1. Art Creativity and Performance The Artist as Peacebuilder Mshai Mwangola

2. PERFORMANCE “a way of making meaning – as discourse – a way of communicating” Process: way of making (verb) Product: meaning – understanding (noun) Discourse / Communication – therefore an audience and an interlocuter (people)

3. PERFORMANCE “…a means by which people reflect on their current conditions, define and / or reinvent themselves and their social world, and either reinforce, resist, or subvert prevailing social orders.” Margaret Drewal “The State of Research on Performance in Africa”

4. STORY “(Re)presentation of real or imagined lived experience” Mshai Mwangola “Performing Our Stories, Performing Ourselves” Present – for others to witness / understand / become aware of it Real or Imagined Lived experience – drawing from the contexts we can relate to

6. performance ''not what they do and we observe; we are both engaged in it ” Johannes Fabian Performative Ethnography

7. ART A creative facilitated community conversation within a particular social context Creative Facilitated – artist(s) and others Community – audience(s) Conversation – multiple perspectives Social Context

8. CREATIVITY “Bringing into being something which did not exist before, either as a product, a process or a thought which has some kind of value”

9. Levels of Creativity Introduce something which either has never existed before or to people who did not know of its existence Introduce a new process for doing something Develop a new perspective to something or a situation Change the way others understand or engage with something

10. Results of Creativity Introduce new things into a community Ameliorate products, processes or services Alter people’s attitude or perspective leading to a change in people’s circumstances

11. The ARTS Performing arts Visual arts – Image – Inscription / Literary Others - culinary etc Orature – “Transcending Boundaries”

12. what Affirm existing status quo Challenge existing status quo Start a completely new conversation Introduce a new dimension / perspective Bring new people into the conversation Bring people into a new place of engagement

13. who FACILITATORS: ARTISTS / INTERVENERS / support professionals The Form The Content The Motivation Lessons to learn Relationship to this issue and Relationship to audience / community

14. whom Make-up of audience/s? The motivation to engage issue The motivation to engage in this forum The stake Special needs or context Preparation / Background necessary Relationship to this issue Relationship to others in audience / artists Desired outcome

15. where Location of – the preparation / devisal – the engagement – the review Ownership of the space – the preparation (negotiations, research, creation) – the engagement – the review Conventions of the space

16. when Within the Peacebuilding Process – Before violent manifestation of conflict – During violent manifestation of conflict – After violent manifestation of conflict The Period of engagement The Frequency of engagement The Context of engagement: – Other interlocutors – Other processes / events

17. how The Form(s) – The genre(s): what does this form do? – Art in the community / coming into the community – The genre(s) in the community The Content: – Issues The Context – Of the intervention – Presentation of Intervention

18. In summary, know why This issue? This outcome? This community / audience? This time / period? These facilitators? This form? This space?

19. Four Aspects of Art The Artist as Peacebuilder Mshai Mwangola

20. Artivism: Paul Robeson “The artist must take sides. He must elect to fight for freedom or for slavery. I have made my choice; I had no alternative.” (Photo credit: Henri Cartier-Bresson)

21. ASPECTS OF ART The Godlike aspect The Socratic aspect The Andersonian aspect The Munchian aspect Ngugi wa Thiong’o: “Art, War with State: Writers and Guardians of a Post-Colonial State”

22. Michelangelo Sistine Chapel: “Creation of Adam”

23. The Godlike Aspect A new perspective “one brings different things together to make a third” The essence of creativity is motion

24. Socrates ‘I am the wisest man alive, for I know one thing, and that is that I know nothing’ (Painting credit: Jacques-Louis David)

25. The Socratic Aspect The stimulation of a gadfly Art has more questions than it has answers Art starts with a position of not knowing and seeks to know

26. (Hans Christian Anderson)

27. The Andersonian Aspect Holding up a mirror to society Saying what people may know but do not dare to articulate “carry the innocence of the child”… “even have the awkward habit of peering under the clothes of any emperor”

28. Edward Munch the silent scream

29. The Munchian Aspect Voice – Combination of articulations, both articulated and non-articulated, scriptable and non-scriptable – Sign: a pointer to a reality – The broadest possible human gesture expressing a meaning, a wish, a judgement, a mood, a situation of being Restores voices to the land Give voice to the silenced

30. Artivism: Chinua Achebe Let me say that I do think decency and civilization would insist that the writer take sides with the powerless. Clearly, there's no moral obligation to write in any particular way. But there is a moral obligation, I think, not to ally oneself with power against the powerless. I think an artist, in my definition of that word, would not be someone who takes sides with the emperor against his powerless subjects.

31. decisions The 3 “P’s” Product Process Participation

32. Product “something to give” The emphasis is on the finished product that contains the lesson or the main message Devised / created by facilitators for the audience / community The finished piece on display / performed to audiences

33. Process “something to experience” The emphasis is on the process of creation that delivers (a) particular lesson(s) or message(s) Devised / created by facilitators with community Entire journey from inspiration to review critical to engagement

34. Participation “something to share” The emphasis is on the dynamics of participation that engages the participants in being in community Devised / created by a community of different interests led by the facilitators Facilitation of exchange with participants coming to consensus on process and product

35. Product and Process The Artist as Peacebuilder Mshai Mwangola

36. CHANGE Redemptive Reformative Transformative what change do you seek?

37. Fredrick Douglass Power concedes nothing without a demand. It never did and it never will. Find out just what any people will quietly submit to, and you have found out the exact measure of injustice and wrong that will be imposed on them, and these will continue until they are resisted with either words, or blows or both. The limits of tyrants are prescribed by the limits of endurance of those whom they oppress.

38. HUMAN CONFLICT INNER OUTER

39. right - PERSPECTIVE - wrong Side A Side B

40. theory

41. 1 2 3 1.The beginning 2.The inciting point 3.The development 4.The crisis / climax 5.The resolution 4 3 5 The dramatic arc RISING ACTION FALLING ACTION 3 3

42. PROTAGONIST ANTAGONIST helpers neutral negative CHARACTERS positive neutral motivation / stake

43. 1 2 2/3 2 3 CONFLICT post-conflict resolution consolidation pre-conflict tension incitement development climax

44. CHANGE STATUS QUO ARTIVIST neutral negative PARTIES positive neutral motivation / stake

45. praxis

46. What artistic intervention best delivers the desired outcome here? What partners are needed? Where are you in your activism? What needs to be done here?

47. OUTCOME PRODUCT PROCESS PARTICIPATION CHOICES

48. PEACEBUILDING "We need to understand reconciliation… as the transformation of destructive conflict, not unanimity. It doesn't mean we all agree, it is that we find ways of disagreeing, perhaps very passionately but loving each other deeply at the same time, gracefully and deeply committed to each other.” Justin Welby