural Heritage, Marwan Darweish, Laura Sulin 7. Capturing Epistemic Responsibility and Resistance: Challenging Intercommunal Conflict through Photovoice, F. Melis Cin, Necmettin Doğan, Rahime Süleymanoğlu-Kürüm, Mehmet Melih Cin Part II: Community Engagement through Participatory Arts 8. Collaboration in Research: Insights from a Participatory Art Project in Zimbabwe, Joshua Chikozho, Willard Muntanga, Tendayi Marovah, Faith Mkwananzi   9. YouthLEAD: Measuring the Indirect Impact of Youth Peacebuilding through PhotoVoice and Community Murals in Colombia, Laura K. Taylor, Claudia Pineda Marín, Edwin Cubillos, Diego Alfonso 10. Youth, Police and Civil Society Organisation: Participatory Arts-based Clinics for Strengthening Security and Justice in Nepal, Nub Raj Bhandari 11. Creation and Communication: Reflecting on the Role of Arts Methods to enable Dialogue between Young People and Policy Makers in Kenya, Uganda, and the DRC, Su Lyn Corcoran, Charity Atukunda, Victoria Ferguson, Thomas D’Aquin Rubambura Mituga, Luc Amuri Mufano, Faustin Muliri, Virginie Tallio, Kate Pahl, Mike Ochieng Wamaya 12. Lebanon, The Youth Roll’: Experiencing Conflict as a Transcultural, Transnational Film Language, Paul Cooke, Nour Zeidan, Hana Addam El-Ghali, Cindrella Mizher, Emily Morrison 13. Conclusion: Where to Next? The Potentials and Liminality of Participatory Arts in Conflict, Faith Mkwananzi, F Melis Cin


    Faith Mkwananzi is a Researcher with the SARChI Chair in Higher Education and Human Development at the University of the Free State, South Africa. Her research centres on education, migration, and development in Sub-Saharan Africa. She has interests in the capability approach, as well as educational entrepreneurship and collaborative stakeholder engagement. She has been working on youth projects focusing on choices, opportunities, and aspirations. She also has experience using creative, participatory arts-based methods, including digital storytelling and photovoice with young people in less resourced communities in South Africa and Zimbabwe. Most of her research includes collaborations with NGOs, civic, and community-based organisations.

    F. Melis Cin is Senior Lecturer in Education and Social Justice at Lancaster University, UK. She is a feminist researcher with a particular interest in exploring the relationship between education and international development. She investigates how education can be used as a peace-building tool in conflict zones and employs socially engaged art interventions as a way to understand the local meanings of peace in formal and informal education settings.

    "The authors and editors of Post-Conflict Participatory Arts have brought together a jewel of a book, weaving together years of experience in many different countries with a strong theoretical framing. It offers much to practitioners and to scholars of both participatory methodology and of peace and social justice.  Whether dance, photovoice, graffiti or participatory video, the book demonstrates some of the potential and limitations of participatory arts in challenging environments and offers hope and inspiration for those seeking to work across boundaries in post-conflict contexts." - Chris High, Lecturer in Peace and Development, Linnaeus University, Sweden

    "This well-inquired book brings together ways in which the public is empowered to act, respond and interact around issues of civic engagement and political spaces through participatory art to improve people’s lives and wellbeing. It investigates concepts such as agency, power, with a focus on human advancement viewpoint in post-conflict communities that are often ignored by unequal epistemic relations and neoliberal development agendas. While the book could be a critical asset for policy-makers, artists, and art-based organisations, it too reminds us of Eugene Delacroix’s decree: ‘What moves men of genius, or rather what rouses their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough.’" - Peggy Himoonde, BBA History, Lusaka National Museum, Zambia

    "Very insightful... The practicality of arts as an effective media towards the realization of epistemic/ social justice, is indeed a creative colorful approach." - Aubrey Bango, Visual Artist, Zimbabwe