Exploring cultural peace work in Northern Ireland

Cultural peace work entails using creative and cultural practices to foster peace and reconciliation, particularly in post-conflict societies. In Northern Ireland, various organisations and individuals are harnessing the power of arts and culture to address deep-seated issues from a history of sectarian violence. In a recent session centred on cultural peace work and the dynamic of creativity in peacebuilding, various experts shared their insights. Their discussions delved into the importance of cultural spaces, the challenges faced in creative practices, and the significance of inclusive storytelling.

Professor Fiona Magowan (Queen’s University Belfast) initiated the dialogue by noting the importance of readiness and cooperation in peacebuilding. She described a role of the university’s Mitchell Institute for Global Peace, Security and Justice as a convergence point for academics and practitioners interested in peacebuilding and social justice.

The first of two sessions were presentations on the ways in which people do cultural peace work or research culture and peace.

Introduction to cultural peace work

The concept of cultural peace work is multifaceted, involving different forms of artistic expression, community engagement, and educational initiatives aimed at promoting understanding and healing. Louise Harrington (University of Alberta) underscored the importance of recognising and integrating multiple narratives in peacebuilding efforts, in order to be truly effective. She highlighted the often underestimated significance of creative forms — such as poetry, visual arts, theatre, and documentary films — in fostering peaceful relations.

Irene Boada-Montagut: the global dimension

Irene Boada-Montagut discussed a proposed Museum of the Troubles and Peace, with the role in portraying both local and universal lessons from Northern Ireland’s turbulent history: “Exploring sectarianism and racism together can provide vital insights for global peace efforts.” Her vision includes creating a world-class visitor experience in Belfast that reflects the diverse viewpoints and contested narratives of the Troubles.

Hilary Copeland: volunteering and diversity in arts

Hilary Copeland from Fighting Words Northern Ireland highlighted the challenges of operating within the Northern Ireland political system, with limited support for cultural initiatives: “We are working in a context of dysfunction and are struggling to make basic human needs work within this.” Despite these challenges, Fighting Words focuses on amplifying young people’s voices through creative writing, helping them build confidence and communication skills. She remains optimistic about the potential of arts to foster dialogue and understanding. Copeland insists on the need for systemic changes to improve cultural diversity and inclusion within the sector.

Niall Kerr: innovation in creative engagement

Niall Kerr from the Nerve Centre in Derry/Londonderry discussed their multimedia approach to cultural education, including music, film, and digital creativity projects. He highlighted initiatives such as “Making the Future”, which involves collaborative efforts to reimagine historical narratives and cultural identities through creative mediums: “We employed this in graphic novels, making complex historical events accessible to younger audiences.” Kerr underscored the importance of engaging communities through inclusive, creative projects.

Stefanie Lehner: literature and performance

Dr Stefanie Lehner of Queen’s University Belfast delved into the role of literature and performance in conflict transformation. Her research, particularly on recent theatre productions, explored how sound and narrative can create spaces for dialogue and reconciliation. Lehner emphasised that the arts offer a unique way to foster empathy and understanding: “Artistic expressions shape new ways of thinking about reconciliation.”

Liam O’Hare: social innovation and peace

Liam O’Hare (director of the Innovation Zones, Queen’s University Belfast) discussed the creation of social innovations that blend creativity with peacebuilding efforts. O’Hare explained that projects like “Crescendo”, which combines music education with social emotional learning, help build bridges between divided communities. He argued:  “The development of social innovations involves a creative process and provides space for dialogue.”

The second session was a roundtable discussion on the relationship between creativity, culture, and peace: opportunities and challenges.

Fiona Magowan: multi-narrative approaches

Professor Fiona Magowan, who chaired the session, spoke of the need for incorporating multiple narratives in peace work. Magowan advocated for an inclusive approach that respects both Catholic and Protestant identities while integrating perspectives from newer ethnic communities: “Peace work must involve co-designing projects that reflect the diverse voices within our society.”

Sue Divin: voice through writing

Sue Divin, a writer and peace worker, uses fiction to explore contemporary realities of Northern Ireland, rather than focusing solely on the Troubles. She described writing as a powerful tool for empathy: “Writing gives people a safe space to explore characters from a wide range of perspectives, opening up dialogues that might not otherwise happen.” Divin recalled her experiences in local council work, noting bureaucratic challenges and tokenistic approaches often imposed on cultural projects. According to Divin, true inclusion requires moving beyond symbolic gestures and engaging in meaningful, co-designed initiatives that reflect the diverse narratives of the community.

Fionnuala Fagan-Thiébot: ethical storytelling and community engagement

A musician, installation artist, and researcher, Fionnuala Fagan-Thiébot uses verbatim songwriting to retell community stories, focusing on connection and shared human experiences. She recounted her experience in Bosnia and how it inspired her to create a project that involved interviewing people from Northern Ireland and Bosnia about their experiences of conflict. Fagan-Thiébot addressed the ethical practice of speaking with rather than for communities, ensuring their stories are represented accurately and respectfully: “It’s about people getting to know each other.” This is for the potential of breaking down barriers through storytelling and creative expression.

Eimear Henry: Belfast Stories project

Eimear Henry, Creative and Strategic Lead of Belfast Stories at Belfast City Council, discussed the project’s objective to create a fluid and inclusive narrative of the city’s history. She said that the project acknowledges inner conflicts that exist within individuals and aims to create a space for ambiguity and evolving identities. “Compromise means to come together to make a promise,” Henry clarified, explaining the term as a constructive synthesis rather than a sign of mediocrity. The project is designed to be flexible and reflective of diverse stories and experiences, aligning with the dynamic representation of Belfast’s past, present, and future: “We want a cultural space where people can navigate and negotiate their identities freely…” — where the city can “dream itself”.

David Robinson: the complex interplay of culture, identity, and politics

David Robinson from Belfast City Council’s Good Relations Unit outlined the intricate relationship between cultural identities, political affiliations, and public expressions in Northern Ireland. He explained that many cultural practices — such as parading, bonfires, and the display of flags and murals — continue to cause conflict and division: “Cultural acts in this place are so bound up in people’s political identity that they often lead to a zero-sum game where there’s constant friction and contestation.” According to Robinson, the challenge lies in supporting communities to transform these practices while maintaining their cultural integrity. He highlighted successful initiatives, such as replacing traditional bonfires with beacon structures and transforming paramilitary murals into cultural murals. However, he also stressed the ongoing issue of physical segregation, with more peace walls present now than before the Good Friday Agreement. Robinson argued that genuine reconciliation has been stymied by a lack of political leadership and a societal tendency to approach cultural activities through a political lens.

Nisha Tandon: community arts and inclusion

Nisha Tandon (chief executive at ArtsEkta) underscored the importance of cultural awareness and inclusion in peace work. She advocates for projects that move beyond tokenistic representations, to foster genuine understanding and respect among diverse communities: “Engagement and collaboration are key to creating truly inclusive cultural expressions.” Tandon shared an example of a project in which they used embroidery to explore the contributions of different cultural backgrounds to Northern Ireland. She stressed the importance of training and mental health support for artists involved in community engagement, recognizing the emotional toll of peace work.

Audience discussion

Audience members raised poignant questions regarding the inclusivity of minority voices in the peacebuilding process, the importance of systemic support for arts, and the ethical considerations in cultural representation. For instance, Tura Arutura highlighted the need for representation beyond the “white gaze”, prompting reflections on implementing more inclusive, diverse strategies. Constructively, I drew attention to the potential for using different evaluative frameworks to measure trust and impacts of cultural projects.

Reflections by Dr Gail McConnell

Dr Gail McConnell (reader in English at Queen’s University Belfast) provided a comprehensive reflection on the day’s discussions. She noted the diverse range of arts and issues addressed, from social deprivation to gender-based violence. McConnell emphasised the need to address systemic inequalities, the white gaze, and the link between sectarianism and racism. She posed several fundamental questions for further consideration:

1. How do we work within a context of dysfunction and inequality to deliver meaningful and genuinely inclusive cultural peace work?
2. How do we recognise and address the effects of a white gaze in our approaches, assumptions, and structures first, and then in our work with diverse communities?
3. If sectarianism and racism go hand in hand, what more can we do to shape government policy and in our peace work to address this link?

McConnell also highlighted the importance of long-term planning and sustainability in cultural projects, pointing out the challenges of policy and funding that need to be addressed to create impactful and lasting change.

Conclusion

The discussion revealed the diverse and rich approaches to cultural peace work in Northern Ireland. While challenges such as funding, systemic support, and genuine inclusivity remain, the commitment and creativity of those involved provide hope for the future. The reflections underscore the importance of continued dialogue, ethical practices, and adaptability in peacebuilding efforts. As the city of Belfast and Northern Ireland more broadly continue to navigate their post-conflict identity, cultural peace work stands as a crucial pillar in fostering a more inclusive and harmonious society.

Cross-published at Mr Ulster.

Peacebuilding a shared Northern Irish society ✌️ Editor 🔍 Writer ✏️ Photographer 📸 https://mrulster.com