Selection of Case Studies

Using the broad approach outlined above, this research explores two case studies as settings in which the potential of engaged theatre as a site of peacebuilding could be researched. In selecting settings “to act as a case study in which to conduct an ethnographic investigation” I developed the following criteria (Bryman, 2008, p. 405). The selected projects use

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drama/theatre as a creative way to generate informed discussions around challenging issues facing a society in transition. The sample case studies should involve locally-based, small-scale and time-limited projects run by community and cultural sector organisations with a history of engagement around storytelling and dealing with the past in Northern Ireland. The search for a sample case study never focused on finding organisations that were well versed in John Paul Lederach’s theory and approach to conflict transformation. However, prior to selection, potential case studies were reviewed with regard to whether they could assist in gaining a deeper understanding of Lederach’s (2005) call for the practice of moral imagination in divided societies. Thus, the selected cases should be theatre-centric projects stemming from:

 Belief in the power of story/drama to transform lives;

 The desire to give a voice to unheard, marginalised or

often overlooked stories within and across communities;

 The intent to challenge dominant narratives that “reduce

history into dualistic polarities” (Lederach, 2005, p. 35);

 An interest in using varied audience engagement modes

including post-show discussions and written feedback;

 Commitments to finding ways to extend the project’s

reach.

The projects chosen which met these criteria were: Those You Pass on the

Street project (Case Study 1), a project initiated by the cross-community peacebuilding organisation Healing Through Remembering (HRT) in

collaboration with Kabosh Theatre; and Crows on the Wire (Case Study 2), a project undertaken by the Verbal Arts Centre, an educational charity dedicated to the development of the verbal arts and literacy. These

projects illustrate the diversity of work, practices and processes centred on building mutual understanding and constructive social change. The case studies draw out key contrasting elements of the approach taken by these organisations as part of their mission to bring unheard voices to the

forefront, although these narratives may be difficult to hear and to acknowledge in the aftermath of the violent, protracted conflict.

The stated ancillary objective of this research was to explore the potential of digital media as a site of learning and change in an “ever-

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evolving search for ways to discover, activate and realise the full potential inherent in each individual and society” (Arai, 2011, p. 238). The goal was to find at least one project incorporating a digital element and this emerged in the mobile application Crows on the Wire App (VAC, 2014b) developed as part of Case Study 2 project. While the Case Study 1 project did not

include a similar digital element, Kabosh Theatre has begun doing work at the nexus of theatre, digital media and cultural tourism leading to the launch of the Streets of Belfast App (2015a) to be discussed in chapter 4. These digital practices provide additional insight into ways in which theatre creates space for moral imagination to take hold in a society in transition.

The sub-sections below provide background information on the two theatre-centric projects and initial insight into challenges and limitations of this research, some of which will be discussed later in this chapter. 2.1.2 Case Study 1: Those You Pass on the Street Project

The Those You Pass on the Street project was initiated by Belfast- based Healing Through Remembering (HTR) as part of their mission to explore different ways of engaging interested individuals and groups in conversations on the issue of how to deal with the legacies of the past in order to build a “future that is peaceful, politically stable, and benefits generations to come” (2013, p. 2). This HTR project took four years (2010- 2014) to bring to fruition largely due to difficulties in securing European Union Peace III funding (K. Turner, personal communication, February 23,

2015; also Bush & Houston, 2011; HTR 2010, 2014a).29

In 2010 HTR commissioned its first full-length drama “for use with community groups to stimulate discussion on dealing with the past” (HTR, 2010, n.p.). HTR wanted a play that would act as a catalyst for facilitated discussions held immediately after a performance or as part of ongoing and future HTR’s dialogue workshops (ibid.). As will be explored in chapter 5, the play Those You Pass on the street written by L. McKeown tells the story of four very different characters – Elizabeth, Ann, Frank and Pat – whose

29 _{Since 1995, the European Union has provided funding for peacebuilding purposes in Northern Ireland}

the border counties in the Republic of Ireland as mentioned in the introductory chapter (see Bush & Houston, 2011; Jennings, 2010, 2012).

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lives were profoundly affected by the conflict. Elizabeth’s visit to the Sinn Féin constituency office as a result of persistent anti-social behaviour

around her house sets off a chain reaction that breaks longstanding silences for each character and tests family and political loyalties. The development stage of the play took two years. In the fall of 2012, HTR in collaboration with Kabosh Theatre, organised separate closed readings of the play for members of the HTR Board of Directors who were not briefed in advance about the storyline, and for two distinct community groups – one from West Belfast and another from North Belfast (see HTR, 2012, p. 11; also K.

Turner, personal communication, February 23, 2015; P. McFetridge, personal communication, February 3, 2015). The playwright then revised the script based on the feedback received from these groups (P. McFetridge, personal communication, February 3, 2015). In interview Kabosh Theatre’s P. McFetridge explained that the chief motivation behind this lengthy

development process was to try to get the “message right, that it would be heard by people that weren’t receptive to it because there’s no point doing work like this if you’re only preaching to the converted” (ibid.).

In late 2013, HTR secured Peace III funding for the delivery of performances of Those You Pass on the Street and Kabosh Theatre was successful in its bid to produce the play (P. McFetridge, personal

communication, February 3, 2015; HTR & Kabosh, 2014a). Rehearsals were held in January 2014 and four performances were delivered from January 29 to February 1, 2014, at different venues in Belfast. Figure 2.1 shows a photograph of a meeting in January 2014 that includes the cast and crew, HTR’s K. Turner and the researcher. While HTR and Kabosh Theatre collaborated in the delivery of performances and post-show discussions for the initial run, the latter was solely in charge of revivals of the play from March 24 to 26, 2014 and March 23 to 28, 2015 (Foy– fieldnotes, January 29, 2014). There was no discussion of pushing the project’s legacy further: while HTR found the Crows on the Wire App (VAC, 2014b) an innovative legacy output, HTR did not seek to develop the play in this manner, reasoning that their role is in enabling conversations and “about encouraging other people in their realms to do what’s needed rather than us” (K. Turner, personal communication, February 23, 2015).

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Figure 2.1 Director P. McFetridge shares her vision of the staging of the play

Those You Pass on the Street

Note. P. McFetridge (standing) talks about the script and rehearsals for the initial run of Those You Pass on the Street in January 2014 (Kabosh, 2014a).

The fieldwork for Case Study 1 took place from January 2014 to June 2015. This period covered the initial (January 2014), second (March 2014) and third run (March 2015) of the play, the latter run extending the play’s reach to both urban and rural areas in Northern Ireland as will be detailed in chapter 5. The observational work primarily focused on the initial and third run of the play including rehearsals, performances and post- show discussions while documentary sources and interviews were used to examine the second run of the play.