{"title":"Art-for-Peace in Ambon: An Intersectional Reading","authors":"W. Udasmoro, R. Kunz","doi":"10.4000/poldev.4630","DOIUrl":null,"url":null,"abstract":"In the context of the focus on ‘everyday peacebuilding’, the field of peace and conflict is increasingly interested in the use of art as a tool for peacebuilding. Feminist contributions emphasise the important gender dimensions of art- for- peace processes, but so far intersectional dynamics have received less attention. The aim of this chapter is to bring the interdisciplinary feminist literature into dialogue with insights on the intersectional dynamics of (everyday) peacebuilding and so propose a critical reading of the intersectional dynamics of art- for- peace initiatives. We focus on the context of Ambon in Indonesia to analyse one particularly prominent art- for- peace initiative: the Paparisa Ambon Bergerak (pab) collective. Our analysis draws on a combination of data: visual and literature (poems) artwork produced by the pab collective, in- depth expert interviews with pab representatives and local peacebuilding activists, and secondary literature on pab. Our analysis reveals the complex social power dynamics and individual and collective dimensions of art- for- peace activities. interactive artistic processes, as training tools in art education, and as social critique. Our analysis shows the complex intersectional dynamics at play in these art- for- peace initiatives. They contribute to transforming masculinities into non- violent forms, and open spaces for women’s voices and for raising awareness regarding violence against women and building peace. They also highlight the ways in which art- for- peace initiatives challenge dichotomies between conflict and peace, making an important contribution to peace and conflict studies beyond peacebuilding in Ambon. Our analysis allows us to show the various ways in which art- for- peace initiatives can contribute to inclusive peacebuilding. It also confirms that gender logics often work in intersection with other identity and power dynamics, in our context linked in particular to colonial heritage. Thus, our analysis reaffirms the importance, for inclusive peacebuilding, of addressing various forms of ‘difference’. building bridges and proposing new","PeriodicalId":30371,"journal":{"name":"Revue Internationale de Politique de Developpement","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2021-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Revue Internationale de Politique de Developpement","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4000/poldev.4630","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 1
Abstract
In the context of the focus on ‘everyday peacebuilding’, the field of peace and conflict is increasingly interested in the use of art as a tool for peacebuilding. Feminist contributions emphasise the important gender dimensions of art- for- peace processes, but so far intersectional dynamics have received less attention. The aim of this chapter is to bring the interdisciplinary feminist literature into dialogue with insights on the intersectional dynamics of (everyday) peacebuilding and so propose a critical reading of the intersectional dynamics of art- for- peace initiatives. We focus on the context of Ambon in Indonesia to analyse one particularly prominent art- for- peace initiative: the Paparisa Ambon Bergerak (pab) collective. Our analysis draws on a combination of data: visual and literature (poems) artwork produced by the pab collective, in- depth expert interviews with pab representatives and local peacebuilding activists, and secondary literature on pab. Our analysis reveals the complex social power dynamics and individual and collective dimensions of art- for- peace activities. interactive artistic processes, as training tools in art education, and as social critique. Our analysis shows the complex intersectional dynamics at play in these art- for- peace initiatives. They contribute to transforming masculinities into non- violent forms, and open spaces for women’s voices and for raising awareness regarding violence against women and building peace. They also highlight the ways in which art- for- peace initiatives challenge dichotomies between conflict and peace, making an important contribution to peace and conflict studies beyond peacebuilding in Ambon. Our analysis allows us to show the various ways in which art- for- peace initiatives can contribute to inclusive peacebuilding. It also confirms that gender logics often work in intersection with other identity and power dynamics, in our context linked in particular to colonial heritage. Thus, our analysis reaffirms the importance, for inclusive peacebuilding, of addressing various forms of ‘difference’. building bridges and proposing new