"This handbook provides a comprehensive review of research in conflict and peace communication and offers readers a range of insights into foundational, ongoing, and emerging discussions in this field. The volume brings together peace studies, conflict studies, and communication studies to acknowled
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ge the power of communication - both cooperative, solidarizing, and integrative as well as destructive and divisive - in constituting social relations. It features a multiplicity of authors, including academics and practitioners from all corners of the globe and from across the communicative spectrum. This handbook is divided into four parts: (1) Meta.theoretical, theoretical, and methodological approaches in conflict and peace communication research; (2) Conflict communication; (3) Peace communication; and (4) Cross.cutting and emergent themes." (Publisher description)
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"In Bosnia and Herzegovina (BiH), scholars and practitioners often cite the lack of shared narrative as a primary challenge to long-term peace. A study of the multi-ethnic, collaborative story-telling work of the Post Conflict Research Centre (PCRC), a Bosnian peacebuilding organization, however, te
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lls a different story. Instead of aiming to forge a singular narrative, PCRC weaves together multiple stories that express complex positions while driving narrative frames that show peace is possible. In a context where actors might not be ready for a joint narrative, the organization demonstrates how plural stories can co-exist, and be strategically mobilized and disseminated through diverse formats to actively engage others in peace-building processes. Identifying key narrative principles, tactics and frames employed by PCRC, this article proposes more attention is paid to how narrative can be strategically harnessed to de-stabilize the stories that drive entrenched division and to foster and cultivate a culture of peace." (Abstract)
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"Participatory methods seek to counter the extractive nature of mainstream research methods by putting control into the hands of research subjects. But participation itself does not guarantee against extraction. There is a tension between the desire for researcher-control and the prerogative of comm
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unity action in participatory methods. How can researchers committed to participation manage this tension? In this paper, we draw on the concepts of “collaborative” and “action-oriented” participatory research to describe how integrating mixed-methodologies can help different research stakeholders attain desirable, fruitful and meaningful levels of ownership and build inclusive rigour. Drawing on our work with participatory indicators and photovoice with conflict affected communities in rural Colombia, we demonstrate how combining different kinds of participatory research methods—in this case, non-visual and visual research—creates opportunities to attend to the sometimes conflicting goals of robust research, policy change and community action. Under the broad umbrella of participatory research, collaborative approaches like participatory indicators and action-oriented approaches like photovoice complement and amplify each other in such settings, embracing complexity and catalyzing multiple ways of ‘knowing-for-action’. The result is participatory research that is attuned to the complexities of conflict-affected settings, inclusively rigorous and potentially transformative." (Abstract)
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"Arts-based peacebuilding has gained attention, but evidence and research of its impact is fragmented and, in particular, the relationship between photography and peace is underexplored. This article examines photovoice as a tool for supporting everyday and community peace in conflict-affected commu
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nities. It identifies four ways that everyday peace indicator photovoice projects in Colombia bolstered community peace: by engendering healing, building territorial identity, enabling intergenerational dialogue, and catalysing action. These impacts emerged as photovoice built on enabling factors, extending existing community peacebuilding capacities, concerns and interventions. Reflecting on the constraints and tensions around working with photography in security-sensitive environments, we propose that participatory photography makes up a vital component of the peace photography genre. We argue that the careful, strategic harnessing of photovoice, and the visualisation of everyday peace, creates opportunities for raising the voices of conflict-affected communities, building shared imaginaries and nurturing dialogue, healing and action." (Abstract)
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"About 10 years ago we started sending each other images, back and forth, via email. Each photograph had to respond to the one just received. We have so far exchanged over 260 photographs, sharing snippets of family life, abstraction, travels, loss and humor. When we started, we had no particular pl
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an but rather we were curious about the idea of photography as dialogue and we wanted to see how our visual conversation would develop. A similar sense of open-ended inquiry informs this special issue which does not present a single resolved idea but explores the emergent, messy and indeterminate ways that images and image-making serve to facilitate – and obscure – dialogue. It is concerned with the potential and limits of photography as a dialogical medium and proposes an idea of dialogic photography that centres around the encounters, exchanges and negotiations that happen with, through and around images." (Abstract)
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"This article presents research on Los Talleres de Fotografia Social (TAFOS), a pioneering Peruvian community photography project, that demonstrates the enduring long-term impact that community-led participatory photography projects can have on the critical consciousness of participants. Participato
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ry photography is understood as an emergent process whose effects cannot be planned or predetermined but that rather needs to be understood in context, over time and from the subjective perspectives of participants. Discussing both the potential and the limitations of participatory photography, its uncertain contribution and the value of its open-ended effects within processes of nurtured emergent community development this research contributes to literature pushing for a reconfiguration in how we understand, capture and attribute the impact of participatory photography, and participatory arts and media more broadly, as a tools for social change." (Abstract)
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"This article analyses the impact of participatory photography as a tool for community development. In recent decades, participatory arts and media initiatives are increasingly agency - rather than community-led, their value assessed using linear evaluative models and framed in terms of short-term,
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measurable, results. It is argued that these tendencies impede the potential critical contribution of participatory photography to social change processes and fail to capture important aspects of the psychosocial, political and subjective impact of projects. As a result, projects struggle to prove their worth: the evidence base is weak and learning about the social reality of practice is hindered. This article presents research on Los Talleres de Fotografia Social (TAFOS), a pioneering Peruvian community photography project, that demonstrates the enduring long-term impact that community-led participatory photography projects can have on the critical consciousness of participants. Participatory photography is understood as an emergent process whose effects cannot be planned or predetermined but that rather needs to be understood in context, over time and from the subjective perspectives of participants. Discussing both the potential and the limitations of participatory photography, its uncertain contribution and the value of its open-ended effects within processes of nurtured emergent community development this research contributes to literature pushing for a reconfiguration in how we understand, capture an attribute the impact of participatory photography, and participatory arts and media more broadly, as a tools for social change." (Abstract)
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"Participatory photography initiatives promise to ‘empower’, ‘give voice’ and ‘enable social change’ for marginalised communities through photography. This thesis questions this promise, demonstrating participatory photography to be a contested practice defined as much by inherent tensio
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n, ethical complexity and its limitations as by its potential. Caught up in governmental practices and instrumental discourses, ‘NGO-ised’ participatory photography has lost its purpose and politics. Using multiple case-studies and presenting empirical research on TAFOS, a pioneering Peruvian participatory photography project, this thesis explores under examined areas of participatory photography practice, including its governmentality, spectatorship and long term impact on participants. It establishes the effectiveness of photography as a tool for fomenting an enduring critical consciousness (Freire 1970, 1973) while questioning the romantic narrative of participatory photography’s inherently empowering qualities and capacity to enable change. Pluralism is used as a theoretical and conceptual framework for re-framing the promise of participatory photography. It is argued that a pluralized notion of participatory photography highlights the paradoxical, uncertain and negotiated character of the practice. It re-conceptualises the method as a mode of mediation that enables a plurality of seeing, that supports emerging and unrecognized claims and that cultivates a critical engagement with difference; qualities that are vital to democratic pluralism. The notion of a ‘Photography of Becoming’ re-imagines the critical and political character of participatory photography and the complex and vulnerable politics of voice in which it is immersed." (Abstract)
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"The manual is intended to give an introduction to the power of participatory photography as a tool for social change with marginalised and vulnerable groups. Produced in response to the many enquires requesting advice on how to set up a participatory photography project it offers tips and suggestio
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ns for all aspects of project development including planning, implementation and promotion of work produced." (PhotoVoice website)
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