Performing arts-based interventions in post-conflict zones: critical and ethical questions

IF 1
Taiwo Afolabi
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引用次数: 1

Abstract

ABSTRACT Arts-based practices can occupy a fragile position where its interventionist character becomes both a gift and a poison. For instance, some practitioners/researchers from the Global North consider the Global South as a region to curate, perform and market interventions to solve problems. Such interventionist initiatives have also positioned those regions as sites for/of experimentation as seen in different international development and humanitarian initiatives. Some interventions have been done ethically while others have become a way to extract knowledge and extort the people. I pose ethical questions on performing interventions particularly in conflict/post-conflict zones in Africa not to change what we do but to rethink how we do what we do and perhaps at times to change why we do what we do. I reflect on a theatre performance I directed in Nigeria that was staged in Sudan and raise ethical questions because intervention itself is a performance that should be staged within appropriate ethical protocols and respectful canons.
在冲突后地区进行基于艺术的干预:关键和道德问题
以艺术为基础的实践可以占据一个脆弱的位置,它的干涉性既是一种礼物,也是一种毒药。例如,一些来自全球北方的从业者/研究人员认为全球南方是一个策划、执行和市场干预以解决问题的地区。这种干预主义倡议也使这些区域成为各种国际发展和人道主义倡议中所看到的实验场所。一些干预是合乎道德的,而另一些则成为榨取知识和敲诈人民的一种方式。我提出了关于实施干预措施的伦理问题,特别是在非洲的冲突/冲突后地区,不是为了改变我们所做的,而是为了重新思考我们如何做我们所做的,有时也许是为了改变我们为什么做我们所做的。我回想起我在尼日利亚导演的一场在苏丹上演的戏剧表演,并提出了道德问题,因为干预本身就是一场表演,应该在适当的道德协议和尊重的准则下上演。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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