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Textiles Making Peace
This article is an analysis of the ways in which creative assessment in Latin American literature, particularly sewing textiles, led to positive well-being benefits for students during the early stages of the Covid-19 lockdown. Through the lens of research coming out of occupational therapy, health-based arts therapies, and the Conflict Textiles collection, it explores general student feedback and two case studies of the visual and written elements of an assessment submitted in 2020 in a Latin American literature course in Spanish and Portuguese Studies, Queen’s University Belfast, to show the potential eudaimonic well-being effects of creative projects.
This article argues that textiling—a particular kind of making that simultaneously constitutes a concept, a metaphor, and a practice—can facilitate a radical rethinking and redoing of the study of world politics. Specifically, we suggest three ways in which textiling, and the relationality it enables, facilitates this innovation: as a different way of theorizing in the discipline of international relations (IR), as a creative method and methodology for the empirical study of world politics, and as ontological world-making through cosmopraxis. These three ways open up possibilities of engaging the world and its politics differently by enabling an extended epistemology that accounts not only for propositional (abstract and textual) knowledge, but also for experiential, presentational, and practical ways of knowing. Thereby, textiling is not only an innovative practical instrument by means of which different research traditions within IR can cultivate non-propositional ways of knowing; it can also entangle these new insights with the propositional knowledge traditionally privileged by IR and interweave theory and practice in IR scholarship.
Este artículo da cuenta de una investigación fenomenológica sobre prácticas textiles que surgen en el conflicto armado colombiano. Se pregunta qué implican las prácticas de costura, bordado y tejido en contextos de violencia sociopolítica. De este modo, se indaga por las construcciones de sentido que algunas mujeres víctimas de este tipo de violencia han generado en torno al hacer textil como forma creativa y activa de gestionar emociones, de enunciar la violencia y de hacer resistencia a la guerra. Por otro lado, se analiza la forma en la que operan las materialidades textiles, los cuerpos y los procesos de creación manual en la construcción de sentido y en la gestión emocional en torno a los eventos relacionados con la violencia.
Drawing on our experience of commissioning and co-curating an exhibition of international conflict textiles – appliquéd wall-hangings (arpilleras), quilts, embroidered handkerchiefs, banners, ribbons, and mixed-media art addressing topics such as forced disappearances, military dictatorship, and drone warfare – this article introduces these textiles as bearers of knowledge for the study of war and militarized violence, and curating as a methodology to care for the unsettling, difficult knowledge they carry. Firstly, we explain how conflict textiles as object witnesses voice difficult knowledge in documentary, visual and sensory registers, some of which are specific to their textile material quality. Secondly, we explore curating conflict textiles as a methodology of ‘caring for’ this knowledge. We suggest that the conflict textiles in our exhibition brought about an affective force in many of its visitors, resulting in some cases in a transformation of thought.
The purpose of this chapter is to explore how artistic engagements can contribute to grassroots peacebuilding. While academic debates on such forms of aesthetic politics are relatively new, the practice of using art for peacebuilding has a long tradition and reaches beyondWestern high art. A wide range of artistic and cultural expressions are part of every society. People engage in creative activities, no matter where they are and what challenges they face. This is the case even in times of war – indeed, especially in times of war – for art provides a way of expressing essential human experiences. Using theatre for peacebuilding as an example, we highlight three realms in which the arts can make a potential contribution to overcoming conflict. First: art has the potential to broaden peacebuilding beyond the parameters of conventional and more formal approaches. The arts can, for instance, tap into and transform the crucial but often neglected emotional legacies of war. Second: local artistic engagements can provide context-specific solutions. In so doing, they might be able to gain more legitimacy than many conventional approaches to peacebuilding, which often rely on universal and pre-determined models that are imposed by elites and from the outside. Third: various art forms have the potential to bring out perspectives and voices that otherwise might not be heard in prevailing approaches to peacebuilding.
In traditional Hmong life, women produced complex textiles as markers of clan identity and cultural values. Paj ntaub (flower cloth), created by embroidery, appliqué, reverse appliqué, and indigo batik (among the Blue or Green Hmong), were primary transmitters of Hmong culture from one generation to the next over centuries. Clothing, funeral and courtship cloths, baby carriers and hats were designed with traditionally geometric, abstract patterns Hmong could understand as a shared visual language within an oral culture.This photo essay introduces the author’s twenty-five year fascination with paj ntaub and documents a trip to Laos and northern Thailand in November/December 2009 to discover whether story cloths were being produced in Hmong villages in Laos or if story cloths remain a product of refugees only. The researcher also hoped tolearn whether traditional Hmong clothing is still produced and worn in the Laos, to observe how Hmong textiles are made and consumed for a tourist market, and to discover possible sources for the dramatic shift in paj ntaub visual language from symbolic abstraction to pictorial representation.
Glenn Adamson’s last book, Thinking Through Craft, offered an influential account of craft’s position within modern and contemporary art. Now, in his engaging sequel, The Invention of Craft, his theoretical discussion of skilled work is extended back in time and across numerous disciplines.
Adamson searches out the origins of modern craft, locating its emergence in the period of the industrial revolution. He demonstrates how craft was invented as industry’s “other”, a necessary counterpart to ideas of progress and upheaval. In the process, the magical and secretive culture of artisans was gradually dominated through division and explication. This left craft with an oppositional stance, a traditional or anti-modern position.
The Invention of Craft ranges widely across media, from lock-making, wood-carving and iron-casting to fashion, architecture and design. It also moves back and forth between periods, from the 18th century to the present day, demonstrating how contemporary practice can be informed through the study of modern craft in its moment of invention.
This patchwork‐style article on peace aesthetics is based on the twin idea that it is possible to represent peace visually and that such representation can contribute to peace. Indeed, visual depictions of peace can be found across space and over time. However, they radically differ from one another and are not always easily recognizable as images of peace. The article identifies six problem areas with which visual peace research should engage: (i) representations of peace in the visual arts; (ii) photographic approaches to the aftermath of violent conflict, especially to the aftermath‐as‐event; (iii) peace photography as discussed and practiced in photojournalism; (iv) appropriation as a method in visual peace research; (v) digitization and machine–machine cultures; and (vi) the relationship between imaging and imagining. The analysis suggests that peace aesthetics, as a dissident practice, is both political and critical; it is interdisciplinary and based on an episodic understanding of the relationship between images and peace. It combines empirical, theoretical, and conceptual knowledge produced in the social sciences, art history, and media and communication studies, both with one another and with artistic practice.
The PCWP agenda has contributed a great deal to the discipline of world politics, empirically, methodologically and theoretically. However, there is scope to expand upon certain aspects of this body of scholarship. In particular, the agenda is developing some unfortunate hierarchies in its focus on high-budget ‘blockbusters’ at the expense of data from the everyday. It is displaying a lack of imagination in terms of its methodologies and forms of output, despite the aesthetic and creative nature of many of the artefacts. Finally, it is evincing a reluctance to explore representations beyond the textual or the visual, at the expense of other forms of representation, including sound, taste or, as I argue in this paper, artefactuality.
This article makes the case for examining war from what Stephanie Bunn calls a ‘making point of view’. Makers and their material production of and for war have been neglected in our accounts of war, security and international relations. An attention to processes of making for war can reveal important things about how such processes are lived and undertaken at the level of the body. The article focuses on the particular phenomena of martial craft labour – the recreational making of ‘stuff’, including hats and pillowcases, by civilians for soldiers. To explore embodiment within this social site, an ethnographic method is outlined that enables the reading of objects as embodied texts, the observation of others in processes of making, and the undertaking of making by the researcher. Analysing embodied registers of aesthetic expression and the social values that attend such crafting for war reveals how this making is a space through which intimate embodied, emotional circulations undertake work for liberal-state and military-institutional logics and objectives, obscure violence, normalize war, and produce the military as an abstract social cause. Beyond the immediate empirical focus of this article, a much wider political entanglement of violence, embodiment and material production necessitates a concerted research agenda.
“A timely contribution on transitions to peace by one of Finland's leading Peace Studies scholars. Highly sophisticated theoretically and yet determinedly body-bound. Just right for our troubled times.”
—Christine Sylvester, University of Connecticut, USA
“In all the talk of grand strategy, and in the grand diplomacy of war and peace, the individual and the body are figures of excision. Tarja Väyrynen has done us all a service by rendering the body and the individual it encloses as the centrepiece of peace building. It is a salutary book for all of us who either negotiate or theorise grandly.”
—Stephen Chan OBE, SOAS University of London, UK
“Tarja Väyrynen’s ground breaking work draws on political theory to reveal how peace and war touch our bodies in multiple ways and how the body is constitutive of war and peace.”
—Annika Björkdahl, Lund University, Sweden
This book demonstrates how peace is an event that comes into being in mundane and corporeal encounters. The book brings living and experiencing, sentient body to Peace and Conflict Studies and examines war and peace as socio-political institutions that begin and end with bodies. It therefore differs from the wider field of Peace and Conflict Studies where the human body is treated as an abstract and non-living entity. The book demonstrates that conflict and violence as well as peace touch our bodies in multiple ways. Through attending to witnessing, wounded, remembering, silenced and resistant bodies, the empirical cases of the book attest to the scope and diversity of war, peace and the political of post-conflict peacebuilding. The book offers a sustained engagement with feminist social and political theory and will be of interest to academics and practitioners alike.
Tarja Väyrynen is Professor in Peace and Conflict Research at the Tampere Peace Research Institute, University of Tampere, Finland. Her research in the field of peace and conflict focuses on gender and post-conflict peacebuilding. Her research draws from feminist theory and critical political theory.
Feminist peace research is an emerging field of social sciences that is transdisciplinary, intersectional, and normative—as well as transnational. Although it draws from disciplines such as peace and conflict research (in and outside of international relations [IR]) as well as feminist security studies, it also differs from them in terms of research scope and research design. Consequently, it not only provides insights on what can be termed “spectacular” instances of violence or peace but also sharpens our analysis of the everydayness of reconciliatory measures and the mundaneness of both violence and peace. As a feminist endeavor, feminist peace research necessarily asks questions about unequal gender relations and power structures within any given conflict environment. In this collective discussion piece, a diverse group of scholars, who formed part of the recently convened Feminist Peace Research Network, explores and further develops the parameters of this emergent field through a set of short conversation pieces.
How might we use visual images in research on human rights violations? This article describes four approaches and the advantages and difficulties associated with each of them. It illustrates this with examples from research on how women in shantytowns experienced extreme poverty and state violence during the Pinochet dictatorship in Chile, and on these women's coping strategies and human rights activism (Adams, 2012 ADAMS, Jacqueline. (2012) Surviving Dictatorship: A Work of Visual Sociology (New York, NY: Routledge).[Crossref] [Google Scholar]). The first approach, photo analysis, involves the collection and analysis of photographs showing the conditions that people experience. The second, art analysis, involves photographing and analyzing art works, in this case art works by the victims or survivors of human rights violations. The third, art elicitation, involves asking research participants to look at art works and talk about them or about subjects related to them. The final approach, the collection and analysis of ephemera with visual content, involves examining handbills, flyers, bulletins, newsletters, and the like. These visual methods are of value in and of themselves but can also serve to complement textual and other forms of data and enrich research that is primarily based on other methods.
Reworkings of Pablo Picasso’s Guernica include versions in textile that have been produced or exhibited in recent years. Amongst these is Remaking of Picasso’s Guernica as a Protest Banner, an initiative in which the author herself was involved. Focusing on the ideas and concerns that underpinned the production of this banner, the author explains the significance of its deployment in public sewing events held in 2013 and 2014. Comparison is also drawn between the banner and two other reworkings of the Picasso painting in textile—a 1955 version that was included in an exhibition by Goshka Macuga called The Nature of the Beast that was held at the Whitechapel Gallery in London between 2009 and 2010, and the Keiskamma Guernica, a work made in South Africa that was completed in mid-2010.
It is suggested that these various reworkings point to the amenability of the Guernica to be adapted to convey a statement of opposition to those in power who prioritize their own agendas to the detriment of civilians. But whereas Picasso produced his work solitarily, its reworking or reinterpretation in textile has enabled it to be made by collectives and/or to serve as a forum for group activism.
In this article I weave together the relevance of narrative textile work in therapeutic and human rights contexts; showcase Common Threads, an international nonprofit that uses story cloths with survivors of gender-based violence; outline a master's level art therapy course in story cloths; and relate how textiles helped build a sibling relationship. Although seemingly unrelated, these elements are tied together within the context of culture, time, and purpose, shown in the article through stories and mythology, current practices, and personal experience. Art therapists and other mental health practitioners are increasingly using sewing as a medium, particularly in places where it is culturally relevant, to help people tell their stories graphically. Though art therapists may use textiles and fabric in practice, little is found in the art therapy literature that addresses textile work with trauma survivors. Similar to traditional art therapy groups and open studio, making story cloths in community provides connection with others and an opportunity to create, process, and cope with traumatic events.
This article provides a fresh decolonial reading of Nelson Mandela’s political life and legacy as an embodiment of critical decolonial ethics of liberation that is opposed to imperial/colonial/apartheid paradigm of war and its logics of racial profiling, classification, and hierarchization of human beings. The paradigm of war is underpinned by the paradigm of difference and working in combination, they enabled the denial of the humanity of black people, their enslavement, conquest, colonization, dispossession, exploitation, and notions of impossibility of copresence of human races. Mandela emerges at the center of this imperial/colonial/apartheid milieu vehemently opposed to the paradigm of war, logic of racism, and coloniality. After enduring 27 years of incarceration at the notorious Robben Island, Mandela avoided bitterness and preached the gospel of racial harmony, reconciliation, and democracy. His leadership during the transition from apartheid to democracy inaugurated a paradigm shift from Nuremberg paradigm of justice to a new paradigm of political justice privileging political reform and social transformation. As the first black president of South Africa, Mandela practically and symbolically made important overtures to the erstwhile white racists aimed at hailing them back to a new, inclusive, nonracial, democratic, and pluriversal society known as the rainbow nation.
Orthodox notions of peace built on liberal institutionalism have been critiqued for their lack of attention to the local and the people who populate these structures. The concept of an ‘everyday peace’ seeks to take into account the agency and activity of those frequently marginalised or excluded and use these experiences as the basis for a more responsive way of understanding peace. Furthermore, reconceptualising and complicating a notion of ‘everyday peace’ as embodied recognises marginalised people as competent commentators and observers of their world, and capable of engaging with the practices, routines and radical events that shape their everyday resistances and peacebuilding. Peace, in this imagining, is not abstract, but built through everyday practices amidst violence. Young people, in particular, are often marginalised or rendered passive in discussions of the violences that affect them. In recognising this limited engagement, this paper responds through drawing on fieldwork conducted with conflict-affected young people in a peri-urban barrio community near Colombia's capital Bogota to forward a notion of an embodied everyday peace. This involves exploring the presence and voices of young people as stakeholders in a negotiation of what it means to build peace within daily experience in the context of local and broader violence and marginalisation. By centring young people's understandings of and contributions within the everyday, this paper responds to the inadequacies of liberal peacebuilding narratives, and forwards a more complex rendering of everyday peace as embodied.
This article is a conceptual scoping of the notion and practice of everyday peace, or the methods that individuals and groups use to navigate their way through life in deeply divided societies. It focuses on bottom-up peace and survival strategies. The article locates everyday peace in the wider study of peace and conflict, and constructs a typology of the different types of social practice that constitute everyday peace. While aware of the limitations of the concept and the practice, the article argues that everyday peace can be an important building block of peace formation, especially as formal approaches to peacebuilding and statebuilding are often deficient. An enhanced form of everyday peace (everyday diplomacy) has the potential to go beyond conflict-calming measures to encompass more positive actions linked with conflict transformation. The article can also be read as an exploration of ‘the local’ and ‘agency’ in deeply divided societies. It provides a counterweight to accounts of conflict-affected societies that concentrate on top-down actors, formal institutions and conflict resolution ‘professionals’. The apparent ‘banality’ of the everyday challenges us to think creatively about perspectives and methodologies that can capture it.
The modern battlefield is a judicial and social space as well as a spatio-temporal designation that has evolved through time. In this article, we argue that the shifts in the social meaning of what the battlefield is — from a ‘deeply social marker of war’s limitation’ (Mégret, 2011: 133) to a hunting ground of a party over its game — can be seen in the colour-use on the battlefield. More specifically, we argue that the shift in the use of colours in military battlefield uniforms, from conspicuously colourful to camouflaged and blending in or disrupting shapes, can be seen to work as a semiotic vehicle to understand societal meanings attached to the battlefield. This builds on the idea that ‘what soldiers wear is central to the public image of the military’ (Tynan, 2013a: 27), to their own modes of being and action, and to the meaning of the battlefield itself. The most evident reading of this development in colour-use tends to be a functionalist one, where the development of toned-down colours and camouflage goes along with technological advances and needs in the face of more and more powerful observation and targeting tools. We offer another reading. Arguing through a semiotic analysis of colour-use, we examine colour-use on military battlefield uniforms in light of how imaginaries and practices of the battlefield evolve.
There is much debate in the peacebuilding literature on the question of agency and its locations. Given the interventionist context of peacebuilding operations and the overwhelming presence of ‘internationals’ on the scene, the ‘local’ factor might easily be seen as being subsumed at best and totally negated at worst. Operations of peacebuilding can be interpreted as being driven by a colonial rationality wherein the imperative to govern precedes and informs practices on the ground. One response is to suggest ‘hybrid agency’ as a form of articulation that questions a dichotomous representation of the local and the liberal/universal. Another is to suggest that peacebuilding practices aim towards capacity-building and hence the enablement of agency in the post-conflict context. The article argues for a conceptualisation of agency that takes its starting point from the ‘international’ as a distinctive location of politics. Doing so enables a differentiation; on the one hand the colonial rationality that places primacy in the governing potentials of external intervention, and on the other a postcolonial rationality that derives its discourse from the postcolonial international and that hence places primacy on the politics of self-determination. How ‘the international’ is invoked hence makes a difference to practices constitutive of responses to conflict: practices of peacebuilding tend towards a focus on the government of populations and remain driven by a late modern form of colonial rationality; while practices that focus on conflict resolution recognise the political subject of postcoloniality and hence focus on the politics of conflict and not its government.
Since the ending of apartheid, the state, political parties, civil society and ordinary people in South Africa have attempted to deal with the traumatic legacies of the past to engender a common sense of nationhood. This paper examines this process of dealing with the past through the theoretical lens of post-colonialism, focusing, in particular, on attempts to establish historical truth and collective memory for black women, who have often been most marginalised by colonialism and apartheid and excluded from dominant accounts of history. It argues that if black women are denied a presence and agency in the construction of collective memory, their belonging and citizenship is consequently mediated in the process of nation building. It considers how exclusionary and discriminating patterns are reproduced through attempts to construct national memory-archives, focusing on the Truth and Reconciliation Commission (TRC). It then explores the measures being taken to create a more inclusive process of restoring collective memory. In particular, it discusses the importance and possibilities of creating a postcolonial archive, where the voices and texts of historically marginalised people can be incorporated into national projects of remembering and notions of belonging. The paper focuses specifically on recent attempts to archive black women's pictorial and written testimony in a memory cloths programme. It concludes that representations of the past by women are a valuable tool in tracing the ways in which the legacy of their belonging and social standing shapes their contemporary citizenship. The radical potential of postcolonial archives lies in the fact that they can work against more sanitised representations of contemporary South Africa and towards the requirements for social justice (especially for black women) that are embodied within, but were arguably not met by, the TRC and broader nation building processes.
Canada has often been called a mosaic but I prefer the image of a tapestry, with its many threads and colours, its beautiful shapes, its intricate subtlety. If you go behind a tapestry, all you see is a mass of complicated knots. We have tied ourselves in knots, you might say. Too many Canadians only look at the tapestry of Canada that way. But if they would see it as others do, they would see what a beautiful, harmonious thing it really is.
This [quilted] picture represents our grandfather (Raksotha) Kaheroton Daniel Peter Nicholas who was born on April 1, 1901 and raised in Kaneh-satake Mohawk Territory, in Quebec. He, and his two brothers, Mackay and Ernest, were sent to Shingwauk Industrial School in the early 1900s. His younger brother, Ernest, died there and was buried at an undisclosed site at Shingwauk; he was 7 years old.
Our grandfather told us stories of his time at Shingwauk. Digging for food in the garbage, working very hard on the farm and academics playing a very small part. When rules were broken, he said students were taken to the basement, tied up to the rafters or pipes and whipped.
He wanted to go back to visit the school before his death in 1967 but our parents didn’t have the money to go. He would cry a lot when he Spoke of Shingwauk. Maybe if we could have taken him back there, our family would now know where his brother was buried.
Child Prisoners
How might one read contested histories of nation-building, trauma, and reconciliation through a textile? Opening this paper are two quotations, the first from a former prime minister using the metaphor of a tapestry to describe multicultural pluralism in Canada, the second describing a quilt square that documents a residential school experience greatly at odds with the harmonious spectacle of coloured thread described by Trudeau. The use of cloth and textile as a metaphor for the nation—fragmented yet united—has become a popular one. Writes Elaine Showalter, about the United States but with a comment that might be equally applicable to Canada: “The patchwork quilt [has come] to replace the melting-pot as the central metaphor of American cultural identity. In a very unusual pattern, it transcended the stigma of its sources in women’s culture and has been remade as a universal sign of American identity” (169). But although quilts and other textiles might offer comfort, and present strong metaphors of similarity amid difference, they are also easily torn and easily sundered. Even Trudeau notes that the harmonious whole of the tapestry is only seen as such by ignoring its knotted or fraught underside.
In this article, I look at the Living Healing Quilt Project (lhqp), organized by Alice Williams of the Curve Lake First Nation (Curve Lake, Ontario) and sponsored by the Indian Residential Schools Truth and Reconciliation Commission. The project involved the creation of a series of quilts by residential school survivors and intergenerational survivors and is made up of individual quilt blocks reflecting on residential school experience. I consider the lhqp as an intervention into the collected stories making up the national fabric, wherein the knotted underside of an apparently seamless entity is revealed. To do this, the lhqp is read through a series of locales, institutional spaces, ideas, and metaphors. In four sections—Fabric, Pattern, Piecing, and Binding—the lhqp is analyzed respectively as a document of trauma, an intervention into mainstream normative narratives of nation building, as part of a feminist rethinking of quilts as emancipatory texts, and as a commentary on the role of sewing and handcraft in the attempted creation of docile and assimilated Indigenous children.
Running through each of these sections is a consideration of how residential school life produced a fractured sense of home, reconfiguring the domestic residence as an institutional space characterized by the loss of culture and language, abuse (emotional, physical, and sexual), and the disciplining of unruly bodies to the social norms of mainstream...
My paper argues for an incorporation of feminist theories into peace theories, by analyzing what is missing by not confronting feminist contributions to a theory on violence. I take Johan Galtung's theory of violence as a point of departure, as a theory that is widely uncontested in peace studies. Galtung's articulation of direct, structural, and cultural violence offers a unified framework within which all violence can be seen. On the other hand, feminism can contribute to and enrich Galtung's theory of violence in four possible ways:
These contributions have important implications for peace studies: only by taking gender seriously as a category of analysis, can prescriptions for a violence-free society be more than temporary solutions to deeply ingrained attitudes to accept violence as “natural.”
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- J Pardo
Textile testimonies and gender-based violence. Stitched Voices Blog
- L Cole
Threads of Life: A History of the World Through the Eye of a Needle
- C Hunter
Arpilleras: Arte Poblacional como Testimonio y Símbolo
- L F Voionmaa Tanner
- LF Voionmaa Tanner
Tapestries of Hope, Threads of Love: The Arpillera Movement in Chile
- M Agosín
War Imagery in Women’s Textiles: An International Study of Weaving, Knitting, Sewing, Quilting, Rug Making and Other Fabric Arts
- D A Deacon
- P E Calvin
Making is Connecting: The social power of creativity, from craft and knitting to digital everything
- D Gauntlett
Craftivism: The Art of Craft and Activism
- B Greer
Women Use Traditional Embroidery to Urge Political Change. PRI’s The World
- C Nowell
The Golden Thread: How Fabric Changed History
- K St Clair
Weavings of War: Fabrics of Memory
- A Zeltin Cooke
- M Macdowell
Textile efforts for peace. Stitched Voices Blog
- C Andrä
Konflikttextilien: Analytischer, Ästhetischer und Politischer Stoff für Friedensforschung und -arbeit
- C Andrä
- B Bliesemann De Guevara
Biographical narratives and textile art: A research example from the Colombian peace process. Stitched Voices Blog
- B Bliesemann De Guevara
- B Lopez
Oxford Research Encyclopaedia of Latin American History
- E Doolan
Creating Pa nDau Appliqué: A New Approach to an Ancient Art Form
- C J Hassel