Stories of wounds, paths of healing

Versions

PDF (Español (España)) Visitas: 8
XML (Español (España)) Visitas: 11

Keywords

Testimonial Theatre
Colombian armed conflict
War Victims
Sexual Violence
Reconciliation

How to Cite

Miramonti, A. . (2022). Stories of wounds, paths of healing: Testimonial Theater with victims of the armed conflict. Papel Escena, (18), 34–49. https://doi.org/10.56908/pe.n18.122 (Original work published January 31, 2022)


Abstract

The article presents the results of an art-based research workshop with afro descendant and indigenous women victims of sexual violence in the Colombian armed conflict. The method used was art-based action-research, where the researcher designed and facilitated a testimonial theatre workshop that included the creation of ritual spaces to share autobiographical stories, and a play, in which the same people who had experienced the stories performed them on stage. The process gave two main results. The first (creative) was a ritual, designed by the women, and a theatrical play where each participant enacted her own story. The second (psychosocial) was that the workshop contributed to heal the wounds of the participants and make their stories visible. The enactment and presentation of their stories to an external audience allowed the protagonists to go from feeling like “victims” to identifying themselves as “witnesses” of the armed conflict, and to redefining their identity as builders of collective memory and actresses of coexistence. In conclusion, the author recommends the intentional and systematic inclusion of art based, performative and testimonial methods in all processes aiming at building peace and promoting coexistence and non-repetition.

https://doi.org/10.56908/pe.n18.122
PDF (Español (España)) Visitas: 8
XML (Español (España)) Visitas: 11

References

Arendt, H. (1970). Men in Dark Times. Mariner Books.

Daza Cuartas S. L. (2009). Investigación-creación, un acercamiento a la investigación en las artes, Plumilla Educativa, 6(1), 73-79.

Grant, D., Jennings M. (2013). Processing the Peace: An Interview with Teya Sepinuck, Contemporary Theatre Review, 23(3), 314-322.

Grant, D. (2016). Shoulder to Shoulder: The Co-Existence of Truths in the Theatre of Witness, en Epinoux y Healy, Post Celtic Tiger Ireland: Exploring New Cultural Spaces. Cambridge Scholars Publishing, 14-30.

Grierson E., Brearley L. (2009). Creative Art Research: Narratives of Methodologies and Practices, RMIT.

Halbwachs M. (2004). La memoria colectiva, Prensas Universitarias de Zaragoza.

Magni G., (2017). Indigenous knowledge and implications for the sustainable development agenda, European Journal of Education, 52(4).

McIntyre A. (2008). Participatory Action Research, Sage Publications, Thousand Oaks, CA.

Miramonti, A. (2017). Cómo usar el Teatro del Foro para el Diálogo Comunitario, un Manual del Facilitador. Lulu Press.

Miramonti, A. (2018). Sanación y trasformación a través del arte: el teatro para la Reconciliación. Papel Escena, (16): 130-145.

Miramonti, A. (2021). Cuerpos, memoria, territorios: Una experiencia de Teatro del Testigo con mujeres afrodescendientes de la costa Pacífica. Papel Escena, (17), 50–71. https://doi.org/10.56908/pe.n17.14

Ohmagari, K., Berkes, F. (1997). Transmission of Indigenous Knowledge and Bush Skills Among the Western James Bay Cree Women of Subarctic Canada. Human Ecology, 25, 197–222.

Sepinuck, T., (2011). Living with Life. The Theatre of Witness as A Model of Healing and Redemption, en Shailor (Ed.) Performing New Lives: Prison Theatre.

Sepinuck, T. (2013). Theatre of Witness - Finding the Medicine in Stories of Suffering, Transformation and Peace. Kingsley.

Silva-Cañaveral, S.J. (2016). La investigación-creación en el contexto de la formación doctoral en diseño y creación en Colombia, Revista Investigación Desarrollo Innovación, 7(1), 49-61.

Singh N.K., Reyhner J. (2013). Indigenous Knowledge and Pedagogy for Indigenous Children, en Reyhner J., Martin J., Lockard L. & Gilbert W.S. (Eds.), (2013). Honoring Our Children: Culturally Appropriate Approaches for Teaching Indigenous Students, Flagstaff, AZ: Northern Arizona University.

UNESCO (2003). Convención de Salvaguardia del Patrimonio Cultural Inmaterial. Vivas, C. (2012). Dramaturgia y presente. Umbral Teatro.

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

Copyright (c) 2022 Papel Escena

Downloads

Download data is not yet available.