Tanaghom school for Arts and Peacebuilding
- December 22, 2020
- Posted by: admin
- Category: Blog
Conflict is present at various levels around the world, either in the political, public, social and domestic spheres. Many of them take on a violent shape. In the 21st Century and earlier, revolution has become a global affair. For example the Arab Spring 2011 and its subsequent events have brought new conflicts to the fore and many older conflicts out into the open. At the same time, a space has opened up to develop new and existing capacities for dealing with conflict in creative ways. Tanaghom (Arabic word means Harmony) school for Arts and Peacebuilding trying to address this need by integrating art into peacebuilding in a practical way.
“Why Arts and Peacebuilding?” Art fundamentally changes the discourse around conflict and peace. It provides new categories of analysis and new languages, verbal and nonverbal. Arts inspire, elicit, evoke, provoke, teach, challenge, memorialize, idealize, and unmask hidden truths. It is deeply ingrained into human experience. Arts can open a gate to a better understanding of the emotional and psychological drivers of conflict. In conflict zones, arts can provide a platform to tell and interpret people’s stories, to help to heal trauma victims, mend communities, give a voice to marginalized groups, protest injustice, provide livelihoods, educate populations, express heritage, define identities, engage youth with alternatives to violence, change perspectives, tackle stereotypes or prejudice, create relationships and humanize the “other.” Art creates a space where people in times of conflict can express themselves, heal, and reconcile themselves.
Tanaghom school for Arts and peacebuilding aims to strengthen the links and bridge the gap between artistic communities and peace activists and practitioners. It is trying to prepare artists and peacebuilding practitioners to explore the interface between concepts of conflict transformation and artistic approaches to peacebuilding. Peacebuilders would benefit from a greater knowledge on artistic practices and their potentials for peacebuilding processes of the vibrancy of the art scene. Classical peacebuilders also need to better understand what the different visual, performing, and literary art forms in various cultural contexts can have to offer. Conversely, artists who work in the peace and conflict field would benefit from developing their knowledge of conflict analysis tools and of basic practices and concepts such as mediation, negotiation, dialogue..etc. The absence of a shared language and vocabulary can create an obstacle for artists and peacebuilding practitioners who seek to collaborate and this is what the school is trying to offer.