CONFLICT TRANSFORMATION ART

The report examines the role of socially engaged art in bridging ethnic and social divisions in Cyprus, emphasizing its capacity to foster empathy and inter-community contact. It maps various Cypriot initiatives—ranging from bi-communal theatre and visual arts collaborations to urban design projects—and compares them with experiences in South Africa, Bosnia-Herzegovina, Northern Ireland, and Brazil. The author argues that while art cannot resolve political conflicts alone, it creates essential 'contact zones' for relationship building. The document concludes with policy recommendations to shift from elitist art frameworks toward grassroots, community-based cultural policies that utilize public spaces and crossing points to reinforce peace.

• Artistic practices in Cyprus are often used as tools for conflict transformation by acting as catalysts for empathy and facilitating contact between estranged Greek and Turkish Cypriot communities.
• The cultural landscape in Cyprus is fragmented, with no formal written cultural policy on either side of the divide, leading to a reliance on non-governmental organisations (NGOs) and artist associations for cross-border collaboration.
• The Nicosia Master Plan, initiated in 1979, serves as a foundational example of bi-communal cooperation in urban transformation, particularly within the Venetian walls of the old city.
• International funding from bodies such as the UN, EU, and USAID has been pivotal in supporting bi-communal art projects, although some projects have faced censorship from these same bodies on militarily sensitive issues.
• Case studies of bi-communal initiatives in Cyprus, such as the collaboration between Satiriko Theatre and Lefkoşa Belediye Tiyatrosu and the work of Rooftop Theatre, demonstrate how collective artistic production can build social bonds and challenge dominant narratives.
• International comparisons show that arts-based resistance and community engagement have been used to address divisions in South Africa (anti-apartheid), Bosnia-Herzegovina (post-war youth work), Northern Ireland (community photography), and Rio de Janeiro (favela model-making).
• The author recommends a shift toward a 'culture-for-peace' policy that prioritizes grassroots, socially engaged practices over elitist art mechanisms, specifically targeting youth through street art and hip hop.
• Crossing points and the buffer zone are identified as critical 'contact zones' for artistic projects because they provide safe, accessible spaces for interaction that can replace symbols of division.

APA

Tselika, E. (2019). CONFLICT TRANSFORMATION ART. Peace Research Institute Oslo. https://cdn.cloud.prio.org/files/1a7b7205-4a0a-4a7d-9428-4b20d6b4a02b/Tselika - Conflict Transformation Art PCC Report 4-2019.pdf?inline=true

Chicago

Tselika, Evanthia. CONFLICT TRANSFORMATION ART. Peace Research Institute Oslo, 2019. https://cdn.cloud.prio.org/files/1a7b7205-4a0a-4a7d-9428-4b20d6b4a02b/Tselika - Conflict Transformation Art PCC Report 4-2019.pdf?inline=true.

Wikipedia

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BibTeX

@techreport{tselika2019conflict, author = {Tselika, Evanthia}, title = {{CONFLICT TRANSFORMATION ART}}, institution = {Peace Research Institute Oslo}, year = {2019}, url = {https://cdn.cloud.prio.org/files/1a7b7205-4a0a-4a7d-9428-4b20d6b4a02b/Tselika - Conflict Transformation Art PCC Report 4-2019.pdf?inline=true}, urldate = {2026-10-23}, note = {Indexed by Climate Insights Directory} }