Conflict transformation is a holistic and multifaceted process of engaging with conflict. It aims to reduce violence, and to protect and promote social justice and sustainable peace. It requires work in all spheres, at all levels and with all stakeholders. Conflict transformation needs to be accountable to those directly affected by conflict. It is an ongoing process of changing relationships, behaviours, attitudes and structures, from the negative to the positive. It requires timely interventions, respect for the cultural context, patience and persistence, and a comprehensive understanding of the conflict. As conflict is dynamic and conflict transformation is an ongoing process, learning is a vital component.
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Images of Conflict, Impressions of Peace ~ 2012
Images of Conflict, Impressions of Peace ~ 2012 The Project Conflicts are caused by imbalances in the power structures, including access to resources and opportunities. There is a need for creative initiatives that inspire us, challenge us on a personal level as in the broader context so that we can start unlearning harmful attitudes and behaviours, and relearn how to effect transformation in our own communities. The uniqueness of communities and individuals need to be recognised and valued while respecting diversity and otherness. This requires long-term commitment and accompaniment of communities and individuals, learning and reflection and most importantly, the participation and commitment of all those involved. In Myanmar, although art plays a strong role in making experience visible, the majority of artists work in quite a closed way and in closed spaces, the same manner in which conflicts have been closed off, hidden from the public. Visual material presented in exhibits can be a powerful vehicle for dialogue on and transmission of personal experiences and stories, while also creating an open space for interaction around the organization of exhibits. Art can be a powerful outreach tool to promote discussions around conflict, violence and peace issues, as a vehicle to provide space for communities to freely interact and express their concerns and experiences, especially in fragile situations Myanmar is now facing. The project sought to challenge and inspire artists to become involved in understanding conflict and cultural approaches to peace, and to create culturally appropriate interventions and strategies for peace. The artists explored and reflected on their personal experiences of conflict and violence, initiated dialogue on personal understanding of conflict and developed skills for dealing with conflict, identified ways to transform conflict, to prevent violence and to promote a shared understanding of a culture of peace through art. This project encouraged an opening up of practice and participation in practice, developing and enabling their expression on a critical issue, which has so far been limited. The artists took the opportunity to review and develop their options to become agents for the promotion of human rights, initiators of dialogue, creators of alternatives, builders of peace, carrying a sense of purpose in building peace back into their own situations. The workshop provided new understandings and reflections, authentic social relationships, a sense of direction, and focused on common goals for reducing violence, and developing a sense of trust, solidarity and mutual respect to undertake collaborative action for peace.
Images of Conflict, Impressions of Peace ~ 2012
Aye Chan May was born in Mingun in 1990. She apprenticed with her father, Ko Ko, with Rahula and with Co Su. Rahula also taught her to play the violin. The artist is a professional lacquer and batik pattern designer.
The artist has painted a map that represents the country. Her techniques from material painting can be seen in the application of gold paint to trace its form. the contours of the land, the different regions and the diversity of the country are hinted at with the colours she uses. The artist envisions a Myanmar and her citizens with more appreciation and respect for her rich diversity.
Images of Conflict, Impressions of Peace ~ 2012 Co Su was born in Mandalay, in 1960. He first studied art under the famous cartoonist Aung Aung and his brother Kyin Su. He self-studied Chinese traditional painting from 1984 to 1991. The artist is one of the founders of the Mingun Fine Arts Gallery and the Mingun Oriental Fine Art Special Training Centre. The artist has featured in solo and group exhibitions since 1996 in Mandalay and in Yangon. He is famous for his depictions of the bamboo and the peacock. The artist prefers working with oil, water colour and ink.
The bamboo sways and bends but never breaks. For the artist, it is a symbol of resilience. He also draws on previous experience, where the outer layer of the bamboo was charred by fire but the shoot was able to be transplanted in fresh soil. The artist realizes the importance of resilience in combating violence and working in conflict transformation.
The artist usually paints fighting peacocks but in this art work, he portrays a colourful bird dancing on a path paved with flowers to signify that there will be a time for the people to celebrate and to dream. The bird is shown with colours of fire to express that the work of peace needs passion and courage.
Images of Conflict, Impressions of Peace ~ 2012
Contemporary artist, Eain Aye Kyaw, born in Yangon, in 1981, graduted from the Yangon State School of Fine Art in 2004. He studied under U Than Kywe, U Win Tint, U Maung Oo, U Kyaw Thurain, Ko Aung Naing Maung and Saw Khu Shee. He has exhibited his works in about 50 group and solo shows. His preferred medium is acrylic.
The artist uses colours that are contrast to reality, which signifies the importance of thinking “outside and beyond” the box when working in conflict transformation and peace building. He has included symbols that can either cause conflict or support peace depending on how humans utilise these. An important aspect is how he incorporated ideas from the people painting around him into his own painting, allowing harmony with "the other." The road is the divider of the two sides of the painting. There are strong connections between his painting and the Yangon collaborative piece.
Images of Conflict, Impressions of Peace ~ 2012
Born in 1978, in Kyaukpadaung, Htoo Aung Kyaw holds a certificate from the Yangon State School of Fine Art. He works in installation, performance art and painting, and has featured in both local and overseas shows from 2004 to date.
The artist explores conflict and the violence in the light of Buddha’s Paticcasamuppada - cause and effect co-arise and everything is a result of multiple causes and conditions. The artist uses the technique of layering (Shan hand-made paper) on acrylic, and adding in objects (the CD fragment).
Images of Conflict, Impressions of Peace ~ 2012
Ko Ko is an artist and writer from Mingun. Born in 1950, he studied art from his cousin U Hla Han (tempora, water colour) and from U Tun Nyunt. The artist is one of the founders of the Mingun Fine Arts Gallery. He has featured in exhibitions since 1982 and published several books since 1996.
Images of Conflict, Impressions of Peace ~ 2012
Min Thar Gyi was born in 1981. He works in installation, painting and performance art, and has exhibited widely over the years.
The artist uses the image of Buddha’s understanding of the middle way in order to gain enlightenment. The Pyinsatheinkha messenger demonstrates that the path to enlightenment is neither too taut nor too loose by playing the well-tuned Bēluwa harp. When faced with conflict, our words, actions and choices too need to be discerned carefully and balanced so that we cause no harm nor exacerbate the situation.
The artist depicts Mother Earth as the sacred keeper of history. He wishes to express that our earth keeps the memories of birth, destruction and rebirth of every era, and continually nourishes in hopes of a better future.
The artist usually paints Chinese script symbols but worked with more open, free flowing shapes for these pieces. In both his paintings, the artist portrays process, life, and growth, and demonstrates how these continue in a spiral rather than in a closed circle.
Images of Conflict, Impressions of Peace ~ 2012
Born in 1974, in Yaè Township, Mon State, San Zaw Htway began creating collage art, making use of any available materials during his solitary confinement. Today he continues his artistic creations, participates in social works and teaches children to make collage art.
The artist protests against war. War is depicted as all-encompassing, all-consuming and violent. In spite of this, the artist sees sparks of hope.
The artist depicts the transformation of conflict and crisis into a hopeful vision for the future.
Images of Conflict, Impressions of Peace ~ 2012
Soe Min Aung (Ko Min) was born in Mingun, in 1983. He has been apprenticing with the Mingun artist community since 2008. The artist manages his art gallery in Mingun.
The Manau poles form part of a significant Kachin tradition - the Manau Festival, which originated as part of spirit worship. Twelve Manau poles are fixed in the very centre of the enclosure set aside for the celebrations. The basic pole designs are diamond shapes and curved lines. The artist depicts the Kachin’s Manau as a symbol of solidarity with all peoples facing war, displacement and dehumanization.
Images of Conflict, Impressions of Peace ~ 2012
Images of Conflict, Impressions of Peace ~ 2012
Mingun Collaborative Piece: As in many parts of the region and the world, drought and water shortage are sources of conflict in this community. The images are to be read from left to right, as the artists depict the effects of drought and water shortage, where corruption, scarcity, poverty, destruction are widespread, and then slowly work towards the transformation of the situation with rain, lush, green environs. The inclusion of religious symbols demonstrates the important role of spiritual practices in keeping the balance of man and of nature.
Yangon Collaborative Piece: This canvas shifts from right to left. Pansodan Street is symbolically depicted… where there is chaos and crisis on the right, with conflicts due to injustice, inequality. The peacock feather represents the youth of Yangon, who will “sweep away” remnants of injustice, discrimination, corruption, and on whom depends the transformation towards a more just, equal, diverse and holistic society. The artists envisage the dignity and equality of the diverse ethnicities restored, and depict them as standing together as one people, one humanity.
Images of Conflict, Impressions of Peace ~ 2012
Born in Lamine, Mon State, in 1978, Tamalar graduated from Yangon Art School in 2004. He studied under U Than Kywe, U Win Tint and U Kyaw Thurain. He has featured in around 25 group exhibitions from 2001 to date. He paints abstract, landscape patterns and old sculpture.
The artist explores the manner in which natural resources become a source for conflict through the colours and images of the trees, and the continuous nature of working in conflict transformation and peace building, by using images of unfinished houses.
Images of Conflict, Impressions of Peace ~ 2012
Than Zaw Oo was born in 1992, and is studying painting from his cousin, Thet Su.
The artist depicts a group of different persons moving forward. He explores how we are unique and yet part of a larger human family. He wishes to express the need for common values, attitudes and vision in working for conflict transformation.
The artist depicts nature as a source of conflict but also in crisis due to deforestation, pollution and climate change.
Images of Conflict, Impressions of Peace ~ 2012
Thein Win was born in Sagaing, in 1959. He apprenticed with U Nyi Tin (Mandalay), studied at the Mandalay School of Art in 1979, apprenticed with U Khin Maung Than in 1981, and with U Paik from 1982 until 2004. His focus was commercial art. The artist won first prize at the Mandalay portrait/modelling contest (oil) in 1996. His favourite medium is oil.
The artist depicts Buddha cutting off his hair, in renouncement of all worldly goods. The image signifies the importance of focussing on our real needs in order to create commonalities in the dialogue for peace.
The artist uses technically opposing colours to show conflict, and at the same time depicts a stream of light where they meet to express that conflict can be transformed into positive opportunities for the future.
Images of Conflict, Impressions of Peace ~ 2012
Thet Su was born in Taunggyi, Shan State, in 1979. She has featured in a number of group exhibitions and female artists’ exhibitions since 2006.
The artist portrays conflict (red paint) and peace (blue paint) through the colours, but paints them against a white background to express that while peace may seem elusive it is always present and attainable.
The artist depicts hands to represent the people’s pleas to stop war but these fall on deaf ears as war is waged and there seems little hope for peace.
Images of Conflict, Impressions of Peace ~ 2012
Zaw Zu Zin was born in 1975 in Shwe Bo. He graduated from the Mandalay School of Fine Arts in 1997. The artist’s works include the backdrop paintings of the Mandalay National Theatre. He has featured in numerous group exhibitions. The artist and his late father, Rahula, organised the 2-Rhythm exhibition for their duo show. He manages his own gallery in Mingun.
Images of Conflict, Impressions of Peace ~ 2012
Born in Yangon, in 1990, Zwe Mon graduated from the Yangon State School of Fine Art 2009. Her mentors include U Kyaw Thu Yaein, U Maung Oo, U Win Tint, U Than Kywe, U Mon Thet, and U Zwe Yan Naing (ZYN). The artist uses a piece of comb to apply each stroke of paint delicately and creatively to create effects of shadow and light, and layers of texture on the canvas. The artist portrays the Lokanat, the god of the world. The Lokanat is the symbol of art and peace, who brought peace through playing music. In this painting, the god is seated on bullets with his robes soaked in the blood of war victims, holding a missile with flowers of hope arising from it. The words in Burmese translate into greed, anger, craving. It shows the horrors of war and yet sees a glimmer of hope for peace. She has adapted traditional images of the god to reflect on new understandings of peace and conflict transformation.
The artist portrays the stage of life with its ups and downs, its twists and turns, and uses collage to depict the causes and the victims of conflict. The artist depicts the burden of education on the parents and the children, the high price that we pay in order to get a good education, and how structural conflict affects the education of the young in Myanmar. The artist also envisions boys and girls receiving equal access and benefit from school.
Images of Conflict, Impressions of Peace ~ 2012
Images of Conflict, Impressions of Peace ~ 2012
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The Conflict Tree In analyzing conflicts, the participants recorded a range of opinions concerning questions such as: What is the core problem? What are the root causes? What are the effects that have resulted from this problem? What is the most important issue to address? The Trunk represented the core problem; the Roots represented the root causes; the Branches represented the effects. The conflict tree offered the participants a method to identify the important issues and sort these into three categories: 1) core problems, 2) causes and 3) effects. Many issues could be seen as both causes and effects of the conflict. Once the issues had been classified into categories, the participants began to reflect on, discuss and decide which issues they wished to address first in dealing with the conflict.
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Images of Conflict, Impressions of Peace ~ 2012
Images of Conflict, Impressions of Peace ~ 2012
Principles: a. Life is sacred. Human life is an absolute value. b. Active non violence believes in the consciences of persons. c. Active non violence relies on the power of truth and love. d. It develops means/strategies to bring about justice and reconciliation. e. There is purity of means and ends. The means is already the end in process; the vision must be embodied in the means. f. The willingness to suffer and to lay down one’s life. g. Active non violence starts from where most people are most deprived of their right and are suffering from injustice. Active Non Violence Definition: A system of personal, social and international change. Based on the force of truth and the power of love in order to‌ Aim: Overcome evil, obtain justice and bring about fraternal relationship and reconciliation. Assumptions: a. The goal is not to win or to prevail but to arrive at the truth of the situation. b. Both the victims and the aggressor share a common humanity. c. Active non violence appeals to the humanity of the aggressor in the hope of triggering a reciprocal response from him. d. Active non violence seeks to destroy enmity, not the enemy. The non violent person is willing to accept the consequences of his non violent actions. Characteristics: a. It is aggressive (not passive) against injustice; it is insistent in remedying the unjust situation. b. It suffers for and weeps over injustice. c. It understands the logic of violence and finds alternatives; it is creative. d. It never gives up; it is full of hope.
Mechanism: a. Proclaim the truth. b. Protest the injustice. c. Penetrate the conscience of the adversary. d. Part from injustice yourself. e. Pay the price. f. Pray incessantly.