Sounding Conflict: From Resistance to Reconciliation

该项目调查了音乐、声音和讲故事在冲突和冲突后社区的影响，以及通过数字媒体活动传播这些影响。在中东、巴西和北方爱尔兰进行的比较案例研究为评估如何使用声音来表达暴力经历、支持抵抗叙述和促进和平建设提供了基础。与社区合作伙伴一起，来自艺术，人文和社会科学的跨学科团队将汇集互补的方法，以解决冲突研究，音乐和艺术中的关键问题。我们将考虑在不同的冲突环境中应对和参与的共同模式，并确定参与式音乐，声音艺术和表演如何影响政治议程并为决策提供支持。抵抗，干预和和解的概念框架突出了特定的冲突条件，通过这些条件，我们分析了声音艺术活动对社区参与者的影响，并解释了他们的冲突叙事。这项研究还涉及不断演变的全球安全环境，在这种环境中，音乐和艺术日益被视为一种治疗手段或共同对话的竞技场。然而，学术界仍然存在差距，无法确切解决如何利用参与性和社区主导的音乐、声音和讲故事方法来调解和阐明冲突政治，以取得更广泛的政策成果。该项目分为三个工作流（WS），允许基于实地考察的案例研究和跨领域的声音和人种学研究方法。WS 1，“响亮的抵抗”，考虑了a）说唱的影响和对ISIS的反叙事的影响，以及B）通过土耳其-叙利亚边境的萨拉姆学校的工作，在叙利亚难民中进行数字讲故事干预所产生的转变。WS 2，“声音干预和平建设”，是通过重新审视2014年军事占领期间里约热内卢马雷贫民窟的参与性声音艺术项目，然后在一个新的声音艺术装置中发展其方法，该装置专注于北方爱尔兰的音乐干预，最后在里约重新展出新装置。WS 3，“声音再现”，分析了a）非政府组织“音乐家无国界”在巴勒斯坦和北爱尔兰采用的参与性音乐制作技术和社交媒体做法的有效性，以及B）在北爱尔兰耶稣受难日协议（1998年）之后戏剧中讲故事和表演方法对观众和导演的影响。每个工作流都侧重于一个特定的音乐，声音和讲故事的做法，位于地球仪的三个地区，受到不同的冲突和冲突后条件的影响。地方分析和人种志将为各种项目的有效性提供定性和定量的见解，而比较研究将使我们能够进行比较，突出差异，并确定应对冲突的共同模式。 这项研究是与在三个冲突地区建立音乐和艺术活动方面发挥重要作用的组织（即土耳其的萨拉姆学校、巴西的海洋博物馆、无国界音乐家组织[巴勒斯坦和北爱尔兰]和四个剧院[北爱尔兰]）合作进行的。这些伙伴关系对于利用现有的当地知识和最佳做法，同时确保研究覆盖学术界以外的受众至关重要。该研究将为寻求了解数字媒体的重要性的艺术组织提供重要见解，因为它们解决了暴力的影响和遗产，并为政策制定者评估音乐，声音和讲故事如何在抵抗叙事中发挥作用，以及在转型与和解的过程中。

This project investigates the effects of music, sound and storytelling in conflict and post-conflict communities and their distribution through digital media activities. Comparative case studies in the Middle East, Brazil and Northern Ireland serve as a basis for evaluating how sound is used to articulate experiences of violence, to support narratives of resistance and to promote peace building. Together with community partners, an interdisciplinary team from the arts, humanities and social sciences will bring together complementary methodologies to address critical questions in conflict research, music and the arts. We will consider common patterns of response and engagement across different conflict settings and identify how participatory music, sound art and performance can influence political agendas and feed into policy-making. The conceptual frameworks of resistance, intervention and reconciliation highlight specific conflict conditions through which we analyse the effects of sound art activities on community participants and interpret their conflict narratives. This research also addresses a constantly evolving global security environment in which music and the arts are increasingly being recognized as a means of healing or an arena for shared dialogue. However, there is still a gap in scholarship in addressing exactly how participatory and community-led approaches to music, sound and storytelling are being used to mediate and articulate the politics of conflict for wider policy outcomes. The project is organized into three Work Streams (WS) to allow for fieldwork-based case studies and cross-cutting sound and ethnographic research methods. WS1, 'Sounding Resistance', considers a) the impact of rap and the effect of counter-narratives to ISIS and b) the transformations generated by digital storytelling interventions among Syrian refugees through the work of the Al Salam School on the Turkish-Syrian border. WS2, 'Sound Interventions in Peacebuilding', is conducted through revisiting a participatory sound art project in the Maré favela in Rio de Janeiro during military occupation in 2014 and then evolving its methodologies within a new sound art installation focusing on music interventions in Northern Ireland, finally re-exhibiting the new installation in Rio. WS3, 'Sounding Reconciliation', analyses the effectiveness of a) participatory music-making techniques and social media practices employed by the NGO, Musicians Without Borders in both Palestine and NI, and the impact of b) storytelling and performance methods in theatre on audiences and directors in the wake of the NI Good Friday Agreement (1998). Each work stream focuses on a particular music, sound and storytelling practice situated within three regions of the globe impacted by distinct conflict and post-conflict conditions. Local analysis and ethnographies will provide qualitative and quantitative insights into the effectiveness of the various projects, while comparative research will allow us to draw parallels, highlight differences and identify common patterns of responses to conflict. The research is conducted in partnership with organizations that play significant roles in establishing music and arts activities in three conflict regions (i.e. Al Salam school, Turkey, Museu da Maré, Brazil, Musicians without Borders [Palestine and NI] and four theatres [NI]. These partnerships are fundamental for engaging with existing local knowledge and best practices while ensuring the research reaches audiences beyond academia. The research will produce important insights for arts organisations seeking to understand the importance of digital media as they address the effects and legacies of violence, and for policy makers in appraising how music, sound and storytelling play a role in narratives of resistance, as well as in processes of transformation and reconciliation.