Often only the formal, orchestrated and "top-down" measures are visible as peace-building work, while the informal, individual and unauthorized contributions to the design of a social peace discourse remain invisible. This is especially the case with local, peace-building actions and projects in the art and culture sector, which are overlooked, harassed or considered at most as an accompanying aspect.
Instead, it must be recognised that the design of safe spaces for art and culture, especially in times of violence and conflict, may be "over-life-important" for collective identity, self-determination and political participation. They receive peaceful, nonviolent perspectives that defy normalized violence. Art can be a means of transformation, from a culture of violence to a culture of peace. It opens physical and mental spaces of gathering, exchange and reconciliation. Thus art becomes the means for nonviolent resistance and peace-activism.
Greetings from Sarajevo 1993
The creation of spaces for art and culture are signs of convulsion and empowerment. Whether with cellar concerts, improvised theatre or the Miss Besetes-Sarajevo-Wahl1
In her postcard set "Greetings from Sarajevo 1993", the artist collective TRIO redesigned world-famous advertising and art designs to draw attention to the situation in Bosnia-Herzegovina. The imitation of, for example, Coca-Cola advertising also criticised the sensational greed and the regular consumption of war images, but where solidarity and peace are left. The postcards were therefore also called for self-reflection and solidarity with those affected by war and violence.
Art and cultural activities tried to bridge between the peaceful rest of the world, which continued to turn, and their encircled reality in the occupation. Art collectives and actions like the TRIOs are expressions in spite of vitality and resistance not to be pushed to the edge of the world. These postcards to the world symbolized that Sarajevo had not left the world. Instead, they remind the world that she had left Sarajevo.
Another Brick in the Wall
Wall art – many initially connect the Berlin Wall. Wall art was illegal, cross-border, spontaneous and unorganized; she was peaceful, nonviolent and political. Painted pieces of masonry are still striking both conflict, violence and separation, as well as the commitment of the many individuals who resisted it.
In Northern Ireland, however, peace-active graffitis became a sign of nonviolent resistance to dominant, radical and militaristic groups within the population. House walls and walls, which partly separate denominational districts, were used in the course of the Northern Ireland conflict "traditional" for militaristic motives and statements that heroize their own conflict group and demonize the other. Conflict narratives have been manifested, normalized and it is remembered daily. Artist collectives like "Urban Vizuals" in Derry, conquer the walls for positive, funny socio-political statements and motives. They thus achieved a change in the perception and imagination of how public space and society can be. Similar images of social discourses on conflict and peace can also be found in Bosnia-Herzegovina, Kosovo and Serbia.
Creative peace work
Art means design and creation, whether as individual empowerment or collective action. Peace must also be built, not according to IKEA construction instructions, but as an independent, continuous project from the local population. "Creative Peacework" is a part of the "all-day peace work", which is means and methods that create and use people in divided societies to navigate their survival and everyday life in conflict. They create these ways of peace from the ground ("bottom-up"). This often overlooked reality reminds us that every contribution to peace deserves attention and support. Likewise, in our own nonviolent commitment to peace, it can strengthen our creativity in not setting limits.
