evaluation report january 2010 – march 2013...january 2010 – march 2013 international culture...
TRANSCRIPT
Evaluation Report January 2010 – March 2013
International Culture Arts Network ICAN was developed by The Playhouse. The project was awarded £434,000 by Special European Union Programmes Body, under the priority of Contributing to a Shared Society and addressing the theme of Key Institutional Capacities are developed for shared society.
CONTENTS
THE PLAYHOUSE 7
ICAN PROJECT 8
ICAN AIMS 10
ICAN APPROACH 12
ICAN INTERNATIONAL RESIDENCIES 14
GOALS AND TARGETS 20
ICAN CONFERENCES 24
GOALS AND TARGETS 32
ICAN LOCAL PROJECTS 36
GOALS AND TARGETS 40
ICAN NETWORK 44
THE LOCAL IMPACT OF ICAN 46
THE PEACEBUILDING IMPACT OF ICAN 48
ICAN CONTRIBUTION TO THE PEACE PROCESS 50
OVERVIEW 5 1
CREDITS 54
CONTENTS
Th
e P
lay
ho
use
, De
rry – L
on
do
nd
erry
7
THE PLAYHOUSE
One of Northern Ireland’s best-known and loved Art Centres, The Playhouse runs a large selection of socially engaged arts programmes across the island of Ireland and internationally, providing opportunities, training, guidance and experience for all types of artistic indi-viduals and creative communities.
Since its inception in 1992 The Playhouse has been committed to programming international artists who inspire local practice. In The Playhouse’s first year the world renowned Brazilian Theatre of the Oppressed founder Augusto Boal undertook a Playhouse residency, as did Barney Simon, founder of the Market Theatre in Johannesburg.
Since then The Playhouse continues to deliver arts, theatre, arts education, training, and cross community/ cross border work on a global scale. Some projects, for example, Theatre of Witness, involve long term residencies. Developed by US Founder and Artistic Di-rector Teya Sepinuck, this pioneering programme puts marginalised people at the core of a performance. Their true life stories, performed by the people themselves, are shared onstage so that audiences can collectively bear witness to issues of suffering, redemption and social justice.
Extensive work with the Esmée Fairbairn Foundation and Henry Smith Charity Trust, whose aim is to improve the quality of life for people and communities through-out the UK, is also ongoing, including projects which connect international arts practitioners with communi-ties most affected by the Northern Irish conflict. This groundbreaking partnership has brought extremely sensitive and delicate stories to light through the visual arts, puppetry, theatre and storytelling.
The Playhouse also regularly commissions, produces and tours professional theatre productions. Two of 2013 City of Culture productions were produced in partnership with international theatre partners, Dear Conjunction Theatre Company, Paris and Black Sheep Theatre Company, North Carolina.
This strong dedication to international arts education programmes mean that The Playhouse has been able to make lasting connections with artists and organisa-tions, particularly in other conflict and post conflict countries. It was through this unique thriving programme of exchanges around the world that The Playhouse ICAN project grew.
THE PLAYHOUSE
8
ICAN PROJECT
The Playhouse develops local, national and international partnerships, providing a range of inspiring outcomes. The ICAN project developed this further, drawing upon extensive international connections to bring world re-nowned artists with experience of working in conflict areas throughout the world to Northern Ireland.
These artists, selected for their pioneering work came to collaborate with local communities, artists, youth, community leaders and educators at the interface of Northern Ireland and the Irish Republic.
Through this unique programme of arts, community relations training, residencies and conferences, the project built capacity among local artists, community and voluntary sector workers, delivering cutting edge and creative peace building work and promoting in-ternational networking opportunities.
ICAN PROJECT
Na
tash
a D
av
is, Ch
alle
ng
ing
Pla
ce
, ICA
N C
on
fere
nce
20
13
10
ICAN AIMS
• To collaborate with internationally based artists and facilitators who have significant experience of using arts activity in areas of war, conflict, former conflict or suffering from severe social breakdown throughout the world. • To use arts activity as a mechanism for exploring the conflict and its effects on individuals communities, exploring differences, building peace and promoting reconciliation.
• To establish and continue strong links between The Playhouse, international artists, networks, and individuals/organisations in Northern Ireland and the Border Counties, working in the fields of arts, community relations, health, education, community development, enterprise and other relevant areas.
• To support local practitioners to develop skills and experience through workshops, conferences, residencies, and online resources, ultimately enabling them to develop their own projects within local communities.
• To ensure the project reaches those most affected by the conflict and to promote social inclusion.
• To ensure long-term impact, transformation and sustainability.
• To ensure that strategic organisations such as The Arts Council of Northern Ireland, District Councils, Schools, Universities, Regeneration Bodies, Police Services and others are fully involved, thereby
maximising impact.
ICAN AIMS
11
Jo
hn
Jo
hn
ston
, Bo
rde
rs & B
ou
nd
arie
s, ICA
N C
on
fere
nce
20
11
12
ICANAPPROACH
ICAN applied a four pronged approach to promote change within Northern Ireland and the Border Counties, particularly in the North West, Derry~Londonderry and County Donegal:
• International residencies
• Conferences
• Local projects
• A dedicated website
All of these activities had an interactive relationship and collective core, which bound them together to deliver a common purpose.
ICAN APPROACH
Aja Marneweck, ICAN International Residency 2012
Khaled Barakeh, Challenging Place, ICAN Conference 2013
Sgt Sam Young & participant, Street Talk, ICAN Local Project 2012
13
Gra
ffiti A
rtists, ICA
N In
tern
atio
na
l Re
side
ncie
s 20
11
14
2
3
4
5
612
13
147
118
9
10
1
ICAN INTERNATIONAL RESIDENCIES
ICAN successfully delivered sixteen inter-national artist residencies where artists from areas of conflict in various parts of the world offered new perspectives to local artists, community leaders, educationalists, peace-makers, grass-roots activists and volunteers. The artists shared their internationally ac-claimed expertise, with the skills of locally based practitioners, helping to explore and resolve issues still current within the lives of those affected by the Northern Ireland conflict.
The majority of ICAN international artists undertook a one-month residency, delivering master classes and working with targeted communities. The master classes targeted professional artists who wanted to gain crea-tive peace building tools to enhance their own professional practice.
“ Our work is about empowerment - about people being the experts in their own lives and being able to use theatre as a means of creating change. Hector AristizábalICAN International Artist in Resident, Imaginaction
ICAN INTERNATIONAL RESIDENCIES
15
2
3
4
5
612
13
147
118
9
10
1
ICAN INTERNATIONAL RESIDENCIES
Khaled Barakeh Syria November 2012 & March 2013(Visual Artist)
A conceptual artist and active member of many civil groups campaigning for victims of war. Khaled undertook a research based residency with ICAN, focusing on the divided communities of Derry~Londonderry. His artwork was exhibited in Golden Thread gal-lery, Belfast and his concepts and artwork contributed to extensive dialogues and discussion at the 2013 ICAN conference, ‘Challenging Place’.
Hjalmar Joffre-Eichhorn Afghanistan March 2012 & March 2013Founder of Afghanistan Human Rights & Democracy Organization (Theatre)
Theatre artist, Hjalmar Jorge Joffre-Eichhorn uses interactive theatre methodologies as a conflict transfor-mation, reconciliation and community building tool in conflict and post conflict countries. As ICAN artist in resident Hjalmar worked with several groups, including young people from segregated communities in Coleraine and Home Plus, an organisation which supports Asylum Seekers.
1 2
16
ARTISTS
Teya Sepinuck USA/Northern IrelandJanuary 2013Founder & Artistic Director Theatre of Witness(Theatre)
For the past 25 years, Teya has been creating and producing Theatre of Witness projects with the most vul-nerable in society. In her work with ICAN she demonstrated Theatre of Witness methods through a master class and a community project tar-geting health workers who deal with the stories of clients who suffer as a result of the troubles.
Pablo Cristi , Alex Poli aka Man One, Ernel Martinez , Sidd JoagUSA August 2011(Graffiti and Mural Art)
These four exceptional international artists held both a master class for youth workers, teaching graffiti and mural art techniques, and a graffiti project with young people in four cross-border communities. They also worked on a cross-community/cross-border Urban Arts Week, bringing young people together to use the arts to build relationships and cre-ate dialogue.
John McIllduff France / UKFebruary 2011(Film)
With ICAN, renowned writer and filmmaker John McIlduff shared his experiences documenting and illustrating stories within conflict situations. His workshop focused on the ways film can be used to expose sensitive stories. He also worked in collaboration with Theatre of Wit-ness Artistic Director Teya Sepinuck creating film footage documenting the stories of participants.
Marc WeinblattUSAJanuary 2013Founder & Co-Director of the Mandala Centre for Change (Theatre)
Professional educator, theatre direc-tor, activist, and workshop facilitator since 1980, Marc Weinblatt’s ICAN master class focused on Theatre of the Oppressed to stimulate community dialogue and social change. His cross community project focused on the Derry~Londonderry and Donegal com-munity’s relationship with the border.
3
33
Zhaleh AlmaeeUSA January 2013Co-Director of the Mandala Centre for Change (Theatre)
Skilled facilitator, performance art-ist, and ritual theatre maker Zhaleh delivered a master class focused on use of Playback Theatre for Community Development. She also delivered a Community Project with women from Crescent Community Cultural Centre at Caw/Nelson Drive Derry~Londonderry.
4
Hector AristizábalColombiaJanuary 2011 & October 2012Founder & Director of Imagination, USA (Theatre)
Colombian theatre artist, activist and psychotherapist Hector gave a master class on Theatre of the Op-pressed. He ran taster workshops at universities and schools, as well as two community projects, one using Theatre of the Oppressed to tackle youth issues, and another based in Galliagh, Derry ~ Londonderry working with an intergenerational group.
5
9 10 11
ICAN INTERNATIONAL RESIDENCIES
17
Rod Sauls South AfricaAugust 2010District 6 Museum, Cape Town (Visual Art)
In partnership with North 55 ICAN enabled artist from District Six Mu-seum Roderick Sauls to lead a cross border project with unemployed women from Buncrana, Co. Donegal. His master class enabled art practi-tioners to gain tools to strengthen their practice. As part of the first ever ICAN conference ‘Exchange I Con-nect’ in 2011, the participants’ work was exhibited in Ebrington Barracks, a former navy and military base.
Hope AzedaRwandaApril 2011Mashirika Creative and Performing Arts (Theatre)
As Artistic Director and Choreog-rapher of one of the major theatre companies in Rwanda, Hope created a platform enabling local people to explore diversity and difference dur-ing her time with ICAN. Her master class focused on the use of theatre as a means to deal with racism, and her community project with minority communities used theatre as a tool to challenge racism and inequality.
Dijana Milosevic and Cynthia Cohen Serbia and USASeptember 2011(Theatre)
Director of Peace Building and the Arts Brandeis University, Boston, Cynthia Cohen has devoted her career to evaluating tools avail-able to artists and peace builders in areas of conflict. Her master class, co-facilitated by Dijana, focused on peace building methods.
Aja Marneweck South AfricaSeptember 2012The Paper Body Collective(Puppetry)
Aja’s experimental approach to pup-petry combines multiple techniques (including full body latex puppetry, giant paper puppetry, shadow pup-petry and mask). Whilst with ICAN she worked on a Community Project with Teya Sepinuck, Director of Theatre of Witness and delivered a master class on the use of puppetry to provide an insight into personal narratives aris-ing from the Northern Irish troubles.
6
Le Bouc sur le Toit Theatre Company France February 2012(Theatre and Playwriting)
This exciting Paris based theatre company worked in collaboration with community groups to rewrite Shakespeare’s Henry V incorporating themes from the Irish conflict.
7
Dijana Milosevic andJugoslav Hadžić SerbiaSeptember 2011DAH Theatre (Theatre)
DAH Theatre offers theatre to com-munities suffering from the impact of war. With ICAN they held a master class demonstrating how theatre methods can be used to bring about social change.
8
12 13 14
18
Mu
ral b
y lo
ca
l yo
uth
an
d M
an
On
e, IC
AN
Inte
rna
tion
al R
esid
en
cy 2
011
19
“With the influence of teachers, directors and facilitators from other parts of the world, we leave the master classes feeling more confident and more able to effect deeper change in our work, and we develop relationships that mean support is always at hand. Local Artist, ICAN Project Attendee
20
INTERNATIONAL RESIDENCIESMany of the international artists worked with commu-nity groups affected by the Northern Ireland conflict. In many cases the group had not taken part in any previous creative projects, but were open to using the arts as a tool to build peace.
CASE STUDYICAN Artist in Resident, Hector Aristizábal, spent fifteen years utilising Theatre of the Oppressed techniques and theatrical performance as part of the movement to end torture. He is founder of Imaginaction, an im-provisational laboratory which uses performing arts for community healing and social justice. He grew up in Medellin, Colombia when it was the most dangerous city in the world. One of his brothers was seduced by the power of crack cocaine and another by the prom-ises of revolutionary armed struggle. Hector however worked his way out of poverty to become a theatre artist and pioneering psychologist. He was recently awarded the prestigious Otto René Castillo Award for Political Theatre.
Hector’s highly adaptable techniques can be immediately applied by teachers, social workers, psychotherapists, activists, community organisers, and theatre artists, etc… in their own contexts. The Colombian theatre artist, activist and psychotherapist began a long and fruitful relationship with ICAN when he undertook a one month residency in January 2011. Hector then returned to Derry~Londonderry with ICAN a year later to continue his work.
LETTER OF OFFER ACTUAL OUTPUTS
YEAR NO. OF
RESIDENCIES
NO. OF
BENEFICIARIES
NO. OF
RESIDENCIES
NO. OF DIRECT
BENEFICIARIES
NO. OF INDIRECT
BENEFICIARIES
1 3 30 4 270 958
2 3 30 6 150 57
3 3 30 6 325 890
GOALS AND TARGETS
Direct Beneficiaries: The number of people who participated in master classes, community projects, and workshops.
Indirect Beneficiaries: The number of people who attended additional events which were not planned at the time of application, e.g. taster workshops and showcase events.
ICAN INTERNATIONAL RESIDENCIES
21
“ It was very beautiful to see people who have never acted in their lives to be able to present to their communities an event that was charged with soul and a deep sense of accomplishment.Hector AristizábalICAN International Artist in Resident, Imaginaction
He
cto
r Aristiz
ab
al, IC
AN
Inte
rna
tion
al R
esid
en
cy 2
011 a
nd
20
13
22
Ga
lliag
h S
torie
s reh
ersa
l by H
ec
tor A
ristiza
ba
l & lo
ca
l co
mm
un
ity m
em
be
rs, ICA
N In
tern
atio
na
l Re
side
ncy 2
011
23
“ In my own personal experience I can say that my own work has been deeply influenced by two of ICAN’s visiting teachers; Teya Sepinuk and Hector Aristizabal. Both of these individu-als taught me a lot in terms of how to be more deeply integrative and effective through the work we do.Orla HassonLocal Artist, ICAN Galliagh Stories Project
ICAN partnered with Greater Shantallow Community Arts to enable Hector to work with the community of Greater Shantallow, bringing new theatre skills and empowering the community to use the arts to examine local issues. Participants then presented their work locally, performing three short plays dealing with do-mestic violence, drug addiction and sectarian division to a group of guests from the community as well as the relatives and friends of the participants.
While in residency Hector gave taster workshops in local schools and universities in order to extend the language of arts and peace building to the younger generation. These taster workshops introduced young people and their teachers to new approaches to peace building through the arts.
While in Derry~Londonderry Hector also presented a free semi-biographical performance about his arrest and torture by the US supported military in Colombia, ‘Nightwind’.
Famed for his energetic and compelling style, Hector’s first residency with ICAN established him as a popular and sought after mentor. This enthusiasm for his work was reflected in the heavily subscribed master classes he delivered on returning to Derry~Londonderry a year later. These master classes focused on Theatre of the Oppressed as a tool for community healing and social justice. His community Youth Project used Theatre of the Oppressed to tackle youth issues, involving young people from St. Cecilia’s College, Enagh Youth Forum and Maydown Youth Group.
24
ICANCONFERENCES
“ The conferences being held as an integral part of the ICAN project have been extreme-ly rich in content and in terms of networking. Strong themes have been approached and an atmosphere of openness has led to many frank and important debates and discussions. ICAN Conference attendee
The ICAN conference programmes addressed educa-tion, arts and culture and community development. The topics provided a forum to challenge and debate social and political issues with the aim of ensuring long-term impact, transformation and sustainability.
Strong and sometimes difficult themes were approached and an atmosphere of openness led to honest and significant dialogue. For example, the Exchange I Con-nect visual arts conference assembled and drew from local, national and international contributors to consider how collaborative and contemporary visual art and culture impact upon conflict zones and the social, political and economic changes that evolve from this type of work. The Nine Tenths Under conference explored how the arts can cast light on the hidden face of the peace, not just in Northern Ireland but other societies emerging from a history of conflict, including South Africa and the Balkans.
The conferences allowed for a time of reflection as delegates were invited into other people’s stories and careers. They also provided an opportunity for local groups and organisations to showcase various initiatives and receive critical feedback a result.
ICAN CONFERENCES
25
Ima
n A
ou
n, E
xch
an
ge
I Co
nn
ec
t, ICA
N C
on
fere
nce
20
10
26
THE SIX CONFERENCES DELIVERED BY ICAN WERE:
ICAN CONFERENCE
CHALLENGING PLACEFriday 1st & Saturday 2nd March 201310.00pm – 5.00pm The PlayhouseDerry~Londonderry
Examining cultural tradition, artistic intervention, public art, perceptions and attitudes. Cost: Free
For information or to enroll contact Elaine Forde on 02871 268027 or email [email protected] www.icanplayhouse.com
ICAN is a three-year project developed by the Playhouse which has been part-financed by the European Union’s Regional Development fund through EU Programme for Peace and Reconciliation (PEACE III) managed through Special EU Programmes Body.
CHALLENGING PLACE March 2013
This conference, held in partnership with University of Ulster Drama Department, examined how the arts challenge the people and place of Derry~Londonderry and other conflict and post conflict cities.
NINE TENTHS UNDER March 2012
Nine Tenths Under explored how the arts can cast light on the hidden face of the peace. Held in partnership with the School of Creative Arts at the Queen’s University Belfast, delegates explored how the arts can be used to examine the unseen and unresolved in post-conflict Northern Ireland.
MY SAY!! November 2011
This special youth arts conference enabled young people to express and articulate their views about segregated living and education. During the final event the young people showcased their artwork and expressed their views and opinions to local politicians and decision makers.
ICAN CONFERENCES
27
BORDERS & BOUNDARIES May 2011
This conference explored the ethics of socially engaged arts practice in the community setting.
EXCHANGE I CONNECT (PERFORMING ART) October 2010
This conference examined the experiences of arts and cultural work in international conflict, post-conflict and socially disad-vantaged community contexts.
EXCHANGE I CONNECT (VISUAL ART)October 2010
Working in partnership with North 55, Buncrana, Co. Donegal, this conference addressed and showcased artistic responses to cultural memory, com-memoration, ethics, civil rights and community development.
28
CONFERENCE SPEAKERS
NORTHERN IRELANDProfessor Liam O’Dowd Queen’s University, Belfast
Sgt Sam Young PSNI, Derry~Londonderry
Dr Lisa Fitzpatrick University of Ulster, Derry~Londonderry
Dr Paul Devlin University of Ulster, Derry~Londonderry
Paul Smyth Public Achievement, Belfast
Professor Gillian Robinson Attitude to Peace Walls, University of Ulster, Derry~Londonderry
Margo Harkin Beson Productions, Derry~Londonderry
Anne Newell Replay Theatre Company, Belfast
Michelle Young The Belfast Sarajevo Initiative, Queen’s University, Belfast
Owen McCafferty Dramatist, Belfast
David Grant School of Creative Arts, Queen’s University, Belfast
Declan Keeney Film Studies, Queen’s University, Belfast
Professor Cahal McLaughlin The Prison Memory Archive, Queen’s University, Belfast
Dave Duggan Dramatist and Novelist, Derry~Londonderry
Clare Hackett Healing Through Remembering, Belfast
Alison Millar Filmmaker, Belfast
Carie Logue Dancer, Derry~Londonderry
Siuan McLaughlin Artist, The Playhouse, Derry~Londonderry
Marie Louise Muir Broadcaster, Radio Ulster
Cllr Colum Eastwood Ex-Mayor, Derry~Londonderry
Mike Moloney The Prison Arts Foundation, Belfast
Tom Magill Educational Shakespeare Company, Belfast
Michael Doherty Peace and Reconciliation Group, Derry~Londonderry
Peter Jenkinson OBE Ilex, Derry~Londonderry
Caoimhin CorriganIlex, Derry~Londonderry
Inez McCormack Participation and Rights Programme, Belfast
John Peto The Nerve Centre, Derry~Londonderry
Pauline Ross Artistic Director, The Playhouse Derry~Londonderry
UK/IRELANDNatasha Davis Natasha Productions, London
Professor James Thompson In Place of War, University of Manchester
ICAN CONFERENCES
29
John Johnston Goldsmiths, University of London
Janna Graham Serpentine Gallery, London
Adalet Garmiany Art Role, UK and Iraq
Declan McGonagle The National College of Arts and Design, Dublin
USARobyn Bushman City of Philadelphia Mural Arts
Ernel Martinez Mural Artist, Philadelphia
Ed Moloney Belfast Project/Boston College Archive
Alex Poll Aka Man One Graffiti Artist, Los Angeles
Erik Ehn Brown University, Providence
Dr. Barbara J. Love Social Justice Education, School of Education, University of Massachusetts, Amherst
Dr. Cynthia Cohen Creative Approaches to Reconciliation, Brandeis University, Boston
SOUTH AFRICA Professor Jane Taylor University of Witwatersrand
Dr Aja Marneweck University of Cape Town
Bonita Bennett District Six Museum, Cape Town
AFGHANISTANHjalmar Jorge Joffre-Eichhorn Afghanistan Human Rights and Democracy Organi-zation
ISRAEL Idan Meir Combatants for Peace, Israel/Palestine
PALESTINEIman Aoun Ashtar Theatre, Palestine
NETHERLANDSDr Eugene Van Erven Utrecht University, Rotterdam
BOSNIA AND HERZEGOVINAAles Kurt & Belma Lizde-Kurt Aparat Theatre Company, Sarajevo
SERBIADijana Milosevic DAH Theatre, Belgrade
CANADAJudith Marcuse Judith Marcus Project, Vancouver
RWANDAHope Azeda Mashirika Theatre, Remera, Kigali
SWITZERLANDUrsula Biemann Artist and Filmmaker, Zurich
30
Te
ya S
ep
inu
nck
, ICA
N In
tern
atio
na
l Re
side
ncy 2
011
31
“ I am tremendously grateful to ICAN for the incredible opportunity to work with such a sensitive and deeply talented artist as Aja Marneweck. Our collaboration really addedtremendously to the international flavour of Theatre of Witness and will go down as one of the highlights of our work here.Teya SepinuckICAN International Artist in Resident, Theatre of Witness
32
CONFERENCES
LETTER OF OFFER ACTUAL OUTPUTS
YEAR NO. OF CONFERENCES NO. OF BENEFICIARIES NO. OF CONFERENCES NO. OF BENEFICIARIES
1 2 200 2 305
2 2 200 2 260
3 2 200 2 325
GOALS AND TARGETS
The conferences were geared towards those individuals who were:
• Actively involved in a peace building process.
• Interested in gaining an international perspective on arts and peace building.
• Using the arts as a tool to change attitudes and explore community relations, such as arts practitioners, researchers, policy makers and community activists.
ICAN’s 2013 conference, Challenging Place, brought curators, artists, researchers, architects, and police officers together to share creative arts and peace build-ing projects and was hailed as “innovative and thought provoking” by attendees.
Syrian, Croatian, and American practitioners came together with local artists, community groups and the PSNI for the conference, which explored how murals, theatre and public art challenge the people and place of
a conflict city. Some stirring examples of discussion at the first ever ICAN conference in October 2010 included an account of genocide in Rwanda through the eyes of a ten year old, a monologue from the different voices of Gaza, and an interactive museum to memorialize the stories of displaced peoples in South Africa’s District 6, as speakers from countries most affected by conflict were invited to provide an insight into the Arts as a peace building tool.
ICAN CONFERENCES
33
CASE STUDYICAN 2012 CONFERENCE, NINE TENTHS UNDER The 2012 ICAN conference, ‘Nine Tenths Under-Performing the Peace’, brought together creative artists, academ-ics, students and a range of different communities to explore how the arts can cast light on the hidden face of peace, not just in Northern Ireland but other societies emerging from a history of conflict, including South Africa and the Balkans.
A groundbreaking and emotionally charged film, docu-menting the testimonies of former IRA personnel and victims of the troubles, a special case study in performing the peace in Ireland and Afghanistan, and a passionate speech about the Boston College controversy, were just some of the highlights of the conference.
A screening of ‘The Far Side of Revenge’, which docu-ments the powerful Theatre of Witness project, opened the conference, which was jointly hosted with the School of Creative Arts at Queen’s University, Belfast.
Professor Jane Taylor of the University of Witwatersrand, Aja Marneweck of the University of Capetown, David Grant of Queen’s University, Belfast and Belfast Dramatist Owen McCafferty discussed the ethics of communal story-telling.
Journalist Ed Moloney, Cahal McLaughlin of The Prisons Memory Archive and Claire Hackett from the Healing Through Remembering project focused on the issues of recording memories from the Northern Irish conflict in the context of a peace process.
Another highlight of the conference was a special case study in performing the peace in Ireland and Afghani-stan by Oscar nominated Dramatist and Novelist Dave Duggan and independent theatre practitioner, Hjalmar Joffre-Eichhorn.
The conference brought artists and practitioners from post conflict and conflict societies together, from Aparat Theatre Company, Sarajevo to practitioners from Af-ghanistan, and ignited conversations around how the Arts can benefit post conflict societies and allowed people the opportunity to exchange ideas and talk about new methods applicable to local and international issues.
Nin
e T
en
ths U
nd
er, IC
AN
Co
nfe
ren
ce
20
12
34
Dr. B
arb
ara
J. L
ove
Bo
rde
rs & B
ou
nd
arie
s, ICA
N C
on
fere
nce
20
11
35
“ I’m finding that I’ve been able to connect with people and learn how our situations are very different, but the issues that we’re talking about are very similar. I’m hoping what comes out of this conference is a continuance of this discussion. I’m getting the sense that we are going to keep this dialogue going. It’s about informing and enriching each other’s work.Bonita BennettICAN Conference Speaker, District 6 Museum
36
ICAN LOCAL PROJECTS
The twelve local ICAN projects created the space for local artists to learn new skills from the international artists, developing those skills at local level. The local artists have skills in a particular element of the arts but not necessarily in peace building. The master classes introduced them to various models of peace building using the arts as a tool, encouraging more successful and creative work in their own community groups.
“ ICAN activities have proved invaluable to my development as an artist. The network, master classes and conferences have connected me to other practitioners using arts for social change and transformation. I have drawn inspiration from being exposed to the work of others worldwide and have been able to contribute my own thoughts and ideas for the future direction of such work.Ailbhe HinesLocal Artist, ICAN Threads of Resilience Project
ICAN LOCAL PROJECTS
37
Th
rea
ds o
f Re
silien
ce
by A
ilbh
e H
ine
s, ICA
N L
oca
l Pro
jec
t 20
12
38
LOCAL PROJECTS
VOICES INTERNED September 2012
This intergenerational photographic project involved the families of re-publican ex prisoners. The artist, Geraldine Gallagher, had previously attended ICAN conferences, under-took an ICAN master class by ICAN International Artist in Resident Teya Sepinuck, and attended ICAN Arts in the Community project. Learning new skills enabled her to deliver the Voices Interned project and further peace building work.
GALLIAGH STORIES II May 2011
Having had a flavour of theatre to explore community issues with ICAN Artist in Resident Hector Aristizabal, the community of Galliagh, expressed a desire to continue this exploration with artist Orla Hasson. The resultant production was shown in Donegal and The Playhouse, Derry~Londonderry. Orla Hasson had attended several ICAN conferences and master classes.
THREADS OF RESILIENCE May 2012
This project brought together a cross community group of women from Omagh who had been affected by the troubles and enabled them to tell their stories in their own devised and scripted performance. Local artist, Ailbhe Hines, had worked with Hector Aristizabal and DAH Theatre, Serbia through ICAN.
STREET TALK (4 PROJECTS)August 2012
‘Street Talk’ was a youth Art Project in collaboration with the Police Service of Northern Ireland (PSNI), tackling anti-social behavior and developing meaningful relationships with neigh-borhood officers. Four projects were delivered, one in each area, Magher-afelt, Derry~Londonderry, Strabane and Limavady. The artists involved, Sara Greavu, Siuan McLaughlin, Karl Porter, Kwa Daniels of Bouncin DJ Group and Denzil Browne had all participated in ICAN programmes.
WHAT WOULD I SAY…? March 2011
This project collaborated with women throughout Derry~Londonderry and Donegal enabling them to verbalise their opinions about cross community issues and human rights. The finale event was hosted on International Women’s Day. The artist Nicky Harley assisted in the Theatre of Witness project.
THEATRE FOR YOUTH April 2012
Artist Charmaine McBride, who had attended several ICAN conferences, continued to develop the work under-taken by ICAN International Artist in Resident, Hjalmar Joffre- Eichhorn, with young people in Coleraine, dealing with cross community issues.
STRA MURAL PROJECT September 2011
This single identity graffiti project enabled ICAN to develop a relation-ship with the young people attending Enagh Youth Forum. Many of the young people were involved in crime and at risk of offending. The project encouraged the young people to ex-press themselves by creating a public mural. Artist, Karl Porter, attended ICAN conferences and international artist’s graffiti master class.
OCN ARTS IN THE COMMUNITY TRAINING May 2012
Arts in the Community accredited courses were delivered to youth workers, enabling them to gain crea-tive skills to enhance their community development work. Artist Siuan McLaughlin had attended ICAN con-ferences and assisted in the ICAN International Graffiti Project.
PAST: IMAGINE October 2010
This project used visual art to tackle youth issues and worked to cre-ate a better relationship between young and older people within the Caw and Nelson Drive area of Derry~Londonderry. The artist Kirstin McLaughlin attended ICAN Interna-tional Artist in Resident Rod Saul’s master class.
ICAN LOCAL PROJECTS
39
Artw
ork
by y
ou
ng
pe
op
le, S
tree
t Ta
lk, IC
AN
Lo
ca
l Pro
jec
t 20
12
40
One of the aims of ICAN was to enable the local prac-titioners to deal with the impact of the Northern Irish conflict through international influence. Throughout ICAN, artists, peace builders and community activ-ists had the opportunity to learn new international methodologies, which they embedded back into local communities. The ICAN project invested in interna-tional influence to enable local artists to work toward a shared society.
CASE STUDYOne groundbreaking ICAN project, co-funded by the Police Service of Northern Ireland (PSNI), was de-signed to use the Arts to break down the barriers and develop relationships between young people and their neighbourhood police officers. The Street Talk project worked with young people from loyalist, nationalist and protestant rural areas, giving them creative ways to express their identities, explore sectarianism, anti-social behaviour, hate crime, burglary and each community’s relationship with the PSNI.
Young people from Magherafelt, Derry~Londonderry, Strabane and Limavady were introduced to new op-portunities, through graffiti, DJing, animation and light box art, to express their thoughts and feelings in a safe environment, and to build relationships with each other and their local community police.
Young people achieved OCN accreditation and were awarded certificates of completion. Deputy Chief Constable Judith Gillespie described Street Talk as a project “which has changed perceptions both on the part of police officers and young people”. She affirmed a hope to see the work replicated in other areas across Northern Ireland. The project was Highly Commended by the Northern Ireland Commissioner for Children & Young People in 2013.
ICAN LOCAL PROJECTS
LOCAL PROJECTS
GOALS AND TARGETS
LETTER OF OFFER ACTUAL OUTPUTS
YEAR NO. OF
RESIDENCIES
NO. OF
BENEFICIARIES
NO. OF
RESIDENCIES
NO. OF DIRECT
BENEFICIARIES
NO. OF INDIRECT
BENEFICIARIES
1 3 45 1 15 0
2 3 45 5 100 402
3 3 45 6 88 886Direct Beneficiaries: The number of people who participated in community projects.
Indirect Beneficiaries: The number of people who attended additional events which were not planned at the time of application, e.g. seminars, exhibitions and performances.
41
“ It’s a great example of how different agencies can come together and deliver excellent projects.Gerard MurrayDepartment of Culture Arts and Leisure
Artw
ork
by S
teve
n H
an
son
, Stre
et T
alk
, ICA
N L
oca
l Pro
jec
t 20
12
42
De
pu
ty C
hie
f Co
nsta
ble
Ju
dith
Gille
spie
& lo
ca
l yo
un
g p
eo
ple
, Stre
et T
alk
, ICA
N L
oca
l Pro
jec
t 20
12
43
“ The attitudes of the police officers had to be challenged as well. Having such frank conversations with the young people and opening up as an individual was definitely a thought-provoking element of the project because that’s not part of our training. Nothing prepares you for the questions you get from a group of teenagers.Sgt Sam YoungICAN Street Talk Project
“ I’ve learned that working together has brought communties together, and there is not going to be fighting or violence since we’ve interacted with each other.Young ParticipantICAN Street Talk Project
44
ICAN NETWORK
ICAN ACTIVITIES
There were also a number of other activities which emerged through the lifetime of the project, including films screenings, performances and lectures. These supplementary activities provided opportunities for the layperson to get a flavour of ICAN work.
Additional activities included:
• Seminar by theatre facilitator Hjalmar Joffre- Eichhorn discussing his work in Afghanistan.
• Exhibition of cartoons depicting the Israeli / Palestine conflict.
• Screening of the Irish Premiere of documentary film, ‘Acting Together on the World Stage’.
• Screening of ‘Mickey B’ by the Educational Shakespeare Company.
• Lecture by visual artist Claudia Bernardi, Argentina.
• A performance entitled ‘Walk the Walk’ by Rwandan artist Hope Azeda.
• ‘Nightwind’, a semi autobiographical performance by Columbian artist Hector Aristizabal.• Seminar by South African visual artist Rod Sauls.
• ‘Landmarks’, an exhibition held at the former Ebrington Barracks.
• ‘The Moral Imagination’, a peace building workshop by Cynthia Cohen, from USA.
• Screening of ‘Inshallah’, a documentary exploring the Gaza Strip.
The ICAN website, www.icanplayhouse.com, has become a powerful tool, offering a neutral space for methods and artwork to be visible. Thousands of visitors view and access the ICAN website on a regular basis, availing of a valuable resource where visitors can find specific project information and videos detailing the individual projects.
Social networking sites, such as Facebook, provided a complementary vehicle for interaction between local/national and international members, providing a meeting place for project participants to keep in touch and see and access project images and videos. It has a follow-ing of 1998 friends who are part of the ICAN arts and peace building discussion.
ICAN NETWORK
45
Wa
lk th
e W
alk
by H
op
e A
ze
da
, ICA
N In
tern
atio
na
l Re
side
ncy 2
011
46
THE LOCAL IMPACT OF ICAN
• Local community activists and peace builders developed skills and confidence in their own individual practice which they now share within the communities they work in.
• Collaboration between international artists and local practitioners was fostered and supported, as well as valuable cooperation with the international artists in residence.
• The conferences provided a bridge between international artists and local practitioners; and between academic institutions and local communities.
• The website provided a centralised space for information to be shared throughout the life of the project. Social media deepened the engagement with supporters.
• The Playhouse has developed the ICAN Street Talk project into a larger two year project. Funding has been secured to develop a longer term project building capacity between the PSNI and young people from disadvantaged backgrounds.
THE LOCAL IMPACT OF ICAN
“ As the youth support worker and a former Republican prisoner, the Street Talk project on a personal level enabled me to take risks in the interest of promoting a shared futureYouth WorkerICAN Street Talk Project
47
Th
ea
tre w
ork
sho
p, C
ha
llen
gin
g P
lace
, ICA
N C
on
fere
nce
20
12
48
THE PEACEBUILDING IMPACT OF ICAN
ICAN became well established as a key arts and peace building project in Northern Ireland and the border counties, leaving behind a rich legacy.
• ICAN enabled an army of local community artists to learn and practice arts and peace building methods. The local artists developed recognition of their role in peace building and within their local communities.
This was in several cases illustrated through performances developed with local community members, artists and international artists and performed within the local community;
• ICAN addressed important issues with project participants using the medium of theatre and creative arts, including sectarianism, substance abuse, domestic violence, anti-social behavior, identity, racism, discrimination and cultural heritage;
• ICAN enabled people affected by the conflict to come to terms with the past and understand the sensitivities of conflict;
• ICAN provided people across sectarian divisions with a shared space to understand and respect one another. Meaningful participation and interaction was achieved between groups who previously have not had much contact, including people from different communities and between young people and police officers;
• ICAN enabled The Playhouse to begin to develop a Masters Degree in Arts and Conflict Transformation in partnership with Goldsmiths University, London, to be taught in London and Derry~Londonderry;
• ICAN created sustainable relationships to be developed between organisations in areas of conflict and post conflict, for example, between Queen’s University, Belfast and Aparat Theatre Sarajevo and
Theatre of Witness with puppet artist Aja Marneweck from South Africa; and
• ICAN enabled an arts and peace building community to develop ongoing discussions through ICAN website and social media sites.
THE PEACEBUILDING IMPACT OF ICAN
49
“ (ICAN) helped me to help the women I worked with recover their memories... They are able to recognise commonalities and diversities which help to build a conversation for the future. Geraldine GallagherLocal Artist , ICAN Voices Interned Project
Vo
ice
s Inte
rne
d e
xh
ibitio
n b
y G
era
ldin
e G
alla
gh
er, IC
AN
Lo
ca
l Pro
jec
t 20
12
50
ICAN’S CONTRIBUTION TO THE PEACE PROCESSBy bringing and imparting the skills and learning of an inspiring and stimulating list of international practitioners who are experienced in vastly different artistic responses to conflict to a wide range of com-munity and arts practitioners, ICAN has created a rich legacy of arts based practice which can only enhance the ongoing development of the Peace Process.
ICAN has over the past three years delivered projects targeting hard to reach communities to those who have been most affected by the recent conflict. Examples include the families of ex-republican prisoners in West Belfast, young people who have offended or who are at risk of offending, and a cross community group of women from Omagh who carried the pain of the conflict.
The project has delivered single identity projects to those living in segregated communities, allowing communities to tackle their own prejudices and fears. ICAN then brought conflicting cross community groups together, creating an atmosphere where people could participate in a non-threatening environment and use art as a mechanism to challenge attitudes. In the safety of creative workshops participants have shared common ground helping them to challenge their own prejudices.
ICAN’S CONTRIBUTION TO THE PEACE PROCESS
51
OVERVIEW
• The project enabled international partnerships to be created, new dynamic conversations to take place and exciting, unpredictable and challenging art to be created. The project did this by using models of best practice from throughout the world that is known to be successful in areas of significant conflict and social breakdown.
• The project worked with people from hard to reach communities affected by the conflict, through single identity, cross community and cross border engagement using the medium of art to create a shared common ground.
• The approach of community based theatre became a grassroots tool to create space for local groups to name issues and explore solutions within their own communities.
• ICAN engaged with many diverse groups within Derry~Londonderry and on both sides of the border. There was also strong interaction between organisations, from academic institutions to local community groups.
• Various local practitioners who were involved with the project can testify to having gained a wide range of skills which in turn has enhanced their practice. This gave them a greater level of confidence to explore peace building methods in their community arts based practice.
• The project promoted sustainability, encouraging the progression of groups between different activities, participation throughout the three years of the project and ongoing interaction from local and international practitioners.
• The project created meaningful and enduring relationships between local and international organisations and companies.
ICAN was a unique project which brought the very best of international artists and art practice to Derry~Londonderry and the surrounding area.
52
“ ICAN as a project has opened up many doors for us as an educational establishment… we were treated to a vast array of international practitioners from all walks of life and political spectra and it’s really what education should be about, providing a universal experience for our children.Teacher Greta McTagueSt. Cecilias College Derry~Londonderry
“ The quality of the intervention and the quality of the output is second to none... I think ICAN has been a very healthy contributing factor to awareness raising about the power of the arts... and how it can in a meaningful and very liberat-ing way enable people to express and articulate their experience, their issue, their concern or happiness.Youth Arts Officer Gavan O’ConnorArts Council of Northern Ireland
53
Th
ea
tre w
ork
sho
p, C
ha
llen
gin
g P
lace
, ICA
N C
on
fere
nce
20
13
54
CREDITS
ICAN Artistic Consultant Pauline Ross, Founder and Artistic Director, The Playhouse
ICAN Coordinator Elaine Forde, The Playhouse
Report by Jim O’Neill, Jim O’Neill Consultancy
Edited by Áine McCarron, The Playhouse
Design by Damian O’Hara
We would like to thank ICAN photographers, especially Paola Bernadelli, Cathyann Keaveney, Sinead Crumlish, Chris McAlinden of CMore Films, Jonny Bell of Bouncin DJ and Gavan Connolly of GC Photographics who documented ICAN activities.
Thank you to the SEUPB team, ICAN Steering Committee and The Playhouse Board of Directors.
Special thanks to all the staff of The Playhouse, especially Max Beer, The Playhouse Head of Development, for his continued support.
CREDITS
55
CREDITS
ICAN is a three year project which has been part-financed by the European Union’s Regional Development fund through EU Programme for Peace and Reconciliation (PEACE III) managed through Special EU Programmes Body.
www.icanplayhouse.com
5-7 Artillery Street Derry~Londonderry BT48 6RG Northern Ireland