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.

This book demonstrates how participatory arts-based approaches can help children and youth contribute to peacebuilding within post-conflict contexts and to their communities. Cultural forms of storytelling through visual arts, drama, music, and dance can help to enhance post-conflict community well-being, social cohesion, and conflict prevention. However, in the planning and implementation of these arts-based projects, children and youth are often marginalised in decision-making processes. Drawing on cases from Kyrgyzstan, Rwanda, Indonesia, and Nepal, this book demonstrates the benefits of participatory action research with children and youth to inform education curricula and policies for sustaining peace. Showing how artforms can be adapted to meet the needs of children and youth, the book emphasises the need to scale up arts-based peacebuilding initiatives and leverage for greater policy enactment from the bottom up. It is also an excellent example of South–South learning, advocating for a local approach to engage with arts-based methodologies and peacebuilding. This book will be of interest to researchers across the applied arts, sociology, anthropology, political science, peacebuilding, and international development. Practitioners and policymakers would also benefit from the book’s recommendations for the implementation of successful arts-based research projects and interventions.

This book explores the practical delivery of participatory arts projects in international development. Bringing together an interdisciplinary group of academics, international development professionals and arts practitioners, the book engages honestly with the competing challenges faced by the different groups of people involved. Participatory arts are becoming increasingly popular in international development circles, fuelled in part by the increased accessibility of audio-visual media in the digital age, and also by the move towards participatory discourses in the wake of the UN’s Agenda 2030. The book asks: What do participatory arts projects look like in practice, and why are they used as an international development tool? How can we develop practical and sustainable development projects on the ground, localising best practice according to cultural, economic and linguistic contexts? What are the enablers of, and barriers to, successful participatory initiatives, and how can we evaluate past projects to learn and feed into future projects? Written to appeal to both academics and practitioners, this book would also be suitable for teaching on courses related to participatory development, community arts, and culture and development.

From the contents:00I. Participatory art now01. The normalisation of participatory art 0II. What is participatory art?02. Concepts03. Defnitions04. The intentions of participatory art 05. The art of participatory art 06. The ethics of participatory art 0III. Where does participatory art come from?07. Making history 08. Deep roots 09. Community art and the cultural revolution (1968 to 1988) 010. Participatory art and appropriation (1988 to 2008).

This book brings together a leading team of international experts in arts and global development to showcase effective practice and to explore how this vibrant interdisciplinary field has developed and what the latest research can teach us. Although arts play a central role in human development, and in the health and wellbeing of individuals and communities, few have attempted to comprehensively explore arts practice as global development. This Handbook first provides a theoretical framework for exploring arts and global development, before surveying a comprehensive range of art forms and development practices to explore the potential of the arts to strategically and beneficially contribute to more just and equitable conditions for communities across the globe. Stretching across the arts from theatre, dance, and music to poetry, film, and visual arts, the book covers topics as diverse as health, education, peacebuilding, livelihoods, sustainability, activism, and arts as research method in programming. The Handbook also identifies gaps in the literature, pointing towards the most pressing and promising avenues for further research over the next few years. This book will be an essential resource for any researcher, student, or practitioner wishing to understand the role of the arts in global development and in the global south more generally.

Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.

This book presents a nuanced view of Northern Ireland, a place at once deeply mired in its past and seeking to forge a new future for itself as a ‘post-post-conflict’ place within the context of a changing United Kingdom, a disintegrating Europe, and a globalized world. This is a Northern Ireland that is conflicted, segregated, and marginalized within modern Europe, but also hopeful and forward looking, seeking to articulate for itself a new place in the contemporary world.