special issue SDGzine: WHO Arts & Health

special issue JANUARY 2024 / 10 CHF

WHO// Arts & Health

The Jameel Arts & Health Lab: Advancing Research on the Health Benefits of the Arts p.4

Sounding ‘Justice’: Aviel Cahn’s Vision of the Grand Theatre de Geneve (GTG) as a Place for Social Reflection p.10

Neurography as a vital tool for improving mental health p.18

Unveiling the Power of Art Therapy p.22

WHO// Arts & Health 4

The Jameel Arts & Health Lab: Advancing Research on the Health Benefits of the Arts Nisha Sajnani, Stephen Stapleton, Christopher Bailey, Tessa Brinza

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L’art-thérapie au MAH : Quand le beau fait du bien Claudia Menzago Longchamp / Art-thérapeute, directrice de l’Association Ferdinand Alix Fiasson / médiatrice culturelle au Musée d’art et d’histoire de Genève

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Grand Théatre de Genève special Yulia Lem / United Nations Sounding ‘Justice’: Aviel Cahn’s Vision of the Grand Theatre de Geneve (GTG) as a Place for Social Reflection Echoes of Kinshasa: Fiston Mwanza Mujila’s Journey from Congo to ‘Justice’ Milo Rau: Love Letter to Authenticity

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Penser la science dans la société : l’apport de l’art Anne-Gaëlle Lardeau / EPFL-CDH-EPFL Pavillions

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Neurography as a vital tool for improving mental health Professor Pavel Piskaryov / Founder of the Institute for the Psychology of Creativity

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Unveiling the Power of Art Therapy Vicky Tsiaousi / Art Therapist MSc

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artgenève

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How imaginative engagement with art can connect us with reality Julia Langkau / SNSF Assistant Professor in philosophy at the University of Geneva

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My love letter to a town that literally – and literarily – brought me back to life Eric Stener Carlson / UN Society of Writers

creative think tank // laboratoires d’idées Wishing the world more hugs in 2021.

You Can(‘t) Hug Me recycled attributes acrylic sheet & gloves © 2020 jan van mol

cover image You Can(‘t) Hug Me recycled attributes acrylic sheet & gloves Jan Van Mol - ©2020

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From the death sentence to the cure of art Pasha Bright / Abstract Artist

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Projets musicaux à dimension sociale Xavier Bouvier / Professeur d’ethnomusicologie, approches analytiques et ethnothéories, HESGE

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OK’TAVA’s Heals Hearts through Arts Nadya Shelegoff / Portland State University

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Return of the WHO Art Gallery Kevin Crampton / World Health Organization

editorial team Yulia Lem Jan Van Mol publications

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The Many Paths of Arts and Health Welcome to our vivid storybook, where the alliance of arts and health takes center stage. In collaboration with the Jameel Arts & Health Lab, artgeneve, le Musée d’Art et d’Histoire (MAH), OK’TAVA Open Arts, Addictlab and the SDG Fab Lab of the University of Geneva, we invite you on a transformative journey where the healing power of art meets the urgent global health needs of our society.

Together, we will travel to a Congolese village to hear its tale through the operatic language of ‘Justice’ by Milo RAU, to a Russian province where a man rises from the grave of drug addiction through abstract painting, to the WHO Art Gallery harnessing the talent of its multicultural personnel not only within its walls but in the global virtual space, to the Alzheimer patients linked to the everyday reality by a shining thread of MAH masterpieces, to a refugee community searching to communicate their pain and joy through artistic expressions, to a magical bookstore in Wales that heals body and soul, to personal stories of reconciliation and rebirth, to the fringes of science and imagination, to the challenges and potential brought to us by the era of AI, and so much further beyond and within.

With the expert guidance of Professor PISKAREV, we will explore the roots of neurography as an artistic connector to our inner speech. Assistant Professor LANGKAU will show us how the ‘identifiable victim effect’ can connect our imagination to reality through emotional and motivational engagement, from the one to the many. Vicky TSIAOUSI will guide us on the art therapy path through the drawings of her patient. Aviel CAHN, the Director of the Grand Theatre de Geneve, will debate whether opera should remain a sanctuary for high arts. The co-founders of the Jameel Arts & Health Lab, including the WHO Regional Center for Europe, will introduce us to their research and findings on the extraordinary healing impact of arts on individual well-being and public health. Claudia MENZANGO LONGCHAMP and Alix FIASSON will share the origins and results of their fascinating collaboration with MAH in bringing peace to the elderly with neuropathic disorders and their families. Anne-Gaëlle LARDEAU will start a new chapter in the dialogue between science, society and artistic expressions in the EPFL Pavilions.

This journey will allow us to witness firsthand the profound impact that art can have on each of us and all of us, inspiring resilience, unity, and a shared commitment to building a better world. Through the strokes of a brush, the movements of dance, the melodies that stir the soul, the shape and feel of clay or wood, it acts as a catalyst for transformation, calling us to reflect on our collective humanity.

With the stories, reflections and images in this joint issue, we carry one common message. The language of art transcends barriers—geographic, linguistic, cultural, and national—speaking directly to our hearts and fostering deep introspection. It is a universal communicator that reaches far beyond the physical and the spoken word. It binds us and fosters empathy, dismantling prejudices and inspiring understanding.

As you join us in exploring these pages, may you be empowered to embrace the transformative power of art in your own life, and may it kindle the flames of empathy and understanding within you. May all our voices resonate, united in a vision of a world where the arts heal and where health and science inspire boundless creativity, fostering connections that will shape a better future for humanity with a resonance that defies words.

Nisha Sajnani, Stephen Stapleton, Christopher Bailey, Tessa Brinza

The Jameel Arts & Health Lab: Advancing Research on the Health Benefits of the Arts The World Health Organization works worldwide “to promote health, keep the world safe and serve the vulnerable, with measurable impact at the country level”.1 In this pursuit, it is critical that WHO constantly evaluates the evidence base of new or different approaches that hold the promise of contributing to this mission. Over the last 20 years, the evidence base for how engaging in the arts can contribute to health has grown increasingly stronger. A WHO scoping review of the field in 20192 included over 3000 research papers, representing a wide range of ways in which receptive and active arts-based approaches could improve health and well-being, from prevention and promotion to treatment and management. Two recent WHO policy briefs aim to put this research into practice: the first called for greater integration of the arts into health, underlining the importance of intersectoral collaboration and raising questions about funding and ownership in this cross-cutting field3; and the second examined the role of the arts in supporting the mental wellbeing of people who are forcibly displaced.4 Another recent report focusing on non-communicable diseases including cardiovascular diseases, cancer, diabetes, chronic respiratory illness, and brain health, affirmed the value of arts interventions as low-risk, cost-effective initiatives that can improve health and well-being in ways that other biomedical or even social interventions cannot.5 Each publication emphasized the need for greater awareness, investment, collaboration, and implementation of arts interventions to support health and wellbeing across the life course.

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Against this backdrop, in 2023 the WHO Regional Office for Europe came together with the Steinhardt School at New York University, Community Jameel and Culturunners to establish the Jameel Arts & Health Lab with a mission to measurably improve lives through the arts and to accelerate uptake across 193 UN member states. Commenting on this joint initiative, Dr. Tedros Adhanom Ghebreyesus, WHO Director-General, said, “The arts can be a powerful ally in our quest to improve health for all. I have seen the impact of the arts on community wellbeing, and I’m very pleased that this collaboration will help us understand the science of that impact in order to improve the lives of people from all backgrounds.”

In its first year, the Jameel Arts & Health Lab has made important progress in four overlapping focus areas: research, public engagement, policy, and capacity building. In the research space, the Lab, in collaboration with WHO, announced a first-of-its-kind Lancet Global Series on the health benefits of the arts which brings together over 50 researchers and experts from around the world into a vibrant network.6 Speaking at a WHO75 Healing Arts event at Carnegie Hall, where the series was announced on the sidelines of this year’s UN General Assembly (UNGA), Sir Jeremy Farrar, Chief Scientist for the WHO, said: “For too long we have seen Science and the Arts as separate endeavors. But these silos were not always so. Through much of human history, the creative interface of different disciplines has been a catalyst for both innovation and healing. So I am

delighted that this Jameel Arts & Health Lab - Lancet global series will show the scientific basis of the arts’ role in health with rigor, and help position artists and scientists as necessary partners towards health and well-being for all.”7 Inspired by the practice of artists and creative arts therapists working in healthcare settings,8 the Lab initiated the HoME project, the largest evaluation of murals in hospitals and healthcare settings to date and is collaborating on a multi-country study on the role of participatory theatre in reducing discrimination in healthcare. The lab is conducting research on the role of cultural archives in promoting health and wellbeing in post-conflict Northern Iraq. It will also be publishing a thinking tool on how to adapt and implement existing arts and health interventions in different cultural contexts. This thinking tool is based on the learning from a multi-country project which helped to implement a music intervention, developed in the United Kingdom to treat postpartum depression in Denmark, Italy, and Romania.9 Finally, the Lab has been engaged in a WHO Foundation funded project to identify the ethical considerations that guide the practice of artists working in contexts of care. The Lab continues to amplify research from a growing network of leading academic and cultural partners and sharing our work at academic conferences.

With regard to engagement, the Lab has expanded its ‘Healing Arts’ advocacy campaign of concerts, symposia, exhibitions and dialogues across the world, engaging tens of thousands of people in the

arts and health field from Los Angeles, to Lagos, Dublin to Dubai. Outreach highlights have included a historic WHO75 Healing Arts Concert in Geneva,10 the inaugural UNGA Healing Arts Week in New York including collaborations with Carnegie Hall, Lincoln Center and the New York City Health + Hospitals Arts in Medicine Program in Harlem, partnerships with the National Arts & Health Week Nigeria and the inaugural Global South Arts and Health Week in Egypt, and the Lab’s recent participation in COP28.

Research and engagement both serve the ultimate goal of the Lab to impact policy and inspire systemic change. Policy development in this area will serve to encourage and increase access to public health promoting opportunities for arts engagement as well as facilitate the integration of creative arts therapies in clinical care. Our colleagues at the WHO Collaborating Centre for Arts and Health, based at University College London (UCL), have developed a map of current policy activity in this area.11-12 Building on a prior example of the policy brief on the role of the arts in supporting the mental wellbeing of people who are forcibly displaced, the Lab will advance this goal by laying the groundwork for policy briefs on the role of the arts with specific population groups, such as helping professionals, and health outcome areas such as dementia, chronic pain, and social isolation. Each will consist of a theory of change, a rapid review of evidence, illustrative examples, and recommendations. In the European context

Joyce DiDonato (soprano) performs alongside Howard Watkins (pianist) at the WHO75 Well-being Concert on September 20, 2023 at Carnegie Hall’s Weill Music Institute as part of the Jameel Arts & Health Lab UN General Assembly Healing Arts Week.

Photo credit: Fadi Kheir. Photo courtesy of Carnegie Hall.

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Jameel Arts & Health Lab signing ceremony at WHO ~Europe Headquarters, UN City, Copenhagen. L-R: Robb Butler, Katrine Bach Habersaat, Nils Fietje (WHO Europe), Cléa Daridan, George Richards (Community Jameel), Hans Kluge (WHO Europe), Nisha Sajnani (Steinhardt School of Culture Education and Human Development, New York University), Christopher Bailey (WHO), Stephen Stapleton (Culturunners). Photo Courtesy of WHO Regional Office for Europe

for Europe in collaboration with the Lab worked with the European Commission and Culture Action Europe to embed culture, arts, and social prescribing in the European Union’s new comprehensive approach to mental health.14 WHO Europe and the Lab also co-produced WHO’s first, large-scale arts and health conference in October 2023, which was attended by 17 representatives from Member States across the WHO European Region.

As we look forward to 2024 and the years ahead, the lab will continue to offer opportunities for capacity building for artists, cultural organizations, and healthcare administrators and staff interested in the intersections of the arts and health. Next year, JAHL will be partnering with UCL’s Social Biobehavioral Research Group to offer three scholarships to their renowned 2024 Arts & Health Research Intensive. This scholarship is

1 World Health Organization. (n.d.). Our values. https://www.who.int/about/values 2 Fancourt, D. & Finn, S. (2019). What is the evidence on the role of the arts in improving health and well-being? A scoping review. WHO Regional Office for Europe. https://iris.who.int/handle/10665/329834.

License: CC BY-NC-SA 3.0 IGO 3 World Health Organization. (2019).

Intersectoral action: the arts, health and well-being: sector brief on arts. WHO Regional Office for Europe. https://iris. who.int/handle/10665/346537 4 World Health Organization. (2022). Arts and health: supporting the mental well-being of forcibly displaced people. WHO Regional Office for Europe. https:// www.who.int/europe/publications/m/item/arts-and-health-supporting-the-mental-well-being-of-forcibly-displacedpeople License: CC BY-NC-SA 3.0 IGO 5 World Health Organization. (2023). WHO

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A Yazidi Survivor participating in an art workshop as part of the Yazidi Cultural Archives project in Northern Iraq, 2022.

Photo courtesy of Yazda.

Sopranos Renee Fleming and Pretty Yende, WHO Arts & Health Ambassadors, performed with the United Nations Orchestra during the WHO75 Healing Arts Concert held on April 8, 2023 in Victoria Hall, Geneva. The concert was co-produced by the Jameel Arts & Health Lab. Photo Credit: Antoine Tardy. Photo courtesy of the World Health Organization.

available to individuals from any Global Majority/Global South region of the world. We will also be holding a series of virtual convenings to support communities of practice in a range of arts and health areas beginning with an interdisciplinary series on the role of the arts in addressing the health impacts of climate change.

insights and evidence from those places where the arts and culture are sometimes more organically linked to health and wellbeing. Funding continues to be a top priority for the Lab and for WHO. Although many will recognize the important contributing role the arts can play in relation to our health and wellbeing, there is, as of yet, very little systematic investment in this space, either within organizations or countries. The field therefore still relies heavily on philanthropic contributions to make its mark and to advance the research and implementation agenda.

Manifesting a culture of health in which arts and cultural resources are better valued and integrated into how we imagine health and care will require systematic investment, collaboration, commitment, and creativity. The Jameel Arts & Health Lab promises to become a leading platform for research, policy, engagement, and capacity building in the arts and health space at the global level, encouraging learning and exchange between communities, regions, and countries. In particular, with its emphasis on underserved, and underrepresented countries, the Lab will also focus on experiences,

expert meeting on prevention and control of noncommunicable diseases: learning from the arts. Opera House Budapest, Hungary, 15–16 December 2022: meeting report. WHO Regional Office for Europe. https://iris.who. int/handle/10665/373900. License: CC BY-NC-SA 3.0 IGO 6 Sajnani, N., & Fietje, N. (2023). The Jameel Arts & Health Lab in collaboration with the WHO–Lancet Global Series on the Health Benefits of the Arts. The Lancet, 402(10414), 1732–1734. https://doi.org/10.1016/ S0140-6736(23)01959-1 7 World Health Organization. (2023, September 25). Ground-breaking research series on health benefits of the arts. https://www.who.int/news/item/2509-2023-ground-breaking-research-series-on-health-benefits-of-the-arts 8 Marshall, A. (2022, November 17).

Bringing World-Class Art, and Wonder, to Mental Health Patients. New York Times. https://www.nytimes.

Nisha Sajnani, PhD is Associate Professor and Director of the Program in Drama Therapy at the Steinhardt School of Culture, Education and Human Development at New York University, founder of the Arts & Health initiative at NYU, and co-founder of the Jameel Arts & Health Lab. Stephen Stapleton is the founder of Culturunners and co-founder of the Jameel Arts & Health Lab. Christopher Bailey is the Arts and Health lead for the World Health Organization in Geneva and co-founder of the Jameel Arts & Health Lab. Tessa Brinza is the Research Coordinator for the Jameel Arts & Health Lab.

com/2022/11/17/arts/design/hospital-rooms-murals.html 9 Warran, K., Smith, C., Ugron, H., Frøkjær Carstens, L., Zbranca, R., Ottow, M., Blaga, O. M., Lund Ladegaard, N., Davis, R. E., Fancourt, D., & Fietje, N. (2022).

Scalability of a singing-based intervention for postpartum depression in Denmark and Romania: Protocol for a single-arm feasibility study. BMJ Open, 12(12), e063420. https://doi.org/10.1136/bmjopen-2022-063420 10 World Health Organization. (2023, April 8). “Healing Arts” concert to celebrate WHO’s 75th anniversary. https://www.who.int/news-room/events/ detail/2023/04/08/default-calendar/healing-arts--concertto-celebrate-who-s-75th-anniversary 11 The Social Biobehavioral Research Group. (n.d.). WHO Collaborating Centre for Arts & Health.

ArtsHealthCC. Retrieved December 13, 2023, from https:// www.artshealthcc.org 12 Dow, R., Warran, K., Letrondo, P., & Fan-

court, D. (2023). The arts in public health policy: Progress and opportunities. The Lancet Public Health, 8(2), e155– e160. https://doi.org/10.1016/S2468-2667(22)00313-9 13 Fota, A. (2023, December 12). The art of wellbeing: How Europe is using culture for its health benefits.

The Parliament. https://www.theparliamentmagazine. eu/news/article/culture-world-health-organization-europe-mothers 14 Fota, A. (2023, December 12). The art of wellbeing: How Europe is using culture for its health benefits.

The Parliament. https://www.theparliamentmagazine. eu/news/article/culture-world-health-organization-europe-mothers

Claudia Menzago Longchamp Art-thérapeute, directrice de l’Association Ferdinand

Alix Fiasson médiatrice culturelle au Musée d’art et d’histoire de Genève

L’art-thérapie au MAH : Quand le Beau Fait du Bien Depuis quelques années, le MAH collabore avec différents professionnels de la santé pour être au cœur du parcours de soin. En 2018, c’est pour le public souffrant de la maladie d’Alzheimer que le musée s’est engagé en s’associant au Projet Ferdinand qui se bat pour revitaliser les liens fragilisés entre ses bénéficiaires en agissant comme un pont entre le soin et la culture. Il s’adresse aux professionnels de la santé, aux résidents d’institutions médicalisées, aux proches aidants, et aux proches aidés vivant à domicile. Depuis 2018, Alix Fiasson, médiatrice culturelle au MAH, et Claudia Menzago Longchamp, art thérapeute et directrice du Projet Ferdinand, se sont engagées passionnément pour développer une initiative thérapeutique destinée aux personnes touchées par la maladie d’Alzheimer ou autres démences apparentées. À travers la médiation culturelle et l›art thérapie, le Projet Ferdinand vise à favoriser le bien-être psychique et l›intégration sociale. Il positionne le MAH comme un tiers lieu accessible à tous, jouant un rôle crucial dans le soutien et le renforcement du tissu social.

Une rencontre déterminante : Depuis 2010, le MAH innove en matière d›accessibilité pour les publics en situation de handicap. La médiation culturelle offre des visites adaptées, telles que des visites descriptives et tactiles pour les personnes aveugles, des visites sensorielles pour les élèves à besoins éducatifs

spécifiques, des visites en français facile pour les personnes en situation de handicap mental, et des visites accompagnées d’un interprète pour le public sourd.

Depuis 2018, les médiateurs culturels ont élargi leur mission en intégrant une dimension thérapeutique à leurs actions, notamment avec des visiteurs présentant des troubles neurocognitifs. La rencontre avec Claudia Menzago Longchamp, art-thérapeute spécialisée dans l›accompagnement des personnes atteintes de la maladie d›Alzheimer, a été une étape cruciale pour apporter une contribution significative dans un parcours de soins.

Premiers pas audacieux pour les professionnels du soin : Août 2018, sur leur journée de repos, des soignants nous rejoignaient au musée Rath pour découvrir les œuvres de Ferdinand Hodler.

Leurs expressions renfrognées suggéraient qu›ils étaient là par obligation.

Pourtant de toiles en anecdotes, leur attitude évoluait, notamment devant la toile représentant Valentine Godé-Darel morte, déclenchant une conversation chargée d›émotions sur la mort, sujet souvent éludé dans leur quotidien.

En cette fin de visite estivale aucun ne repartait comme il était arrivé. Tous réalisaient combien le beau faisait du bien, et comment l’art pouvait être un vecteur de conversations importantes. C’est ainsi, dans l’exposition dédiée à Hodler, que tout a pris sens. À mille lieues alors d’imaginer que notre collaboration se prolongerait sans interruption pendant cinq ans, que chaque visite renforcerait nos liens, et que cette aventure excep-

tionnelle deviendrait la base d’une Association portant le prénom du peintre: Ferdinand !

Par son impact dans le milieu des soins, le projet Ferdinand a suscité l’intérêt de partenaires institutionnels de premier plan tels que l’EMS les Charmettes, la Maison HEMMA, la Résidence Butini, et l’Association Alzheimer Genève. Chaque mois, soignants et proches-aidants se réunissent au musée, pour renforcer des liens essentiels à travers des visites thématiques et des discussions à visée thérapeutique. Le Projet Ferdinand offre une réponse ciblée aux défis liés à l’accueil et à l’accompagnement des personnes atteintes de démence. Grâce à l’engagement continu du MAH, il a pu envisager un développement extra-muros, guidé par une réflexion pluridisciplinaire adaptée aux besoins exprimés par les soignants et les proches aidants.

Ce partenariat transversal entre culture et soin a donné naissance à des approches thérapeutiques préventives impactant aussi bien les personnes malades que leur entourage privé et leur environnement médicalisé.

V. Baud Grasset, responsable d’unité de soin en EMS témoigne de l’apport de ces moments muséaux dans sa pratique: « Au fil des rencontres avec Claudia et les résidents, j’ai vu un réel intérêt à intégrer l’art dans les soins. Nous avons pu constater que l’art pouvait être une porte d’entrée dans des

prises en soins parfois compliquées.

Le soignant peut utiliser ce canal de communication pour entrer en relation avec les résidents. Je suis aujourd’hui convaincue que l’art peut être un réel atout dans la prise en soins dans le milieu de la gériatrie et notamment auprès des personnes atteintes de troubles cognitifs ».

Résidents en EMS : Au sein de la Résidence Butini, Claudia Menzago Longchamp, art thérapeute des Butineurs, groupe composé de personnes présentant des troubles neurocognitif les conduits à leur première visite au MAH. Le thème du paysage leur permet de vivre et revivre des moments significatifs, notamment devant des œuvres telles que «Orage à la Handeck» de Calame.

Certains résidents nous partagent des souvenirs sonores et olfactifs liés à leur enfance. De l’art de François Diday aux toiles symétriques de Hodler, la conversation s’enrichit de l’histoire individuelle de chacun. Pour certains, cette toile deviendra un repère mémoriel, les aidant à reconnaître l’œuvre de Calame lors de visites ultérieures.

Et quand certains résidents ne peuvent pas se déplacer jusqu’au musée, alors le musée vient à eux ! Les œuvres issues de la collection du MAH sont projetées dans la salle de conférence de la résidence, co-animées par Alix et Claudia, ces rencontres « Ferdinand s’invite chez vous » créent de vifs débats et échanges entre soignants, animateurs et résidents. Ainsi, le MAH devient une source

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d’échanges et de connexions au-delà de ses murs physiques, qui enrichit la vie des résidents et crée un lien continu avec l’art.

Proches aidants et proches aidés : Un samedi par mois, un groupe de proches aidants et proches aidés se rassemble au MAH. Ce cercle d’une vingtaine de personnes, initialement étrangères les unes aux autres, a évolué en une véritable famille. Les échanges animés au sein de ce groupe sont parfois si captivants qu’ils nécessitent l’intervention amusée d’Alix pour reprendre le fil de la visite. À la fin des discussions guidées par Claudia, un café, offert par l’Association Alzheimer Genève, réunit tous les participants.

Ces rendez-vous, devenus une bouffée d’air pour les familles, attirent parfois plusieurs membres d’une même famille.

En intégrant la médiation-dialogue et l’art-thérapie, cette expérience immersive va au-delà de l’approche récréative, encourageant les participants à partager leurs voix et leurs expériences. Chaque thème abordé dans les collections devient ainsi la clé de conversations intimes, renforçant les liens au fil du temps.

Une fois par an, en clôture de notre saison thématique, Lucy Nightingale, danseuse et chorégraphe, se joint à nous pour nous faire danser devant les œuvres. En reprenant ensemble les positions alambiquées de certaines sculptures et les attitudes des tableaux, nous créons une chorégraphie muséale sous son regard bienveillant.

Mais laissons plutôt les bénéficiaires témoigner, L.M. proche aidante écrit ceci : « Ce mot pour vous redire un grand Merci pour l’organisation des visites au MAH ! Félicitations à votre guide Alix pour son professionnalisme, et son enthousiasme très communicatif. Depuis 5 ans (ou plus…sans le savoir) j’accompagne mon mari qui est maintenant en EMS. Après 60 ans de mariage, la séparation est difficile pour nous, et j’apprécie particulièrement ces petits moments culturels offerts, et surtout le parallèle que vous faites entre les thèmes que vous choisissez et la situation que je vis. (nous vivons).

Cela donne à notre réflexion une dimension nouvelle. »

Fort de cinq années d’existence, le Projet Ferdinand incarne un dynamisme favorisant le partage, la liaison, et le soutien. L’Association Ferdinand a mis en place un cadre collaboratif pour la circulation des connaissances entre les professionnels du réseau de soins genevois et la médiation culturelle. L’objectif commun est de poursuivre ce partage, d’élargir le réseau, et de partager cette initiative thérapeutique et sociale.

Conversation après la visite guidée dans les collections beaux-arts ©Ana Regard

Claudia Menzago Longchamp, art-thérapeute, directrice de l’Association Ferdinand Alix Fiasson, médiatrice culturelle au Musée d’art et d’histoire de Genève

Pour nos trois publics cibles : la régularité est essentielle ! Nous organisons des rencontres mensuelles, que ce soit au cœur des collections permanentes ou au fil des expositions temporaires. Même pendant la période du Covid, nous avons maintenu ce lien précieux grâce à des capsules vidéo et des podcasts mensuels: https://association-ferdinand.ch/chezvous, ce qui nous a permis d’assurer une transition toute naturelle lors de la reprise des visites.

Claudia Menzago Longchamp et Alix Fiasson introduisant une visite ©Association Ferdinand

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Grand Théatre de Genève special

‘Justice’ for the Congo on the Opera Stage

Serge Kakudji dirige le chœur Regina Mundi dans l’église du même nom à Lubumbashi. Ce chœur sera présent en vidéo dans l’opéra Justice. ©Moritz Von Dungern

Une des nombreuses industries de la région de Kolwezi, où se trouve le village de Kabwe, lieu de l’incident au centre de Justice. ©Moritz Von Dungern

Le contre-ténor Serge Kakudji rencontre Nathalie Masela, avocate qui travail pour la CAJJ (Centre d’Aide Juridico-Judiciaire) de Kolwezi et qui a suivi, parmi les autres, le procès de l’accident de Kabwe au centre de l’opéra Justice. ©Moritz Von Dungern

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Grand Théatre de Genève

Yulia Lem United Nations

Sounding ‘Justice’: Aviel Cahn’s Vision of the Grand Theatre de Geneve (GTG) as a Place for Social Reflection

In this interview, I embark on a journey with Cahn, delving into the transformative potential of opera in the forthcoming GTG production ‘Justice.’ In our conversation, I seek to unravel the balance between high art and social responsibility under Cahn’s direction. Against the backdrop of real-life societal challenges, ‘Justice’ stands as an unnerving (but for the moment, a blank) canvas for testing this balance.

In exploring the potential of opera as a catalyst for social change, Cahn quickly and categorically rejects the notion of opera as an exclusive sanctuary for high art. In his words, “a sanctuary is too untouchable. GTG is a place to live and encounter. It shouldn’t be a holy ground. Rather, it should be a space for discussion, encounters and engagement.”

In his interpretation, “a sanctuary is an adoration place. I don’t see opera as a preservation but as a naturally evolving organism.”

When asked about the importance opera traditions, Cahn adds that “Traditions are beautiful, but they should not become artistic constraints. We should question them, shake them and abandon some that stem from bad habits. Opera, especially at GTG, is a living art form of today.” In that context, ‘Justice’ is destined to become a real-time commentary on societal injustices, offering an immersive experience that transcends traditions and boundaries. Milo Rao’s sharp directorial edge will prompt the audience to engage beyond the stage, transforming opera into a medium for contemplation and potentially action.

traying an environmental catastrophe in a Congolese village, is not a distant tale but a harsh reality. This connection to a real-world narrative ensures that ‘Justice’ is not just an artistic expression but a mirror reflecting the struggles faced by communities today.

But can opera evolve without being revolutionary? According to Cahn, “opera is not a preservation society. Even old pieces are recreated with today’s artists, who are asking why and how we do it now.

We can stage classics like Aida or La Traviata through the lens of today, making it a relevant and fresh experience.”

Cahn emphasizes the relevance of ‘Justice’ by noting that “the team is currently in the Democratic Republic of Congo, gathering firsthand accounts and creating a documentary for the opera’s introduction. The Swiss TV is covering their journey, bringing this real-world connection to the forefront.”

The ambition of ‘Justice’, however, is to bridge the gap between timeless narratives and urgent social issues. To do that, Milo Rao’s documentary approach introduces a unique texture, connecting the opera to the real-world thirst for answers, such as the ongoing Congo Trial.

‘Justice’ is not a myth; it is a reflection of the pressing issues faced by real people.

The narrative story behind ‘Justice,’ por-

A great addition to the relevance is the use of voices from the region, both on stage and in the libretto. “The team, arriving for rehearsals in December, includes one singer from the region. It is not an opera-rich area. There is simply no opera in the DRC. While I would love to bring ‘Justice’ to Kinshasa, that is not possible at the moment.”

Is GTG a battleground for social issues?

According to Cahn, certainly not. “The theatre should be a peaceful place where social issues are discussed, not fought over. Many landmark operas addressed societal problems, and GTG should continue that tradition by telling stories that matter today.”

‘Justice’ explores diverse narratives, and Milo Rao’s touch seeks to ensure authenticity. The GTG becomes a platform not just for artistic expression but a conduit for voices often unheard, voices echoed in the ongoing pursuit of justice. Cahn believes that Milo Rao’s vision ensures that the narrative is not just shaped; it is grounded in the lived experiences of real individuals, adding weight to the role of opera directors as influencers in social discourse.

Navigating the fine line between social responsibility and artistic expression is a delicate task. According to Cahn, ‘Justice’ elevates entertainment by opening an opportunity for influence rather than activism. He emphasizes that ‘Justice’ is a reflection and an experience. It allows the audience to draw their own conclusions, fostering dialogue rather than division. The ongoing Congo Trial and the narrative story add layers of complexity, ensuring that ‘Justice’ is open to interpretation while retaining its impact.

Cahn acknowledges the risk of romanticizing human suffering, which is opera is known for. While he sees it as a danger, he finds solace in the documentary touch and ongoing efforts to ground ‘Justice’ in the unfiltered truth, fostering genuine engagement with the issues at its core. (continues page 12)

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@Nicolas Schopfer

As a human right advocate and a humanitarian aid worker, I am captivated by the ability of art to shape societies, foster well-being, bring peace and weave the threads of healing into the very fabric of humanity. My own exploration now converges with a powerful voice in the field, Aviel Cahn, the Director of the Grand Theatre de Geneve (“GTG”).

@Nicolas Schopfer

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Grand Théatre de Genève

(> from page 10) Through our conversation, the outlines of ‘Justice’ come into focus to show that it is not only an opera but as a profound commentary on the social challenges of our time. Through Milo Rao’s visionary approach and the GTG’s commitment to engagement and inclusivity, ‘Justice’ invites audiences to experience opera as a living, breathing experience. By weaving universal themes into contemporary narratives, GTG seeks to show the audience the persistent threads that link history with their daily lives.

Soaring back to the bird’s-eye view of the opera, I challenge Cahn at the end of our conversation to articulate his three main wishes for ‘Justice’ and the GTG in 2024. He does not pose even for a second, as if the answer was about to escape his mind anyway. Of course, he wishes for “Justice” to echo in the hearts of all who experience it, leaving a mark that sparks conversations and ignites change.

But more than that, he wishes for the GTG to be a beacon, attracting diverse voices and fostering an inclusive space for all narratives. Glancing straight into the close unknown of 2024, Cahn wants to be a year where the opera transcends entertainment, becoming a peaceful catalyst for encounter and emotion. Above all, he wishes everyone a great experience at the upcoming premiere of ‘Justice.’

So do I. The curtain will rise on 22 January 2024. In Geneva. And in the DRC.

Yulia Lem United Nations

Milo Rau: Love Letter to Authenticity In the Grand Théâtre de Genève (GTG), a palpable anticipation builds up ahead of the premiere of ‘Justice,’ an opera intimately connected to Milo Rau’s ongoing multimedia experiment—the Congo Tribunal. As we embark on a poetic discourse with Rau, the visionary behind this spectacle, ‘Justice’ unfurls as a symphony of truths, a dance between reality and representation, and a love letter to authenticity.

The dialogue, a melodic beat threading its uneven path across phone calls, messages, taxi rides and fleeting boarding announcements, probes the essence of opera as a transformative force and a vessel for timeless beauty. Together, we pirouette through the whimsical scenery of ‘Justice,’ a documentary opera narrating the love story of a Congolese village and its sacred land. We cross the lyrical landscape into the territories of artistic transformation, real-life quests for truth, and the magnetic appeal of a documentary opera.

“Rau, with his unconventional methods, unveils the raw essence of human experience through ‘Justice.’ It is not a mere performance. It is an invitation to explore the tales untold and seek the truth,” challenges Aviel Cahn, the Director of GTG.

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Rau’s role as a stage director is akin to that of a romantic alchemist, infusing the ancient art form of opera with the vibrancy of real-world issues. Or, as some would think, insnaring it with a spicy potion that belongs to the mass media and the ‘cancellation culture’ in particular. At the heart of ‘Justice’ lies the haunting tale of an environmental catastrophe caused by a Swiss multinational—a narrative often relegated to legal proceedings, political maneuvering and ‘doom scrolling’ on social media. Here, however, it takes center stage, set to the entrancing melodies of Hèctor Parra’s musical storytelling.

“Beauty and solidarity are, in theatre, two sides of the same thing,” declares Rau, setting the tone for an opera that defies convention but proclaims love.

‘Justice’ refuses to romanticize suffering, which opera as an art form has been accused of by its critics, but rather thrusts it centre stage, demanding a reckoning with the real-world realities—all conveyed gently, according to Rau. A balladeer in conversation, Rau reveals the genesis of ‘Justice’ as a meta-commentary born from the poignant notes of the Congo Tribunal. His vision emerges as a sweeping ballade; an ode to bare the audience’s souls to the reality of the Congolese mining district and the environmen-

tal disaster that reshaped the lives of Congolese villagers and local mining workers. ‘Justice’ is a stark departure from the fantastical narratives that often dominate the operatic world.

It is a deliberate choice to bring the audience face-to-face with the unfiltered complexities of the human experience. But aren’t we already living in the world of complexities amplified by drama-thirsty social media and our own headspace, addicted to the bloodline of violent headlines propagated by ‘influencers’? Is not the opera the last recluse where our soul can float through the timeless river of beauty, fantasy, and the cathartic relief from the everyday? It is not about the escapism; it is about purity and relief that soothers our torments and, for a splitting moment, carries us to the calm waters from which we emerge ready to face it all again.

But back to it. As we navigate the tangible world of ‘Justice,’ Rau unravels the threads binding traditional artistic forms and societal transformation, painting a canvas filled with the hues of a documentary opera. “’Justice’ is an intimate dance with truth, a lyrical ballad that resonates with the raw emotions of the audience. It is not about the Congo Tribunal. It is about the human stories

Le contre-ténor Serge Kakudji et le metteur en scène Milo Rau pendant les répétitions d’une scène qui sera projetée en vidéo pendant l’opéra Justice. Derrière eux, une des nombreuses mines de cobalt à Kolwezi.

often overshadowed, overlooked, or simply forgotten,” he notes.

The conversation sharpens as the inherent elitism of opera is questioned. Rau unapologetically implicates the elites in the working conditions of the Congo mining district, making his love letter a call for change in the very heart of democracy. ‘Justice’ exposes uncomfortable truths about Swiss corporate involvement in the Congo, emerging as a lyrical challenge to the audience’s complacency regarding environmental and social issues.

To me, a witness of despicable violence since my birth until this very day, this is not uncomfortable, however. I have been living this reality all my life, as a humanitarian worker and a human rights advocate, from Haiti to the Congo itself. I want to be proven wrong. I yearn for Milo Rau to open my shell and put my heart back on the sleeve where it once was.

Geneva, with its diplomatic cadence and business resonance, serves as an unnerving backdrop for ‘Justice.’ A deliberate choice no doubt, as Rau flirts with the unique setting to add an extra layer of intrigue.

“Geneva is a cultural bridge, where echoes from the Congo fuse with the cosmopolitan heartbeat of the city.

‘Justice’ is a rendezvous with today’s reality in the heart of international diplomacy, big money, human rights advocacy, and corporate giants,” explains Cahn.

A critical theme emerges: Is ‘Justice’ a genuine servant of the Democratic Republic of Congo or an exploitative masterpiece? Rau’s preference for entertainment over enlightenment may raise eyebrows, but he clarifies, “Justice as an opera. Not justice as a concept.” The meta-commentary delves into the tragic failure of real justice, becoming the heartbeat of ‘Justice’—a narrative that critiques its own depiction. Real justice. But what is

it? As someone who started her career at the Peace Palace in The Hague more than two decades ago, I craned my neck to see her every time I climbed the imposing stairs. There she was, a blindfolded statue, holding an uneven balance in one hand and a punishing sword in the other, while choking a snake with her foot. The snake who is the symbol of healing in medicine, the holy grail of justice for our body and soul.

But could it be that the impact of ‘Justice’ is limited to the theater, with little real-world resonance?

Rau’s commitment to authenticity shines through as he incorporates African singers into the ensemble, their voices becoming instruments in the grand opera of truth and romance.

The concern about limited real-world consequence does not account for the intricate interplay between art and societal transformation. The impact of ‘Justice’ may not be immediately measurable, but the seeds of change it intends to plant have the potential to sprout over time, influencing perspectives and policies. Or would it instead nourish evil, which will seek more romantic portrayals by the entrancing voices of justice as Rau see it?

“The choice of singers is deliberate. ‘Justice’ is a cultural mesh of narratives that transcends geographical and artistic boundaries. Bringing African voices to the forefront adds a layer of authenticity and inclusivity to the lyrical storytelling.”

The choice of Fiston Mwanza Mujila as the librettist for ‘Justice’ is a strategic and artistically rich decision that adds further depth and authenticity to the project.

Fiston, a renowned Congolese writer and poet, brings a unique perspective rooted in the cultural and social nuances. His involvement ensures that the opera embraces the diverse voices and experiences of the people intimately connected to the subject matter.

To amplify the romantic narrative, ‘Justice’ embraces the documentary opera format. Video materials, witness statements, and other evidence become strokes in Rau’s love letter to authenticity.

“In a world where truth is often obscured, a documentary opera feels like the most honest medium. It is an invitation for the audience to witness the unfiltered truth.

The stage is a canvas, and every piece of evidence is a stroke of authenticity,” says Rau. Rau’s passion for ‘Justice’ echoes in every chord he strikes while appealing for societal change.

“The meta-commentary, the untold tales, the real-world romance—all converge into a fabric that resonates on the edge, asking the audience to sway with the power of opera in amplifying the heartbeats of the unheard.”

But does evil not yearn for dark but intimate and beautiful portrayals of the deepest hurt it causes? To some, its heart would beat faster, tuned to the beauty of ruin, pain and suffering that permeate its core.

“For me, ‘Justice’ is a catalyst for awareness and activism. Art, in this case, becomes a conduit for empathy, reflection, and, ideally, societal mobilization towards addressing pressing social and environmental issues,” confesses Rau.

Rau reminds that ‘Justice’ is not a standalone project. It is part of an ongoing narrative that began long before the Congo Tribunal. Each production contributes to a broader trajectory of social and cultural change.

For Rau, the enduring resonance of ‘Justice’ lies in its capacity to prompt reflection, evoke empathy, and contribute to the ongoing discourse that shapes our understanding of complex issues. The theater, in his view, is not an isolated realm. It is a sounding board for broader engagement, and the true consequences of ‘Justice’ may unfold in the continuing dialogue and action that it inspires. It is hard to argue with that; the true consequences that are yet to emerge.

In the realm of arts, ‘Justice’ feels like a therapeutic discord, a lyrical tonic for societal ailments. The harmony in its discord challenges, teases, and respects both tradition and transformation. The pursuit of truth, the embrace of authenticity, and the intricate dance between reality and representation all converge into a timeless symphony that may – or rather, will - resonate far beyond the GTG stage.

Let us all, the elite and the eclectic, contemplate, admire, and doubt the envelope of Rau’s love letter to authenticity just a tiny bit longer. Touch the wrinkled edges, bearing the traces of the long journey. Breathe the syllables of unfamiliar words. Mutarule. Twangziga.

Bisié. Bukavu. The seal will be broken on 22 January.

And then … we will feel.

As the curtain falls on the discourse, ‘Justice’ emerges more and more as a plea for the audience to engage in a dance of introspection, to explore the untold stories and search for truth. Rau’s vision becomes a guiding star—a call for social change through the powerful medium of a romance-infused documentary opera.

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Grand Théatre de Genève

Yulia Lem United Nations

Echoes of Kinshasa: Fiston Mwanza Mujila’s Journey from Congo to ‘Justice’ One Friday afternoon in November, I had the privilege of delving into the creative mind of Fiston Mwanza Mujila, a celebrated Congolese writer whose words were poised to unfurl a vivid narrative, a soul-stirring journey in his libretto for the upcoming opera ‘Justice’ at le Grand Theatre de Geneve (GTG).

As we crossed the realms of his personal experiences and the rich soil of his Congolese roots, Fiston’s voice painted a vivid picture of a libretto that resonates with the echoes of his home county, his childhood, his sorrow and deep hope for the beloved land.

Your libretto for ‘Justice’ paints the profound theme of injustice. How does your Congolese heritage and personal experiences shape the narrative?

“My roots in Congo are the bedrock of my storytelling. The rich traditions, the pulse of our music, and the cadence of our languages infuse the libretto with a unique vitality. Justice, for me, is deeply intertwined with the collective memory of my people and the tragic stories of the mining district that are still untold. It’s about navigating the complexities of a post-colonial world, where the echoes of history resonate in the pursuit of justice.

Through the libretto, I want to invite the audience into the heart of Congo, to feel its joys, tragedies, and the unyielding spirit that courses through its veins.”

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Set against this vivid canvass, Fiston’s libretto emerges as a lyrical celebration of the Congolese spirit and an exploration of justice within the context of his heritage.

As a celebrated writer, your work often reflects a deep connection to human experience. How do you translate these universal themes into the specific context of, and the story behind ‘Justice’?

Fiston’s response is a testament to the universality of human nature, transcending borders and languages. “While the libretto draws inspiration from my personal journey and Congo’s untold history, it is essential to recognize the universality of the human experience.

Justice, in its essence, is a theme that resonates globally. Through the characters and their struggles, I aim to write a melodical story that easily crosses cultural, and certainly geographic, boundaries.

It’s about inviting the audience to find threads of familiarity in the unfamiliar, to connect with the characters on a deeply human level, and to recognize the shared quest for justice that binds us all.”

His words are a bridge, connecting the specific experiences of Congo to the broader concept of human existence.

For Fiston, Congo is not just a setting; it’s a character in its own right in ‘Justice.’ “In the libretto, I draw from the rich traditions of Congo to breathe life into

the characters. The environmental catastrophe caused by a Swiss multination, which is an unnerving storyline in the opera and its libretto, is not an abstract concept; it’s a lived experience that forever reshaped their lives. Through the characters, I want the audience to feel the heartbeat of my homeland, to glimpse both the beauty and tragic complexity of our stories.”

The opera is set to premiere at the Grand Theatre de Geneva, yet the roots of your storytelling trace back to Congo. How do you infuse the libretto with the spirit of your homeland while resonating with an international audience?

Fiston’s voice, a blend of nostalgia and determination, carries on. “Geneva, much like Congo, is a mosaic of cultures and histories. In the libretto, I seek to create a dialogue between the two worlds—a convergence of my Congolese roots and the international stage of Geneva. It’s about infusing the libretto with the vibrancy of Congo’s languages, the rhythm of its music, and the warmth of its people. At the same time, it’s a recognition that the pursuit of justice is a universal theme that resonates with each of us. The challenge lies in crafting a narrative that speaks to the heart of Congo while also connecting on a deep, emotional level with the diverse audience at GTG.” For Fiston, his work is not about transplanting Congo onto the Geneva

stage. It is about finding the harmonies where the two worlds converge. It’s a delicate dance, a celebration of diversity within the universal theme of justice.

Fiston’s words paint a portrait of a librettist straddling worlds, navigating the delicate balance between the intimate and the universal.

In the closing notes of our conversation, I ask Fiston about his aspirations for the audience experiencing ‘Justice’ at GTG. With profound sincerity, Fiston responds: “I hope the audience, irrespective of their background, feels a connection to the characters and their pursuit of justice. More than entertainment, I want ‘Justice’ to be a bridge—a bridge between Congo and Geneva, between personal stories and shared experiences.

If, through the libretto, the audience can glimpse the spirit of Congo and reflect on their own understanding of justice, then the opera will have achieved its purpose.”

As our conversation concludes, Fiston’s words linger, an invitation to blend the landscapes of Congo and Geneva, and to resonate with the universal heartbeat of justice that pulses through his evocative libretto.

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Anne-Gaëlle Lardeau EPFL-CDH-EPFL Pavillions

Penser la Science dans la Société : l’Apport de l’Art En 2020 Sundar Pichai, PDG de Google, déclare au World Economic Forum de Davos que l’intelligence artificielle aura un impact plus profond sur l’humanité que le feu ou l’électricité. La révolution est en marche, raisonnable ou pas.

Doit-on s’inquiéter d’une potentielle perte de contrôle ? L’histoire ne serait pas inédite comme l’illustrent ces quelques exemples tirés des récentes expositions d’EPFL Pavilions. En 2019, l’installation Stock Weather d’Haseeb Ahmed1 fait un parallèle entre le cours de la bourse et les phénomènes météorologiques aux excès pareillement incontrôlables et dévastateurs. En 2020, TRUSTAI, de Bernd Lintermann et Florian Hertweck2, dénonce l’impact des deepfakes sur la dégradation du lien de confiance et sur la démocratie. Plus récemment, en 2023, Circa Diem de Marilyne Andersen et al.3, évoque les effets néfastes sur notre santé physique et mentale de la prédominance de l’éclairage artificiel dans notre vie quotidienne.

Ainsi, après s’être affranchi de sa dépendance à la nature, l’être humain recrée, par sa quête de progrès, ses propres instruments de servitude et en mesure les conséquences a posteriori. À l’heure où le changement climatique illustre dramatiquement les risques d’une fuite en avant technologique, et alors que les polymathes de la Renaissance ont fait place aux hyper spécialistes, serait-il ir-

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rationnel d’intégrer davantage les points de vue des artistes, philosophes et éthiciens dès les phases de recherche et développement ?

Pourtant, aujourd’hui le schisme entre art, science et société est profond et le chemin de la réconciliation pavé de préjugés. Pour exemple, cet étudiant de l’EPFL, il y a quelques années, déclarant fièrement lors de la présentation du campus aux nouveaux arrivants : « Ici c’est EPFL Pavilions. C’est de l’art, nul besoin d’entrer. Ils sont là pour cacher les bâtiments d’élec. » Cette arrogance juvénile serait risible si elle ne reflétait la valorisation des certitudes promises par les sciences face à la critique portée par les humanités. Une ironie quand ce manque cruel d’esprit critique encourage la consommation, sur les réseaux sociaux, d’actualités aux sources douteuses.

Heureusement les temps changent. Par son approche critique et anticipatrice mêlant art et science et grâce à la vision de sa directrice Prof. Sarah Kenderdine, EPFL Pavilions participe modestement à la réflexion sur l’impact du trio science-technologie-innovation sur la société. Son action et sa localisation sur le campus de l’EPFL, attestent surtout d’une prise de conscience collective et de l’évolution de la formation des ingénieurs. Il n’est pas trop tard mais il est temps. C’est également le constat de l’École polytechnique de Paris et de l’École des Arts Décoratifs qui se sont

Machine 9, Nick Ryan, exposition Cosmos Archaeology: Explorations in Time and Space, EPFL Pavilions, 2022. Photo: Julien Gremaud.

associées à la Fondation Daniel et Nina Carasso pour créer, en 2017, la Chaire arts & sciences. Elle vise à « développer un ensemble d’activités sous le signe de la coopération et de l’interdépendance : entre les disciplines, entre le monde académique et la société civile, entre les humains et leurs environnements terrestres et techniques ».

En parallèle, la récente explosion du nombre de résidences artistiques dans

les milieux académiques et industriels constitue un timide pas vers un échange de pratiques. L’EPFL ne fait pas exception et accueille depuis 2019, trois à quatre artistes internationaux par an, reçus dans des laboratoires pour quelques mois. Leur travail est présenté à différentes étapes à la communauté lors de symposiums art-science aux joyeux airs de Brigadoon.

Mais pourquoi réinventer le dialogue science et société alors que depuis plusieurs dizaines d’années, les scientifiques font des efforts considérables en contribuant à des projets de médiation ? Ces activités légitimes et appréciées du grand public consistent le plus souvent en un partage de connaissances, nécessairement simplifiées, afin de stimuler l’esprit, d’émerveiller et de rendre compte des montants investis dans la recherche. Les dernières années ont vu les ambitions de la médiation s’élargir afin de faire émerger une autocritique émancipatrice et responsable. L’intention est louable mais peut-on être juge et partie ?

Alors que les universités se transforment en « archipels4 » confronter le point de vue des scientifiques à celui des « spécialistes des généralistes » que sont les philosophes 5 ou à celui des artistes semble indispensable, ne serait-ce que pour élargir l’impact.

Ainsi, lorsque Kazuo Ishiguro, prix Nobel de littérature 2017, écrit Auprès de moi toujours et Klara et le Soleil, il aborde directement des questions sur les risques du clonage et la place des robots dans la société. Par le roman d’anticipation, il invite à imaginer les futurs possibles et à se positionner citoyennement.

Par la littérature, il touche un public différent.

Au-delà des approches fictionnelles, en s’affranchissant des contraintes de représentativité ou d’exhaustivité scientifiques, certaines œuvres d’art rendent tangible l’imperceptible. En 2022 Nick Ryan et Cath Le Couteur sonifient en temps réel les déchets spatiaux qui orbitent au-dessus de nos têtes dans l’installation Machine 9. Il en résulte une mélopée ininterrompue, alertant sur la pollution spatiale. Simone Aubert, quant à elle, compose une œuvre originale qui intègre les sons de l’espace tels que le vent martien ou le frottement des roues du rover Persévérance à la surface de la

planète rouge. Ces deux installations offrent une visite sonore de l’univers et se fondent sur le premier instrument scientifique jamais utilisé : l’imaginaire.

L’imaginaire est aussi le ressort sur lequel s’appuient les œuvres exploratoires de Uwe Rieger et Yinan Liu présentées dans l’exposition Cyber Physical: Architecture in Real Time6. Les quatre installations mêlent sculptures physiques et numériques dans une préfiguration de l’architecture de demain. Les exemples de tels croisements sont multiples tant artistes et scientifiques partagent créativité, esprit critique, inspiration, imagination et émotion.

En outre, contrairement à la science, l’art ne s’interdit ni l’humour, ni la provocation dont l’efficacité pour faire émerger le débat n’est plus à prouver. En 2016, The Next Rembrandt, défraie la chronique.

Créé par intelligence artificielle, ce portrait inédit imite à merveille le style du maître, ses coups de pinceau, l’usage des couleurs et des ombres, les proportions, le motif. Six ans plus tard, ChatGPT a banalisé le principe pour l’écriture de textes. La majorité applaudit ou s’en amuse tandis que le législateur s’affaire.

Circa Diem, Marilyne Andersen et al., exposition Lighten Up! On Biology and Time, EPFL Pavilions, 2023. Photo: Julien Gremaud.

Ainsi, dans un contexte d’incertitudes écologique et sociétale, artistes et scientifiques (des sciences dures et des sciences humaines) peuvent servir d’éclaireurs.

Mus par un même appétit de compréhension du monde, leur collaboration est indispensable à la construction d’une société durable et de modèles économiques pérennes. Si les milieux savants sont prêts, le changement à grande échelle nécessite la multiplication des opportunités de dialogue dans les médias, dans les milieux culturels et éducatifs afin de mieux intégrer la complexité du monde et lutter contre l’hégémonie, d’où qu’elle vienne.

LightWing II, Uwe Rieger & Yinan Liu, exposition Cyber Physical: Architecture in Real Time, EPFL Pavilions, 2023. Photo: Julien Gremaud.

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Pavel Piskaryov Professor, Founder of the Institute for the Psychology of Creativity. Author of neurography.

Neurography as a Vital Tool for Improving Mental Health Neurography is a product of our brain and the conscious thinking process. In turn, thinking is intricately connected to inner speech. Hand motor skills are also linked to inner speech. The ancient Greek philosopher Plato defined thinking as verbally expressed tacit speech, emphasizing the importance of inner speech to thinking and potentially identifying these concepts.

A solution possesses a bionic quality.

This implies that a solution to a task or problem resides within the realm of the irrational. The decision is initially unconscious. A person makes all decisions in their life unconsciously, 0.5 seconds before consciousness “explains” why such a decision was made.

Muller, a renowned linguist of the 19th century, argued in his works that speech and thinking are identical, unambiguous concepts. Later, this perspective found support in American behaviorism, which formulated a somewhat simplistic idea: thinking is silent speech, i.e., “speech minus sound.”

It is pertinent to refer to the first two basic principles of neurography, where internal speech, not intended for others, allows for “short-circuiting.” It is often elliptical, omitting what is taken for granted by the person using it. Sometimes it is predicative, outlining what is asserted while omitting as self-evident, as known, what is in question.

The first basic principle of neurography is that images integrate meanings.

For example, the image of “home” integrates the sum of meanings associated with one’s home: childhood, parents, one’s room, the energy of growing up, early memories, and more. By referring to images, we have the opportunity to assemble a whole cascade of meanings in a single image. Drawing serves as an appeal to a series of images through graphics, enabling the connection of disparate meanings on one sheet of paper.

This allows the unification of meanings, a crucial function in integrative practice.

The second basic principle of neurography is that meanings containerize states.

For instance, the meaning of the word “luck” encompasses a sum of states, or one state attached to it. It is a personal experience, a set of emotions, or a set of perceptions. Here, one meaning of the word “luck” contains a wide set of states or one significant state that gathers emotions, perceptions, fantasies, and may unfold into a representation strategy, a strategy of staying, or a strategy of action.

A problem is the creation of the mind, a fundamental principle.

It’s essential to understand that in nature, on Earth, nothing except humans dramatizes anything. Everyone lives simply and naturally in the flow. The only prob-

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lem for those living in the flow is their lack of realization. Neurography facilitates the interconnection of the intellectual process, turning the problem, the “white spot” of the mind, into a neural cloud that provides energy for the needed meanings, leading towards harmony.

The mind can then soar upwards, fountain, and generate creative ideas.

The synthesis of information in the projective cortex is the basis of sensation, while in the associative cortex, it is the basis of thinking and finding solutions.

Neurography, in essence, is an evolution of communication, incorporating insights from Carl Gustav Jung (archetype theory), Kurt Lewin (field theory), Lucas Derks (social panorama), and Bert Hellinger (psychogenetics), elevating it to a universal graphic representation of information.

The more lines, the higher the quality of the work.

Neurography transforms reality. The surrounding reality reflects our attitude towards it. Neurography serves to diagnose psychological problems clearly and solve them without confusing the semantic nuances of the transmitted information.

Unlike a verbal description of a problem and its solution, neurography is an “unambiguous” diagnostic tool. A visual image on paper provides an opportunity for individuals to express their problems and attitudes as they perceive and evaluate them, incorporating emotions embedded in the situation.

The foundation for creating neurography, offering an approach to the psychological analysis of drawing studies of individuality, is L.C. Vygotsky’s position on the mediated nature of human mental processes. The analysis of the semantics of a graphic image, referred to as psychoideographics or psychographics

by A.V. Libin, falls within the realm of psychological knowledge related to the study and interpretation of human creative products.

According to Jung, events in psychic reality are connected at the level of the collective unconscious, and these connections are hidden from our consciousness. Synchronicity, the coincidence in time of two events with no common physical causes but a shared meaning for a specific person, is linked to Jungian synchronicity in its modern understanding. The mechanism of creative thinking and Jungian synchronicity are reflected in neurography.

Every work, every drawing is a fragment or imprint of a specific brain area.

A tiny bundle of neural connections is responsible for each small fragment of life. When we say that some meaning is important to us, we “take out” from the brain a picture associated with that meaning. Neurography allows us to access that particular part of the brain and make necessary changes. It’s akin to art, a unique form of aesthetic cognition that allows us to feel the world’s richness and transform it through artistic activities.

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Vicky Tsiaousi Art Therapist MSc

Unveiling the Power of Art Therapy When I was asked to write this article, I grappled with where to begin, driven by a passion and eagerness to convey the transformative influence of art therapy to the reader. Throughout this process, I crafted multiple drafts, each delving into the various benefits, its significance within the global health community, its universal appeal as a form of expression, the research evidence supporting its efficacy, and my observations as an art therapist collaborating with OK’TAVA, an open arts studio conceived by United for U. However, after reviewing all the drafts, I discarded them, and my thoughts turned to Emma...

Emma’s Journey Through Art Therapy More than a decade ago, I had the privilege of meeting Emma, a 40-year-old full-time working mom with a toddler.

At that moment, Emma made a decision to embark on a transformative journey of self-discovery through an art therapy group. She grappled with stress, fatigue, and various challenges in her personal life, seeking solace, healing, and effective coping mechanisms. This narrative aims to illuminate the key moments in Emma’s therapeutic process, providing a glimpse into the evolution of her emotional landscape through the images she crafted during our art therapy sessions spanning approximately a year.

A boat on a quiet lake flooded with light ©Emma

riage and work. After several weeks of participating in art therapy, our sessions transformed into a sanctuary for reflection and repose, as vividly portrayed in her artwork. In this tranquil and secure space, always with the therapist’s presence, Emma discovered a means of expression through art. The images she created spoke volumes without the need for words, establishing the groundwork for a profound exploration of her emotional world.

Holding her husband’s hand in the shadow of their past ©Emma

Session 22: “A Little Bit Closer...”

Comforting her son after a stressful moment ©Emma

Session 8: “A Dream That I Have Dreamed Many Times...”

Session 5: “A Place of Reflection and Rest...”

Emma calling out her repressed feelings ©Emma

In the initial stages of her art therapy sessions, Emma displayed a reserved demeanor, weighed down by stress, fatigue, and the challenges in her mar-

Session 7: “What Happens if I Get Angry?”

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work evolved into a medium for navigating and expressing intense and hidden emotions. Initially reserved and melancholic, she confronted the question, “What happens if I get angry?” Equipped with colors and a writing journal encouraged for her to maintain, Emma systematically worked through her fears, anger, and defense mechanisms. Silent drawings emerged as a potent outlet for the turmoil within—a visual dialogue between her mind and the paper.

As the sessions advanced, Emma’s art-

In this session, distinct themes began to take shape, including her relationship with her mother and her own child linking layers of her past and present. Emma delved into a recurring dream that had frequented her subconscious. The therapeutic process unveiled the significance of these recurring dreams, offering a gateway to comprehending her own narrative.

Over time, Emma grew more comfortable expressing her feelings. The images underwent a transformation, symbolizing the journey toward self-discovery.

Emma gained clearer insight into her emotions and her personal or social relationships, understanding the intricate dance between her body and mind. The artwork gradually became a true mirror, reflecting her evolving self-awareness in various aspects of her life. In this particular picture, she depicted her husband and herself attempting to reconnect in the shadow of past moments.

•

Singing and cycling she enjoys her freedom ©Emma

• Session 30: “The Woman on the Bike” At the culmination of her art therapy journey, Emma crafted an image that encapsulated her newfound freedom and confidence. The woman on the bike, with the wind in her hair, embodied her dream to travel the world while singing at the top of her lungs. Perhaps, she had simply found her voice and the strength to express her feelings and needs. In any case, this image undeniably marked a transformation—a celebration of resilience and the ability to fully embrace life!

•

allowing individuals to communicate complex emotions and experiences beyond the limitations of words.

Enhanced Communication and Self-esteem: Particularly beneficial for those facing pathological or psychological challenges, art therapy offers an alternative means of communication, helping individuals connect with their emotions, their body and their needs.

Acceptance and Transformation: As seen in Emma’s journey, art therapy facilitates integration and Acceptance enabling individuals to make positive changes in their lives and move towards a more balanced and fulfilling existence.

Based on Emma’s story we can highlight the following points on the benefits of art therapy.

•

•

•

Emotional Release: Art therapy provides a channel for individuals like Emma to release pent-up emotions that may be challenging to express verbally.

Self-Reflection and Self-awareness: Through the creative process, participants gain insights into their emotions, fears, and dreams, fostering a deeper understanding of themselves.

Symbolic Expression: Symbols and images serve as a unique language,

• • • • •

• •

The Transformative Power of Art Therapy Emma’s visual narrative serves as a powerful testament to the profound impact of art therapy on emotional well-being.

Facilitated by the silent language of art and the supportive presence of the therapist, she discovered a secure haven to explore, express, and ultimately metamorphose her inner world, finding her voice in the process. The progression from a state of reservation to a woman confidently navigating life is vividly depicted in her artistic creations.

al key aspects define their role:

The resilience as perceived from Emma ©Emma

While Emma’s story stands as a compelling example of the therapeutic potency of art, it is essential to acknowledge that not all individuals undergo such rapid and dramatic transformations within the therapeutic process. Nevertheless, what consistently emerges from art therapy sessions for all patients is an enhancement of self-awareness and resilience.

This newfound strength empowers individuals to surmount challenges, extending beyond the resources available to them and encompassing a profound trust in their personal strength and confidence.

The Therapist’s Integral Role in the Transformational Process The role of an art therapist in the therapeutic process, as delineated above, is intricate, encompassing the creation of a safe and supportive environment for individuals to explore and express their emotions through creative means. Sever-

Establishing a safe and confidential environment without fear of judgment.

Developing a trusting therapeutic relationship with empathy and understanding.

Offering guidance and support throughout the art-making process.

Selecting appropriate art materials or themes based on individual preferences and needs.

Adapting the therapeutic approach with respect to all individual’s cultural backgrounds and integrating different forms of expressions if needed.

Encouraging self-expression and addressing emotional challenges through reflection.

Tracking progress and aiding individuals in building resilience, coping skills, and fostering a positive self-image.

Creating an environment where individuals feel at ease sharing profound feelings is crucial in the therapeutic process. Many people hesitate to verbalize or express their thoughts and emotions, whether verbally or non verbally.

It takes time for them to realize that it’s acceptable to draw like a three-year-old, to paint or write spontaneously, without overthinking, and without aiming for perfection in both artistic endeavors and real life.

At this point, it is essential to recognize that, while many therapists may naturally possess the empathetic skills described above, it is equally vital to supplement this quality with proper education and experience. The integration of these elements ensures a secure and effective therapeutic progression.

Artful transformation at OK’TAVA In the spirit of fostering healing and self-resilience beyond individual sessions and the resources typically utilized in conventional art therapy, initiatives like OK’TAVA in Grand-Saconnex play a pivotal role. This weekly open arts group draws inspiration from the principles of art and therapy, nurturing creativity and non-verbal expression, and culti-

vating a supportive environment within the Geneva community. The concept of OK’TAVA intentionally removes the stress of oral communication and social interactions, which are often the source of anxiety for people who have experienced trauma through displacement, isolation, illness or marginalization.

The ethos of OK’TAVA aligns seamlessly with Emma’s journey, encouraging OK’TAVA participants to embark on unique paths of self-discovery and personal growth through the transformative power of art.

The triangular relationship of the art, the therapist and the client, in an art therapy session inspired from a celtic mandala, ©Vicky Tsiaousi

Conceived by the Geneva-based NGO United for U (U4U), which addresses the critical needs of people in distress, including refugees and disabled persons, OK’TAVA serves as a safe space where everyone can express themselves through various forms of art. Expressions are unlimited here – from visual arts to dance, yoga, smell and touch.

Communication through arts – in a broad sense - is nourished and encouraged by OK’TAVA guides and therapists such as myself.

The integration of such initiatives as OK’TAVA into therapeutic discourse underscores the broader impact of creative expression on mental well-being, fostering inclusion and resilience. This interconnected approach supports the profound influence of art therapy beyond individual narratives, weaving a tapestry of support and solidarity within communities. *Emma: the name has been changed to maintain confidentiality and a consent form has been given for the publication of the images.

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12th Edition of artgenève: 25-28 January 2024, Palexpo, Genève At artgenève, art is not just an object to be admired. It is an immersive journey that engages all your senses. The carefully curated exhibitions feature a diverse range of artists, showcasing their works in innovative and unconventional ways.

Within these pages, we invite you to take a glance at some of the thought-provoking installations, interactive displays, and immersive environments that will transport you into the artist’s vision in just a few days.

From 25 to 28 January in Geneva, please join us to discover the next generation of artists, the visionaries who are pushing the boundaries of artistic expression. Engage with their works, interact with the artists themselves, and witness the birth of new artistic movements right before your eyes.

Enjoy a dynamic program of talks, panel discussions, and workshops led by renowned artists, curators, and industry leaders and insiders.

To open the program, we invite you to explore the social, cultural and healing impact of artistic expressions at an event hosted by Jameel Arts & Health Lab, le Musée d’Art et d’Histoire (MAH), OK’TAVA Open Arts, Addictlab and the SDG Fablab of the University of Geneva, in collaboration with WHO. “The many paths of Arts and Health” is a transformative experience that will challenge your perceptions, ignite your imagination, and leave you with a renewed appreciation for the power of art. The event will take place at 14:00 on 25 January 2024, the opening day of artgenève.

Join us as we redefine what an art fair can be and embark on a journey of discovery, inspiration, and connection.

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@Baptiste Janin

artgenève 2024: Experience art in a whole new light.

Be part of the revolution.

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Saïdou Dicko Robe rose wait, TFR F rose AFIKARIS Lorna Simpson Haze Courtesy the artist and Hauser & Wirth Photo: James Wang

Tony Cragg Point of View Galerie Retelet

Rémy Zaugg MAIS MOI JE TE VOIS (Nr. 05) aus der Serie “De la cécité” Mai 36 Galerie

Sylvie Fleury First Spaceship on Venus (Pink Explosion) Karma International

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Jonathan Lasker 824 Thaddaeus Ropac

CABINET DE CURIOSITÉS WUNDERKAMMER

Exposition et Vente des Objets et Outils Anciens dans les Métiers Educationnelles, Artistiques et Scientifiques

Julia Langkau SNSF Assistant Professor in Philosophy at the University of Geneva

How Imaginative Engagement with Art Can Connect Us with Reality We do not see, react to and interact with the world perfectly rationally. Some of our perceptions, emotional reactions and actions are prone to biases. One such bias is the Identifiable Victim Effect: we are more likely to empathize with or help a person presented to us with a name, a face, or details about their life than we are to give money to a hospital, school or charity. A single person’s visible suffering moves us much more than a list of facts does.

Identifiable victims can almost feel like our friends. We spend enormous amounts of money on a single person, such as on rescue efforts for 18-monthold “Baby Jessica” who fell into a well in Texas in 1987, when instead we could, with less money, save many more children from death by starvation. Their suffering doesn’t force itself upon us like the suffering we can see in a face, and helping is not as satisfying when our imagination is not stimulated by a story. The Identifiable Victim Effect can also change our attitude towards certain events in the world: when the photograph of Syrian refugee child Alan Kurdi appeared in the media in 2015, it caused a rise in international concern for the refugee crisis, with effects reaching from world politics to the arts. Alan looked like a child we easily could have known, almost like he was sleeping, the palms of his little hands facing upwards.

While this bias may sometimes lead us astray, it can at other times help us see what deserves our attention: the suffering of a person or the injustice happen-

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ing to them, and through the suffering of that one person maybe the suffering of many people in similar situations; through the injustice happening to one person the injustice of a whole situation, maybe of a system. Of course, we knew already that refugee children are drowning, but simply knowing the facts didn’t have much of an effect on us.

Humanitarian campaigns make use of this bias when they confront us with a poster child, the story of a single, representative person – something we can relate to emotionally – to get our attention, effort, and resources. One may wonder if art and in particular fictional art can do the same: draw our attention to reality in a way reality deserves, such that it engages us emotionally and motivationally in the right way: such that we feel and act on people’s suffering in the real world.

Through reading novels and watching theater plays, we can be happy about things that never took place and saddened by the death of people that don’t exist. We can make unlikely friends and feel as if we are part of worlds which in fact are remote from our own. But can fiction raise concern for real happenings? Philosophers have discussed many ways in which we in fact can learn, for instance, from our engagement with literary fiction. We can gain insight into the inner life of possible people much different from us, we can draw general lessons about life and even gain knowledge on how to do certain things: maybe how to settle a dispute, how to be a good friend, how to describe certain emotions.

Can fictional art also show us what we should care about? I think it can – by actively engaging us. We commonly admire the author or artist for their creativity, for presenting something that we, the audience, can consume or can learn from. For a long time in the history of thinking about art, the creative artist has been understood as facing a passive audience. However, consuming art is by no means passive, and learning from art isn’t either. We have all recommended a book or performance to a friend, only to hear that they didn’t get past the first few pages or didn’t see what we saw in the performance. We react with disappointment to another’s inability to relate to art in the same way as we do. This is because an engaged, appreciative, understanding audience is an active audience, even a creative one. How so?

When we try to make sense of what is presented to us in art, we use our imagination. When we imagine, we tab into our memories, such as visual, auditory, olfactory etc. mental images, and those memories are linked to emotions and often to what we value. Imagining thus connects those emotions to the topic we are presented with, even if the happenings are fictional.

One of the most fascinating aspects of art is that it can present facts or ideas in ways we haven’t seen before. An author tells a well-known story in a way we haven’t heard, a painter paints an object in a way we haven’t seen, or a director puts a theater piece on stage in a novel way. Often, a new way of telling or showing em-

phasizes aspects we haven’t paid attention to, highlights a pattern we weren’t aware of, or builds connections between things we didn’t see as belonging together. When done well, art can, for instance, bring far-away matters closer to us, and sometimes rightly so: because we are in fact responsible, because they concern us, because they should sadden or worry us and potentially change our behavior.

Artists all over the world reacted to Alan’s death. We saw paintings of him happily playing in the sand, photoshopped pictures that show his image in various political contexts, drawings that give him the wings of an angel. This is where we, the audience, have to be active in using our imagination: we ourselves have to build the connections between Alan and a child playing in the sand, between Alan and world politics, between Alan and the wings of an angel. If we don’t build these connections in our imagination, we won’t understand the artwork and we won’t see and feel what we ought to. The imaginative effort has to come from us: we ourselves have to create the meaning of what we are presented with.

And because our imagination is linked to our memory and thus our emotions, we cannot be untouched by this exercise.

This is how art can work in similar ways as the Identifiable Victim Effect: A child we imagine about becomes our friend, his injustice becomes our problem, and the suffering of refugees in similar situations suddenly moves us. Just like the bias mentioned above, fictional art

“We are more likely to empathize with or help a person presented to us with a name, a face, or details about their life than we are to give money to a hospital, school or charity.” - Photo by Francesco Ungaro

can trick us: in real life, we shouldn’t be happy about a cold-blooded murder, yet some fiction makes us have such feelings.

But fictional art can also point to things and happenings in the real world that should matter to us.

The photograph of the child washed ashore is not fiction. But fiction can do similar things, because when we imagine, our emotional and motivational engagement is not about one single person or happening. That one person and what happens to them in our imagination rather stands for the suffering of many – that one person is a poster child for the injustice many are experiencing. This is how fictional art can sometimes connect us with reality.

“Art can point to things and happenings in the real world that should matter to us. Through our imaginative and emotional engagement, non-fictional and fictional art can connect us to what matters in the real world.” - Photo by filippofaccendini

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Eric Stener Carlson UN Society of Writers

When but Art Ruleth

This is my love letter to a town that literally – and literarily – brought me back to life.

I was recovering from a long illness months of agony, only to be relieved by morphine. I took well below the doctor’s prescription, just enough to take the edge off the pain, because I still wanted to feel alive, I still wanted to write.

But I had very few moments of creativity, sometimes just briefly at 3 a.m., between the dead-zone of medicine and the chronic pain.

I was also sick in another way, and here I’m not being metaphorical. I was physically sick of screens, of apps, of facial recognition, social media, and updates of things I’d never wanted in the first place. All of that, like morphine, was the enemy of my creativity, the enemy of my spirit. Books - the idea of books and writers and writing - was slipping from my grasp.

Throughout this dual-sickness, I made myself a promise – to travel to a small town in Wales I’d read about, overflowing with books. A place where I could lose myself in old volumes, smell old paper, sit in warm coffeehouses, talk to actual people about the things I love, and never use my cell phone except for calling home.

That place is called Hay-on-Wye – about 2,000 inhabitants, about 20 bookstores.

Just the idea of going there helped me through my rehabilitation, and, slowly, the pain loosened its grip on me.

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When I was well enough, I wrote up a long shopping list of books, and I took a plane from Geneva to Bristol, and then a train to Hereford, and a bus over the border to Hay. Throughout my trip, technology failed, but books, and people who loved books, prevailed.

I stayed in Baskerville House, a beautiful B&B just about a mile-and-a-half outside Hay. Other guests were interested in the same three things I’m interested in: books, dogs and horses. It was such a joy to come down to breakfast, to eat real eggs and real butter, and see real people sitting in their riding gear, while their dogs – tongues still wagging from their early-morning walk – lay under the tables.

Hay is everything I like about Wales – kind people, cobblestones and ancient houses, and green grass and ferns and trees constantly fed by the rain. But I was there for the books.

One of my favourites was Richard Booth’s Bookshop. It’s more like browsing the library of a country estate than a shop; in fact, it’s the type of place you might daydream about, a place where a kind, old uncle lets you explore over your winter holidays and, as a Christmas gift, he lets you take the book you love the most.

I came across a volume by Saki - probably my favourite short story writer of all time. I flipped to a familiar story, and I laughed out loud, very loud.

While I stood, laughing, I could vaguely see an elderly man through the space

between the books. He picked up a book and, reading through it, he also laughed aloud. I can’t explain how that simple experience filled me with such joy!

Without saying a word, we knew we both liked literature, but not a muscular “like”, a twitch of your finger across the screen.

It was an all-out guffaw. Our laughter mingled in those high-vaulted ceilings.

It was solidarity with the written word, and it was authentic.

I continued on to the Hay Cinema Bookshop. As the name suggests, it used to be a movie theatre, but now it’s an enormous, sprawling, rabbit warren of books.

Think of that last scene of the warehouse in Indiana Jones where they hide the Ark of the Covenant, but instead of crates of ancient treasures stacked everywhere there are shelves groaning under the weight of books.

A young woman (with punk-like hair) and I bumped into each other under “S”.

She was looking for her favourite author, Stephen King, but couldn’t find him under “K”. I was still looking for Saki, but there wasn’t any under “S”. Given the enormity of the place, the books could be anywhere.

chat, where people stake out positions like 19th century armies on maps, then maybe we’d have had a vitriolic exchange about which author was definitively the best, King or Saki, and ended up cancelling each other.

But in the real world, it didn’t matter if she’d never read Saki, or even if she disliked him. We’d just spent hours in a dimly lit aquarium of a bookshop, hunched over shelves, straining our eyes to read the faded titles, because we loved books.

Did you ever see the movie Four Weddings and a Funeral? There is a famous scene where a man gives a eulogy for his dead lover. He reads a W.H. Auden poem.

I wanted to find that poem, so I went to The Poetry Bookshop, a very orderly and bright little shop. I asked the clerk, but he didn’t know which book had it. It was then a middle-aged woman with a broad smile came up to me and said how much she loved that movie scene and Auden’s poetry.

We got to talking. It turns out, she’d never read anything by Saki, and I’d never read anything by King. She had all his works on audiobooks; but there was something special, she said, about feeling the weight of a real hardback book.

Then, something as simple as it was beautiful happened – the three of us banded together and searched the bookshelves for that poem. We finally found it in a lovely, purple-coloured paperback from 1969, Collected Shorter Poems 1927-1957. Then I sat down on a wooden chair, and I read the poem out loud, and we enjoyed the beauty of it together.

That’s the beauty of talking to a real human being – she had one opinion, I had another. If this had been an on-line

Finding the book was wonderful, but what I loved most about that experience was that we searched for it together. In-

stead of tapping a key, we, three strangers, were the search engine, fired by memory and solidarity and imagination.

In the end, I visited more than a dozen bookstores in the space of a weekend, each with its own story and conversation. But soon I was saying goodbye to Baskerville House, and heading back to Hereford in a cab, heavily-laden with books… However, the spirit of Hay still followed me.

Upon arrival at the airport, I learned that the country’s entire air traffic control system had collapsed. No flights in, no flights out, with families stranded all over the world, and airline officials repeating mechanically, “I can’t do anything, check the app, I can’t do anything, check the app…”

After it was clear I wouldn’t get a flight, I joined a long line outside in the rain, waiting for the bus back to Bristol. The strange thing is, I wasn’t that upset. I had a bagful of books, so all I needed was a candle to read by, and I’d be fine.

Finally getting into a bus, I sat next to a young woman from Bristol who’d also lost her flight. She kindly recommended some hotels in the area. Then she asked me what I did; I said I was a writer…and here’s where things got interesting.

It turns out, she was writing her first book – as she told me about it, there was a light in her eyes and an excitement in her voice that thrilled me. It was about a doctor who came to an island to cure a mysterious illness. I won’t say anymore, because I don’t want to ruin it, but I think it’s brilliant. More than that, I think it was kismet that, in the face of all that failed technology, and fatigue and rain, it was books (and, most importantly, the love for books) that kept rising to the surface.

I think it’s quite possible that this young woman’s book (let’s call it, The Book that Hasn’t Been Written Yet) will be the book that changes the world. It certainly changed me. I’d undertaken this trip thinking that the Book was dying, crushed by my pain. But after speaking

to this young writer, I knew the Book would live, and that there would still be a future for thoughtful, caring human beings. Like the protagonist in her manuscript, she offered a cure for my illness of technology - Hope.

I eventually found a room for the night.

The next day, still without a flight, I wandered down the tow path along the river to the cathedral. I walked through the empty, echoing building, watching the cold afternoon light filter through the stained glass windows.

I found my way to the little garden graveyard. Standing in the rain, I read inscriptions that were touching and full of love. One simple gravestone pocked with moss caught my attention. It was the grave of Hubert Walter Hunt (18651945), the organist of the cathedral from 1901 to 1945. The only inscription was “When but art ruleth”.

You could read that phrase in a lot of different ways. My interpretation is that one day there will be no more wars of the earth, no more wars of the mind, no machines, just the true expression of the human heart - just music and painting, books and peace.

Those words carved in stone expressed the hope that had lifted me out of the hospital bed. It’s what helped me survive the waves of chronic pain. It was the very reason I had travelled to Wales.

The view from Baskerville House, while reading and watching the rain.

That’s the place in our souls, a place of truth and beauty, memory and creativity.

It’s a bookstore hushed with the silence of the chapel. It’s a group of strangers gathering together to find the poem they love. It’s a young writer on a bus on a rainy, dreary night, dreaming of her magical island far away. It’s a place called Hay.

Note: All mention of companies, products and services do not constitute endorsements.

A street sign in Clyro, showing that Hay-on-Wye is just down the road.

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Pasha Bright Abstract Artist

From the Death Sentence to the Cure of Art In the heart of the Russian province, I found solace in an unexpected encounter with the artist Pasha Bright. His unassuming and honest life story cut into my boulder of grief with stinging purity.

Introduction and Translation by Yulia LEM, United Nations At 5 AM on 20 October 2021, I woke up to a storm of soul-ripping phone calls and messages. My grandmother has just died thousands of miles away. I summoned all my strength to survive the spectacle of the painfully public mourning, which is also known as funerals. I was the face of the family now, forced to be comforting and consoling, when all I wanted was for that face buried in the relief of tears. Which would not come.

The weight of grief grew in me like a deep frozen volcano, paralyzing every emotional fiber within, not letting me breathe, not letting me live.

Numbed by grief and reluctantly conceding to pouring cups and cups of acrylic onto an indifferent canvass, I joined Pasha in on his path into fluid art.

The pouring rivers and the unwrinkled stretches of linen soon transformed into a breathing soul where our emotions turned into ever changing colors, and the layers of sorrow began to drip down with acrylic darkness. The twisting flow of paint, rushing to tell us tale after tell, wriggling out responses, reaching deep into emotions, chasing the darkness with the same light and giggles as the light, begging for beauty and release, refusing to wait and luring us into the erratic dance of colors emptied my burning sole in one scoop, only to fill it with the ocean of calm.

In those moments, the simplicity of Pasha’s art mirrored the purity of his spirit.

Together, we navigated the transformative power of artistic healing, following the many lives that the paint will share.

The canvas became a floating vessel, allowing the frozen boulder of grief to melt away, replaced by a newfound sense of connection to the beauty within life’s darkest moments.

This is Pasha’s story. Told in his words.

Translated by me, Yulia LEM.

Pasha Bright. My life story.

I am Pasha Bright, the abstract artist born and raised in Ekaterinburg, Russia.

I come from a family of music educators.

My childhood years resonated with the harmonies of guitar, drums, and piano, culminating in the rough power of accordion, which I mastered. School concerts and lively discos marked my teen days. After school, however, I toiled as a laborer and loader on a construction site to support my two younger brothers.

Then, from 1995 to 1997, I served in the army.

Post-military life led me to friends and a fateful party where marijuana entered the scene, unaware of the subsequent but certain journey into the clutches of heroin. The pervasive presence of the drug, often dispensed freely by dealers, ensnared us all before we realized that we are at the point of no return.

And just like that, before I could even notice, addiction took hold, prompting a tumultuous cycle of job changes, unsuccessful rehab attempts, and a plunge into alcohol. The resurgence of drugs, including heroin, amphetamine, and LSD, branded me a hardcore addict. The abrupt interruption to my life occurred in August 2015—a stroke followed by an ischemic heart attack and brain swelling.

Erratic, ghostly memories of darkness and emptiness surrounded my journey to undeniable death. Until I suddenly awoke in the intensive care unit, defying the doctors’ grim prognosis.

My recovery began with the gradual subsiding of brain swelling, though hand function remained impaired, and speech was limited. Discharged with a death sentence and assigned a lifelong grave disability, I dedicated the next two years to resistance. I did not want to die.

In 2017, I reached out to the Roizman Charitable Foundation and its founder, Evgeny Vadimovich Roizman. That marked a turning point. Moved by my story, Roizman advocated for my health recovery, finding medical professionals who were ready to give me a chance.

He later confessed that no one, not even him, believed that I will walk again. I was given a year to suffer before the end.

Stubborn. After insisting on medical interventions, I regained the ability to undertake simple tasks. My newfound skills led me to interior decoration and decorative plastering, where I discovered abstract ‘fluid art’ paintings. These creations not only inspired me but also catalyzed a transformative process within. Intrigued, I delved into learning the techniques through online tutorials, chasing canvases, paints, and all the necessary materials.

Despite initial setbacks spanning seven months, each attempt at pouring colors onto the canvas subtly reshaped my inner world. A cleansing and rejuvenation occurred, replacing the shadows of my past with a newfound appreciation for life—free from the clutches of drugs.

And then one day, after hours and hours of pouring paint, I beheld before me a

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> Pasha Bright / From the death sentence to the cure of art

masterpiece of my creation. The ‘fluid art’ technique whispered, “You can do it!

I’m yours now, and I will always be with you!”

In 2019, I commenced my artistic journey, creating and successfully selling paintings. When I was strong enough, I crafted a piece titled “Fight” as a token of gratitude for Roizman. His reassurance, “Everything will be fine, Pasha,” accompanied by a handshake, gave me confidence and support.

The same year, I inaugurated my first solo exhibition at the Ural-Poster gallery, showcasing the transformative power of fluid art. This technique became a conduit for healing, liberating me from the vestiges of my dark past. Pain, resentment, and negative emotions flowed out, replaced by an influx of joy and positivity.

Emboldened by this experience, I continued to open exhibitions, sharing the joy of healing and positivity with attendees. My exploration expanded to collaboration with interior designers, infusing homes with the energy of Fluid Art. Since 2020, I’ve been conducting regular masterclasses, guiding participants through the creation of their colorful masterpieces. These sessions unfold as cathartic experiences, dispelling internal blocks, anxieties, and worries, leaving participants with a sense of calm and joy.

With over 250 masterclasses conducted to date, my mission has solidified—to share this healing meditative therapeutic technique with the world. My personal transformation, fueled by the discovery of abstract Fluid Art, has reshaped me into a person driven by the desire to create and share beauty and positivity.

As my paintings resonate with inner beauty and harmony, I find myself cleansed and fulfilled, radiating purity and positivity to the world around me.

This therapeutic-meditative Fluid Art technique has become a ray of hope,

34 | WHO - Arts & Health

guiding more and more individuals towards goodness, beauty, and positivity.

With each stroke of color on the canvas, I continue to share the profound joy of healing and artistic expression, one artwork at a time.come from a family of music educators. My childhood years resonated with the harmonies of guitar, drums, and piano, culminating in the rough power of accordion, which I mastered. School concerts and lively discos marked my teen days. After school, however, I toiled as a laborer and loader on a construction site to support my two younger brothers. Then, from 1995 to 1997, I served in the army.

Post-military life led me to friends and a fateful party where marijuana entered the scene, unaware of the subsequent but certain journey into the clutches of heroin. The pervasive presence of the drug, often dispensed freely by dealers, ensnared us all before we realized that we are at the point of no return.

And just like that, before I could even notice, addiction took hold, prompting a tumultuous cycle of job changes, unsuccessful rehab attempts, and a plunge into alcohol. The resurgence of drugs, including heroin, amphetamine, and LSD, branded me a hardcore addict. The abrupt interruption to my life occurred in August 2015—a stroke followed by an ischemic heart attack and brain swelling.

Erratic, ghostly memories of darkness and emptiness surrounded my journey to undeniable death. Until I suddenly awoke in the intensive care unit, defying the doctors’ grim prognosis.

My recovery began with the gradual subsiding of brain swelling, though hand function remained impaired, and speech was limited. Discharged with a death sentence and assigned a lifelong grave disability, I dedicated the next two years to resistance. I did not want to die.

In 2017, I reached out to the Roizman Charitable Foundation and its founder, Evgeny Vadimovich Roizman. That marked a turning point. Moved by my

story, Roizman advocated for my health recovery, finding medical professionals who were ready to give me a chance.

He later confessed that no one, not even him, believed that I will walk again. I was given a year to suffer before the end.

Stubborn. After insisting on medical interventions, I regained the ability to undertake simple tasks. My newfound skills led me to interior decoration and decorative plastering, where I discovered abstract ‘fluid art’ paintings. These creations not only inspired me but also catalyzed a transformative process within. Intrigued, I delved into learning the techniques through online tutorials, chasing canvases, paints, and all the necessary materials.

Despite initial setbacks spanning seven months, each attempt at pouring colors onto the canvas subtly reshaped my inner world. A cleansing and rejuvenation occurred, replacing the shadows of my past with a newfound appreciation for life—free from the clutches of drugs.

And then one day, after hours and hours of pouring paint, I beheld before me a masterpiece of my creation. The ‘fluid art’ technique whispered, “You can do it!

I’m yours now, and I will always be with you!”

In 2019, I commenced my artistic journey, creating and successfully selling paintings. When I was strong enough, I crafted a piece titled “Fight” as a token of gratitude for Roizman. His reassurance, “Everything will be fine, Pasha,” accompanied by a handshake, gave me confidence and support.

Emboldened by this experience, I continued to open exhibitions, sharing the joy of healing and positivity with attendees. My exploration expanded to collaboration with interior designers, infusing homes with the energy of Fluid Art. Since 2020, I’ve been conducting regular masterclasses, guiding participants through the creation of their colorful masterpieces. These sessions unfold as cathartic experiences, dispelling internal blocks, anxieties, and worries, leaving participants with a sense of calm and joy.

With over 250 masterclasses conducted to date, my mission has solidified—to share this healing meditative therapeutic technique with the world. My personal transformation, fueled by the discovery of abstract Fluid Art, has reshaped me into a person driven by the desire to create and share beauty and positivity.

As my paintings resonate with inner beauty and harmony, I find myself cleansed and fulfilled, radiating purity and positivity to the world around me.

This therapeutic-meditative Fluid Art technique has become a ray of hope, guiding more and more individuals towards goodness, beauty, and positivity.

With each stroke of color on the canvas, I continue to share the profound joy of healing and artistic expression, one artwork at a time.

The same year, I inaugurated my first solo exhibition at the Ural-Poster gallery, showcasing the transformative power of fluid art. This technique became a conduit for healing, liberating me from the vestiges of my dark past. Pain, resentment, and negative emotions flowed out, replaced by an influx of joy and positivity.

Pasha Bright giving master class

Pasha Bright exhibits his works

WHO - Arts & Health | 35

Xavier Bouvier Professeur d’ethnomusicologie, approches analytiques et ethnothéories, HESGE

Projets Musicaux à Dimension Sociale Les projets musicaux revêtant un caractère d’action sociale se sont multipliés dans les dernières décennies. Ce foisonnement s’inscrit en particulier sous l’impulsion du programme d’éducation musicale développé au Venezuela dès 1975 par José Antonio Abreu. Originellement appelé Action Social para la Musica, le programme est aujourd’hui nommé Sistema Nacional de las Orquestas y Coros Juveniles e Infantiles de Venezuela ou plus simplement Sistema.

Il est est basé sur une pratique musicale collective au sein d’orchestres, conçus comme instruments d’organisation sociale et de développement humaniste.

Au fil des décennies, le programme s’est considérablement développé dans le pays, touchant aujourd’hui approximativement un million de jeunes. Le modèle s’est exporté dans la plupart des pays d’Amérique Latine et au-delà.

Ainsi, Sistema Europe fédère des programmes de même nature dans les pays Européens, soutenus par des initiatives privées ou intégrés dans l’action des collectivités publiques.

José Antonio Abreu s’est exprimé maintes fois sur les valeurs qui sous-tendent le projet du Sistema. Dans sa conception, la musique apporte aux enfants la possibilité d’accéder dans leur formation à une échelle de valeurs spirituelles et humaines de haute transcendance.

Son idéalisme le portait à penser que la pauvreté matérielle pouvait être contrebalancée par la richesse spirituelle qu’apporte la musique. Il considérait cette dimension de son projet comme universelle, transcendant les frontières et les styles musicaux - alors que sa réalisation pratique devait s’appuyer sur les

36 | WHO - Arts & Health

spécificités et la diversité des cultures musicales. La pratique symphonique des grandes œuvres de la musique classique occidentale lui apparaissait comme un instrument idéal pour développer son projet collectif et ambitieux. Il accordait cependant beaucoup d’importance à l’identité artistique de son pays, et au fil des décennies, le Sistema a progressivement intégré une palette de pratiques collectives locales : musique caribéenne ou encore ensemble de guitares.

Le Sistema est sans doute la manifestation la plus visible d’une conjonction entre pratique de la musique et action sociale. Cette conjonction revêt des formes multiples : médiation de la musique dans le travail social, concerts à destination de publics ayant un accès limité aux lieux de production, co-construction de projets entre professionnels et amateurs, projets artistiques à valeur de diplomatie culturelle ou en lien avec la problématique de la Paix – tels que l’orchestre du Divan Occidental-Oriental de Daniel Barenboïm. De nombreux projets ont vu le jour en ethnomusicologie appliquée, une discipline relativement récente qui entend dépasser la recherche académique, à but de connaissance, pour s’investir dans des projets ayant un impact réel. De nombreuses publications ont construit le cadre méthodologique pour de tels projets, et un groupe de travail s’est constitué au sein de l’organe international de la discipline, le International Council for Traditional Music.

De nombreuses organisations non-gouvernementales sont actives dans des projets sociaux pour ou par la musique.

Des bonnes pratiques peuvent être tirées

de leurs expériences : construire les programmes avec les communautés, et les intégrer aux activités courantes, penser les interventions à long terme, suivre des modèles flexibles et agiles, laisser la place à la créativité et à l’innovation tout en respectant les patrimoines culturels.

Certains programmes visent à la thérapie ou au soulagement en situation de crise, d’autres ont l’ambition de former des jeunes musiciens jusqu’à leur donner la possibilité de gagner leur vie comme musicien. Tous intègrent une dimension d’apprentissage et de travail commun.

Cette visée d’excellence, de dépassement de soi, tend, dans une vision humaniste, à faire le meilleur usage de l’art musical pour la construction des personnes et des communautés.

Les institutions d’enseignement professionnel de la musique ont engagé une réflexion au sujet de cette dimension sociale de la profession. Financé par la communauté Européenne, les projets Strengthening Music in Society et Empowering Artists as Makers in Society de l’Association Européennes des Conservatoires (AEC) ont interrogé la responsabilité sociale des musiciens et des institutions qui les forment.

Dans de telles actions, la question de la diversité des traditions musicales et de leur préservation revêt une importance centrale. Parmi les programmes qui conjuguent préservation et action sociale, on peut citer à titre d’exemple les actions du Centre Ustatshakirt du Kirghizistan, une organisation non-gouvernementale fondée en 2003 avec le support du Aga Khan Music Programme.

Ustatshakirt est la version en langue kirghize du persan ustod-shogird, une expression signifiant maître-élève. Elle caractérise le mode de transmission traditionnel de toute l’Asie centrale, non seulement dans le domaine de la musique mais également dans de nombreux arts appliqués et professions. La fondatrice du programme, Dr Raziya Syrdybaeva l’a conçu en tenant compte de la situation spécifique de la culture de son pays. Sur un fond de traditions musicales kirghizes riches et diverses, la période de modernisation durant le 20e siècle a amené une forte occidentalisation de la musique et de ses institutions, avec la création de conservatoires sur le modèle de ceux de St Pétersbourg ou de Moscou. Cette modernisation a permis le développement d’une culture classique occidentale de haute qualité, mais au détriment parfois des arts traditionnels kirghizes.

Ustatshakirt vise à rétablir une pratique des musiques traditionnelles kirghizes. Le programme principal du centre, Umtul, propose aux écoles primaires une formation dans les arts kirghizes par le moyen de cours et d’ensembles collectifs de komuz, un instrument traditionnel à cordes pincées. Un programme complémentaire Muzchyrak, vise à la formation professionnelle et continue des professeurs de musique, et à la distribution d’instruments. L’impact du projet est réjouissant et plus de 10’000 élèves et 600 professeurs ont été formés par ce système. La cohérence, le soin et l’ambition du centre Ustatshakirt et de son équipe de formateurs garantissent le potentiel de durabilité du projet, qui vise à devenir un programme national.

La Haute école de musique de Genève collabore de longue date avec divers programmes à dimension sociale, tels que El Sistema au Venezuela, le programme NEOJIBA au Brésil, le Conservatoire Edward Saïd en Palestine, ou encore le programme du RET International à Mardin en Turquie. Les étudiants de la HEM sont appelés à enseigner dans ces structures, apportant leur compétence instrumentale, et leur connaissance du répertoire occidental. Rapidement cependant, l’idée s’est fait jour de développer une circulation bilatérale des cultures, et de profiter de ces échanges pour faire entrer les traditions du Moyen-Orient dans l’école. Nos partenaires ont accepté de nous envoyer des étudiants avancés ou de jeunes professeurs pratiquant les traditions musicale arabe classique ou turco-ottomanes.

Au-delà d’un répertoire d’une richesse considérable, ces musiciens ont apporté leur excellence en matière d’ornementation et d’improvisation, un domaine dans lequel les praticiens de la musique classique écrite manquent d’expertise avancée. Un ensemble oriental s’est constitué au sein de la HEM, qui rencontre un grand succès auprès des étudiants et du public.

Dans ce type d’échanges bilatéraux, le maître devient étudiant d’une tradition autre, et l’étudiant devient enseignant de sa propre tradition, dans un double rôle identifié par les Models for intercultural education de l’UNESCO. D’excellents musiciens classiques se retrouvent ainsi dans la position de débuter dans des pratiques qu’ils ne maîtrisent pas, et qui ne sont que partiellement transposables ou réductibles à la culture d’une musique classique « internationale ».

Le domaine de la musique est un lieu fascinant d’observation des identités culturelles et des relations géopolitiques.

Souvent présentée comme un langage universel, l’art musical se décline en réalité en une palette infinie de pratiques locales, issues de traditions séculaires, qui forment une écologie culturelle fragile. Œuvrer à la résilience et à la durabilité de ces pratiques, un bien public mondial, c’est garantir une diversité culturelle qui permet aux traditions musicales d’entrer dans un riche dialogue, de s’inséminer l’une l’autre, forgeant des pratiques nouvelles que nous ne faisons que commencer d’entrevoir.

L’UNESCO s’est exprimé sur l’importance de l’intégration de la culture dans les processus, les stratégies et les politiques de développement dans l’ensemble des politiques publiques : réduction

ALDHARBALALAHMAR Aga Khan Music Program, Ecole de musique Al Dharb Al Ahmar, Caire, Egypte. Atelier avec des étudiants de la HEM Genève, février 2023.

Photo Xavier Bouvier

de la pauvreté par l’emploi, compétences et emploi dans le secteur culturel, renforcement de l’éducation de qualité pour tous et de la justice sociale, en passant par la fourniture de réponses adaptées au contexte pour favoriser la durabilité environnementale. Plutôt que d’être considérée comme un domaine politique isolé, l’UNESCO propose une vision de la culture comme dimension transversale favorisant un changement de paradigme vers des approches inclusives, centrées sur les personnes et adaptées au contexte.

Nadya Shelegoff Portland State University

OK’TAVA Heals Hearts through Arts In the gritty reality of Geneva, where deeply rooted traditions meet the harsh modern-world challenges, there’s a place that does not deal in fancy talk or clinical cures. It is called OK’TAVA, an open arts studio. It is not merely a haven for artistic expression. For some, it is a ray of hope in a world drowning in the noise of verbal communication that often fails to bridge the gaps created by displacement, isolation, and the relentless march of time. This is the place where healing doesn’t need words but paints a canvas of solace, a refuge where the brushstrokes speak louder than any therapy session ever could.

does not fit the lock anymore. Especially when a refugee fleeing a war cannot be cured by traditional counseling or even simple soothing words. That’s where the convictions of OK’TAVA kick in.

Let me take you straight to the core of OK’TAVA, where a young Ukrainian girl, a refugee in this foreign land, fought her battles not with words but with the rebellion of her paintbrush. Anorexia and mental storms held her captive, and traditional counseling and even art therapy was seen by her as the enemy. She saw it as a clinical cure, a prescribed fix for a soul that craved the soothing touch of painting instead.

I have seen the power of art, the kind of healing that does not wait for words to catch up. The story of this girl? It is not a rarity. It is but a snapshot of a global reality. Therapy, with the stigma tracing it in so many corners, needs reimagining and rethinking. OK’TAVA is stepping on this path. They call it healing through art, not art therapy. Guided by Vicky TSIAOUSI and invited artists, all those who partake travel around the world in Greek boats made of clay, adorned by Tibetan prayer flags, soothed by Celtic mandalas, invigorated by Australian aboriginal art, cured by candlelit yoga and meditation, replenished by cooking classes and nurtured by music, dance and singing.

I get it. I am a classical pianist who escaped the sorrow and violence in the Soviet Union through the eloquence of music. In the healing space of OK’TAVA, the story of this Ukrainian girl struck a chord in my soul.

In my view as a musician with a difficult life story in tow, U4U and OK’TAVA are tearing down the walls of conventional therapy. Their key message is that in a world stormed by the noise of gadgets, torn apart by a pandemic, and fractured by climate change and violent conflicts, verbal communication is a rusty key that

Imagine arriving in a new country, a stranger in a strange land, your pain screaming louder than your words ever could. The young Ukrainian girl felt that.

She resisted art therapy, not because she was stubborn, but because therapy felt like medicine. That’s the thing about words – they can be medicinal, sterile, and cold. And simply incomprehensible, when spoken in a foreign language.

Words matter, and this shift is more than just semantics. It is a counterbalance to the weight that society places on the term ‘therapy.’

The urgency of this is not lost on me, on us. In a world dealing with a mental health crisis that wears many faces – personal grief, military chaos, physical

illnesses, natural disasters, and unaddressed violence – we cannot afford to be shackled by the limitations of words.

As migration reshapes our world, the traditional therapist’s toolkit is not cutting it. OK’TAVA is only testing its open heart for now, offering a haven where healing is not confined by language but dances freely through brushstrokes, rhythmic movements, smell and touch, paint and canvass, and the melody of music. The silent cries of the displaced, the distressed, and the disheartened find a voice in this unspoken language of art.

I have experienced the power of music through my own healing, and OK’TAVA extends that power to every form of art imaginable. The term ‘healing through art’ is a welcome ray of sunshine, quieting the clinical vibes that society associates with ‘therapy.’ It is not about diagnosis. It is all about rediscovery and release. A journey where vulnerability is not a weakness but a steppingstone to a painted calm of the body and soul.

The urgency is real. The aftermath of a pandemic has left us gasping for connection, giving up on ourselves in isolation, and grappling with grief. The need for alternative forms of healing is louder than ever.

Picture this – a symphony of life conducted by OK’TAVA, orchestrating a blend of artistic expressions that echo the diverse melodies of human experience. U4U’s vision finds its fulfillment here, extending a compassionate hand to those in distress and reshaping the mental health support landscape.

Reinterpreting classic paintings

The future of humanity’s well-being is not scripted in the monotony of verbal communication but in the expansive realm of artistic expression. OK’TAVA and U4U beckon us to listen to the silent cries, to witness the profound impact of healing through art, and to join a movement that embraces the urgent and transformative power of creativity.

Let us step into this symphony, where every note, every brushstroke, becomes a step towards resilience and renewal.

Knitting Mandalas in the sun

38 | WHO - Arts & Health

WHO - Arts & Health | 39

Kevin Crampton World Health Organization

Return of the WHO Art Gallery During November 2023, the WHO Art Gallery briefly returned for a micro exhibition in Geneva headquarters, to kick off plans for a longer-term initiative.

Bringing colleagues’ creative creations into the workplace for a splash of colour and a satisfyingly nosey look at what our talented peers get up to in their spare time.

In 2019, a random conversation in the WHO coffee bar led to a full-blown exhibition of artwork created by WHO colleagues, friends, family, and indeed anyone associated with the organisation in any way. The coffee chat noted that there were some fascinating, hidden talents among our co-workers and that we’d be interested and curious, in fact downright nosey, to bring that into he workplace to discover and share.

The beneficial effects of the arts on mental health are well established and the exhibition that was stood up in the WHO library in 2019 was hung on one of the organisation’s key values, that of “people caring about people”.

As such the exhibition did not have a public health theme. In fact, it had no theme at all other than celebrating our workforce and inviting them to bring their crafty endeavour to a wider audience. There was a launch party, the UN Choir graced us with a performance alongside a solo artist Chiara, and the Director General recorded a welcome speech. A ribbon was cut, a nice red wine was drunk, and some 120 works

40 | WHO - Arts & Health

were hung over a couple of months with electronic art and paintings from those that could not come to Geneva displayed on a screen.

And it was a lot of fun! In fact, the volunteer organisers made this their golden rule that if they were going to give time to the endeavour then it had to be enjoyable and spread some love, put some smiles on faces and dish out some feel goodness.

The exhibition wound up just before Covid-19 came along and shut almost everything else down but at the return to the office, the request came up again and again that people would like to see the WHO Art Gallery resurrected. Artists from 2019 had new works to share and a whole new gaggle of sickeningly gifted guys and gals were keen to share their paintings, photographs, sculptures, drawings, electronic art, poetry etc.

So, we’re back; between 6th and 15th November, a small but we like to think perfectly formed pert peach of an exhibition was mounted on borrowed easels in the mezzanine area above the WHO restaurant in the main building. Featuring paintings by Geneva colleagues, framed photographs, three-dimensional paper art and a full-length handmade ball gown, the collection of around 15 works announces that the WHO Art Gallery is back as the prodigal son of its 2019 forebear, and it is hungry with unashamed ambition.

One key ambition is to expand this beyond just a Geneva and headquarters initiative, but to make it WHO-wide. With that in mind, the art gallery entered the 2023 WHO LEAD Innovation Challenge at the start of the year, in which community-led good ideas get put up for some organisational support and benefit from coaching from start-up leaders. The gallery successfully went through the process and was one of the five finalists chosen for support and some seed funding.

This support will primarily go into the creation of an eGallery, an online, virtual space for sharing artwork to WHO users anywhere in the world and a way of encouraging spin-off galleries in other locations. By the time you read this; the first eGallery should be up and running in its initial home on the WHO Photo Library website.

And the ideas and ambition doesn’t stop there, in fact half the problem is choosing what ideas deserve energy and support. Should we do a re-run of the “meet the artist” lunchtime sessions linked to the gallery; how about hands-on workshops, what about a guest artist in residence? How can we bring the fledgling WHO Poetry Garden group more fully into the fold to share their work and poetry reading recordings?

Can we restart the lunchtime concerts?

Ultimately this is a community-led deal… and it should be directed and guided by the feedback of the artists and those that enjoy the artwork. We want it to be a living and growing initiatives,

a few exhibitions per year ideally and a rich flow of material into the virtual space. Get in touch if you fancy being a part of that at whoartgallery@who.int .

Some quotes about the November exhibition from the artists themselves:

“I am delighted to be able to participate and see all of the other works.” – Ritu Sadana

“Being part of the art gallery is a good opportunity to meet like-minded colleagues. Art is a good contributing factor to mental health and wellbeing.” - Selma Sevkli

“Art is the other part of my life, there is work and there is art.” J.P. Le Gall - @Scalemixer

“I think it is a very good compliment; art is supporting the work and helping us find a good way to build the work part of our life experience.” - Francesco for Annalisa Corsi

La chambre blanche - Patrick Mabialah © WHO Art Gallery Photo

Tiger - Danyi Zheng © WHO Art Gallery Photo

The WHO Exhibition Nov 2023 © Kevin Crampton

The True Cost - Victoria Durcheva © Victoria Durcheva

WHO - Arts & Health | 41

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