Harmonious Relations: A Framework for Studying Varieties of Peace in Music-Based Peacebuilding

Abstract

This article presents an analytical framework for systematically studying the relationships portrayed within music-based peacebuilding and their respective representations of peace. Music activities with peacebuilding objectives work predominantly within a relational concept of peace, bringing into existence relationships between sounds, people, and spaces through which behaviours such as non-dominance and cooperation can be enacted. However, each of these relationships can communicate different ideas about peace and its manifestation, communications that may be inconsistent with each other and with the activity’s peaceful intentions. The “harmonious relations” framework that this article introduces is a tool for capturing and analysing these embedded relationships and representations. It uses concepts of harmony as a heuristic for critically appraising music’s potential contributions to peace in development contexts, synthesising ideas about relationships in peace and music from peace studies, musicology, philosophy and anthropology. The case of the Zohra Ensemble from Afghanistan illustrates its application.

Configurations of hope at the Afghanistan National Institute of Music

“…Simultaneously, ANIM's international performances showcased Afghanistan's rich musical heritage, and communicated that "there was more to Afghanistan than the violence reported on the news [and that] Afghans and their many friends in the international community together were bringing the country back to life" (US Ambassador Cunningham in Ayres, 2013, 40:58-41:08). Blending Afghan and European repertoire and instruments, the concerts metaphorically referenced a shared future characterised by intercultural harmony (Howell, 2020), making them engaging tools of cultural diplomacy.…”

Competing economies of worth in a multiagency music and reconciliation partnership: The Sri Lanka Norway Music Cooperation (2009-2018)

“…Additionally, the SLNMC organisers paid little attention to the multiple ways that messages about reconciliation can be communicated to performers and audiences through musical action, such as through the organising and ordering of sounds, space, symbols, and people (Howell 2020). The focus on representation and proximity as the main mechanisms for strengthening reconciliation prioritised 'equal representation' as a goal, but in practice, this often gave greatest prominence to the already-strong Sinhala majority.…”

Dealing With Sri Lanka’s Demons: Using Documentary Film for Peacebuilding

“…Understanding how documentary film engages with peacebuilding is a timely and relevant inquiry that draws from and builds upon broader debates taking place in peacebuilding and development. The arts have gained increasing attention as an approach for peacebuilding and development, with art forms such as theatre and music being at the fore (Howell, this issue; Premaratna, 2018). Such participatory art forms have drawn academic and practitioner interest alike for their capacity to bridge conflict divides at an interpersonal level (Bang, 2016; Cohen et al, 2011) and for their development applications (Clammer & Giri, 2017; Cooke & Soria-Donlan, 2019).…”