Books by Maria Elisa Pinto-Garcia
Este informe presenta las lógicas, dimensiones y magnitudes del problema de las Minas Antipersona... more Este informe presenta las lógicas, dimensiones y magnitudes del problema de las Minas Antipersonal (MAP) y Remanentes Explosivos de Guerra (REG) en Colombia.
Analiza no solo la afectación que estas armas ocasionan en la corporalidad de sus víctimas directas, sino que amplía el análisis hasta la forma en que se ven perturbadas las relaciones familiares y comunitarias, así como a las huellas que quedan en los territorios afectados por estos artefactos explosivos.
El informe también es un acercamiento a las respuestas institucionales y a las acciones resistentes de víctimas y comunidades afectadas, y se acompaña de una guía que presenta la metodología de reconstrucción de memoria empleada en los talleres durante el trabajo de campo. En ellos, el enfoque de discapacidad y el reconocimiento del cuerpo como lugar esencial de memoria fueron centrales para su desarrollo. Se trata además del primer informe con perspectiva de memoria histórica en Colombia que reúne simultáneamente las voces de víctimas civiles y de la Fuerza Pública, en un momento de coyuntura histórica donde el fin del conflicto armado nacional parece vislumbrarse.
Papers by Maria Elisa Pinto-Garcia
Journal of International Development, 2022
This work explores the results of a creative and art-based intervention to foster reconciliation ... more This work explores the results of a creative and art-based intervention to foster reconciliation in Colombia. The paper presents a novel methodology defined as ‘Art for Reconstruction’, piloted with victims of violence, veterans of armed forces, and former members of illegal groups between 2018 and 2019 in Medellín, Colombia. The initiative encouraged trauma healing, reduced intergroup hostility, and fostered cooperation and willingness to reconcile among previous enemies. Results show that creative and art-based approaches, like Kintsugi, are promising to transform citizens' interactions at the micro-level. This project presents how art and social engagement facilitate transitions from war to peace and reconciliation.
Music, Power and Liberty. Sound, Songs and Melody as Instruments of Change, 2016
Cesar López is a Colombian musician who created the Escopetarra: a shotgun turned into a guitar. ... more Cesar López is a Colombian musician who created the Escopetarra: a shotgun turned into a guitar. López has employed the escopetarra in different workshops with victims, ex-combatants, and in general, with vulnerable populations of Colombia. In personal communications with the author, the artist argues that these musical encounters are spaces for discussion about the message behind the instrument, which often entails healing processes and cathartic experiences. Usually, the participants feel free to tell their stories and express how they feel (inner freedom). In addition, López is inspired by these stories and through his own compositions intends to raise public awareness and balance power by convincing the Colombian public opinion to understand and accept these people’s needs (music for social change). The author carries out semi-structured interviews in order to assess in a less subjective way the impact of the instrument on the participants and the listeners of López’s music. The aim is to explore to what extent the escopetarra leads to process of inner freedom and social change (Paper writen in 2012).
Colombia is a war-torn society where an important number of conflict-related songs have been comp... more Colombia is a war-torn society where an important number of conflict-related songs have been composed by victims at the grassroots level. In order to develop a better understanding of the scope of music as a tool for reconciliation, this paper examines some of these songs and analyzes the extent to which this music may or may not contribute to reconciliation in both, the audience and the composers. To do so, semi-structured interviews were conducted with the composers, and a focal group exercise with ex-combatants was organized in order to analyze the impact of these songs on the listeners.
The results of the analysis indicate that these songs entail opportunities but also limitations regarding reconciliation. On one hand, they have constituted storytelling tools that contribute to the historical memory of the conflict in Colombia in a way that is accessible for all types of public. In addition, the process of composition by victims and the musical activity itself embody an outlet through which composers release feelings and redefine identities. Moreover, in an audience made up ex-combatants there were some expressions of sympathy, understanding, and trust. However, the research shows contrary effects as well. The content of some songs may incite revenge, reinforce stereotypes and mistrust, and enlarge differences between the sides instead of reducing the distances. The results indicate that music may embody several opportunities but also limitations as a tool for reconciliation.
El Reclutamiento Ilícito de Niños y Niñas a Grupos Armados Ilegales, Oct 16, 2013
"Colombia is a war-torn society where an important number of conflict-related songs have been com... more "Colombia is a war-torn society where an important number of conflict-related songs have been composed by victims and ex-combatants at the grassroots level. In order to develop a better understanding of the scope of music as a tool for reconciliation, this thesis examines some of these songs and analyzes the extent to which this music may or may not contribute to reconciliation in both, the audience and the composers. To do so, semi-structured interviews were conducted with the composers, and two focal group exercises were organized in order to analyze the impact of these songs on the listeners. A group of victims listened to an ex-combatant’s song, and a group of ex-combatants listened to a song composed by victims.
The results of the analysis indicate that these songs entail opportunities but also limitations regarding reconciliation. On one hand, they have constituted storytelling tools that contribute to the historical memory of the conflict in Colombia in a way that is accessible for all types of public. In addition, the process of composition by victims and ex-combatants and the musical activity itself embody an outlet through which composers release feelings and redefine identities. Moreover, in the audience made up of victims and ex-combatants unrelated to the composers, there were some expressions of sympathy, understanding, and trust. However, the research shows contrary effects as well. Some of the listeners expressed neither positive thoughts nor feelings towards reconciliation. In addition, the content of some songs may enlarge differences between enemies or may be manipulated with propaganda purposes. The results indicate that music may embody several opportunities but also limitations as a tool for reconciliation.
"
Peace & Policy, Vol. 15, 2010
Within the academic literature regarding peacebuilding, there is not a wide range of research on ... more Within the academic literature regarding peacebuilding, there is not a wide range of research on the link between art and human rights. Taking the paradox of outcome and process used by J.P. Lederach to describe the fundamental values of peacebuilding, this paper argues that there are experiences which link memorialization efforts of human rights violations and music, and presents case studies from the conflict in Colombia to support its argument. The music has contributed to peacebuilding for two reasons. First, the message of the lyrics and the positive effects of the lyrics themselves - understood as the outcome - have constituted a storytelling tool to describe past abuses of human rights and emotions related to them. Second, the composition of the music by actors implicated in the conflict - understood as the process - has contributed to overcome the pain, and start a new beginning. The analysis concludes that music is the means by which victims and perpetrators were able to share similar feelings and interests concerning reconciliation and human rights abuse. By studying the referred cases, significant and paradoxical results were found, which might be used as valuable inputs for the difficult endeavor of rebuilding trust and relationships in a society that has faced a protracted armed conflict.
Conference Presentations by Maria Elisa Pinto-Garcia
En el postconflicto, es poco probable que el arte y la cultura sean una prioridad en la agenda de... more En el postconflicto, es poco probable que el arte y la cultura sean una prioridad en la agenda de los negociadores y líderes de la reconstrucción. De hecho, es más frecuente que sean vistos como inversiones que deben dejarse para el final, cuando las necesidades en términos de seguridad, empleo, infraestructura, etc., sean satisfechas (Cohen, 2005). En esta ponencia busco argumentar cómo el arte y la cultura no son una opción secundaria, sino parte esencial en las tareas del postconflicto y la reconciliación. A través de reseñas puntuales en la literatura de paz y conflicto, así como en la práctica de la construcción de paz a nivel mundial, mostraré evidencia empírica y teórica que demuestra por qué el arte y la cultura son fundamentales para alcanzar la paz y la reconciliación.
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Books by Maria Elisa Pinto-Garcia
Analiza no solo la afectación que estas armas ocasionan en la corporalidad de sus víctimas directas, sino que amplía el análisis hasta la forma en que se ven perturbadas las relaciones familiares y comunitarias, así como a las huellas que quedan en los territorios afectados por estos artefactos explosivos.
El informe también es un acercamiento a las respuestas institucionales y a las acciones resistentes de víctimas y comunidades afectadas, y se acompaña de una guía que presenta la metodología de reconstrucción de memoria empleada en los talleres durante el trabajo de campo. En ellos, el enfoque de discapacidad y el reconocimiento del cuerpo como lugar esencial de memoria fueron centrales para su desarrollo. Se trata además del primer informe con perspectiva de memoria histórica en Colombia que reúne simultáneamente las voces de víctimas civiles y de la Fuerza Pública, en un momento de coyuntura histórica donde el fin del conflicto armado nacional parece vislumbrarse.
Papers by Maria Elisa Pinto-Garcia
The results of the analysis indicate that these songs entail opportunities but also limitations regarding reconciliation. On one hand, they have constituted storytelling tools that contribute to the historical memory of the conflict in Colombia in a way that is accessible for all types of public. In addition, the process of composition by victims and the musical activity itself embody an outlet through which composers release feelings and redefine identities. Moreover, in an audience made up ex-combatants there were some expressions of sympathy, understanding, and trust. However, the research shows contrary effects as well. The content of some songs may incite revenge, reinforce stereotypes and mistrust, and enlarge differences between the sides instead of reducing the distances. The results indicate that music may embody several opportunities but also limitations as a tool for reconciliation.
The results of the analysis indicate that these songs entail opportunities but also limitations regarding reconciliation. On one hand, they have constituted storytelling tools that contribute to the historical memory of the conflict in Colombia in a way that is accessible for all types of public. In addition, the process of composition by victims and ex-combatants and the musical activity itself embody an outlet through which composers release feelings and redefine identities. Moreover, in the audience made up of victims and ex-combatants unrelated to the composers, there were some expressions of sympathy, understanding, and trust. However, the research shows contrary effects as well. Some of the listeners expressed neither positive thoughts nor feelings towards reconciliation. In addition, the content of some songs may enlarge differences between enemies or may be manipulated with propaganda purposes. The results indicate that music may embody several opportunities but also limitations as a tool for reconciliation.
"
Conference Presentations by Maria Elisa Pinto-Garcia
Analiza no solo la afectación que estas armas ocasionan en la corporalidad de sus víctimas directas, sino que amplía el análisis hasta la forma en que se ven perturbadas las relaciones familiares y comunitarias, así como a las huellas que quedan en los territorios afectados por estos artefactos explosivos.
El informe también es un acercamiento a las respuestas institucionales y a las acciones resistentes de víctimas y comunidades afectadas, y se acompaña de una guía que presenta la metodología de reconstrucción de memoria empleada en los talleres durante el trabajo de campo. En ellos, el enfoque de discapacidad y el reconocimiento del cuerpo como lugar esencial de memoria fueron centrales para su desarrollo. Se trata además del primer informe con perspectiva de memoria histórica en Colombia que reúne simultáneamente las voces de víctimas civiles y de la Fuerza Pública, en un momento de coyuntura histórica donde el fin del conflicto armado nacional parece vislumbrarse.
The results of the analysis indicate that these songs entail opportunities but also limitations regarding reconciliation. On one hand, they have constituted storytelling tools that contribute to the historical memory of the conflict in Colombia in a way that is accessible for all types of public. In addition, the process of composition by victims and the musical activity itself embody an outlet through which composers release feelings and redefine identities. Moreover, in an audience made up ex-combatants there were some expressions of sympathy, understanding, and trust. However, the research shows contrary effects as well. The content of some songs may incite revenge, reinforce stereotypes and mistrust, and enlarge differences between the sides instead of reducing the distances. The results indicate that music may embody several opportunities but also limitations as a tool for reconciliation.
The results of the analysis indicate that these songs entail opportunities but also limitations regarding reconciliation. On one hand, they have constituted storytelling tools that contribute to the historical memory of the conflict in Colombia in a way that is accessible for all types of public. In addition, the process of composition by victims and ex-combatants and the musical activity itself embody an outlet through which composers release feelings and redefine identities. Moreover, in the audience made up of victims and ex-combatants unrelated to the composers, there were some expressions of sympathy, understanding, and trust. However, the research shows contrary effects as well. Some of the listeners expressed neither positive thoughts nor feelings towards reconciliation. In addition, the content of some songs may enlarge differences between enemies or may be manipulated with propaganda purposes. The results indicate that music may embody several opportunities but also limitations as a tool for reconciliation.
"