Tag Archives: conflict resolution

Perspective-Taking

Introduction for Educators

An old and well-known parable tells the story of a group of blind men and an elephant. Originating in the Indian subcontinent, many versions have evolved over time, but each telling carries the same core element:

A group of blind men encounters an unfamiliar animal – something they are told is called an elephant. Curious about the creature but unable to see its form, they resolve to learn what it is by touch. Reaching out, each man felt a different part of the animal. The first man’s hand fell on the trunk – he proclaimed that the animal must be like a thick snake. The second man’s hand reached out toward a leg, arguing instead that the elephant must be like a pillar – a tree. Another, feeling the wing-like shape of the ear, quibbled that the elephant must be like a bat, to the disagreement of the man touching the tail, who stated the elephant was rope-like. So on and so forth, each man stepped forward, felt another part of the animal, and declared its nature. Lacking knowledge of the whole picture, however, none truly knew the elephant.

The moral of the story is to problematize the truth each man arrives at with their limited perception. While their subjective experiences may be real for them, that does not constitute an objective truth of the elephant itself. To bring the story into focus with the concept of perspective-taking, in some versions, the blind men gather together to share their experiences to create a greater picture of the elephant as a whole, arriving at a shared truth. By understanding what the other participants were doing and their rationale behind it allowed them to incorporate a broader and more creative understanding of the elephant.Perspective-taking, the “active cognitive process of imagining the world from another’s vantage point or imagining oneself in another’s shoes to understand their visual viewpoint, thoughts, motivations, intentions, and/or emotions,” is a process by which we can “try on” another’s perspective. It has important implications for cognitive development, and can broadly benefit social interactions and conflict, yet it also has elements that can be problematic in groups and organizations.[1] This activity, designed for educators working with high school or college students and organizational facilitators, seeks to teach what perspective-taking is and is not, its potential benefits, and its challenges and pitfalls

[1] Ku, G., Wang, C. S., & Galinsky, A. D. (2015). The promise and perversity of perspective-taking in organizations. Research in Organizational Behavior, 35, 79–102. https://doi.org/10.1016/j.riob.2015.07.003

Overview

Learning Goals

The goal of this workshop is to help participants:

  • Practice visual and conceptual perspective-taking to understand how to apply it in their everyday lives.
  • Understand how it can generate shared understanding and creative solutions to problems.
  • Understand some of the pitfalls of perspective-taking, including stereotyping, caricature, and preferential treatment.

Importance in Peace Education

Perspective-taking is an important element in peace education as it can help us to better understand the motivations of others as well as their worldviews on values such as justice, mercy, and equity. At its best, perspective-taking can reduce stereotyping and prejudice, improve the potential for creative solutions to conflict, and evoke empathy between adversaries in conflict. Conversely, in certain contexts, perspective-taking can increase prejudices and stereotyping, lead to preferential treatment, and deepen conflicts. Understanding how perspective-taking works, as well as the elements contributing to its positive and negative outcomes, can help individuals, leaders, and organizations navigate conflict constructively.

Target Audience

This workshop is designed for high-school-aged students and above. Aside from its use as a conceptual skill, perspective-taking is a developmental skill that children learn as they grow into adulthood. Drawing from Piaget’s theory of cognitive development, perspective-taking as a developmental skill takes shape from ages seven to twelve but improves as time goes on. Accordingly, this workshop assumes that the basic skillset of perspective-taking is already present, with the activity exploring that skill and its complexities.

Accessibility Note

Current research notes that some people with attention deficit hyperactivity disorder, comorbid with conduct disorders, or autism, may have difficulty engaging in perspective-taking[1]. While there is new research exploring teaching perspective-taking these populations[2], those approaches are beyond the scope of this workshop. As such, this exercise may not be suitable for groups with these individuals.

[1] See: Marton, I., Wiener, J., Rogers, M., Moore, C., & Tannock, R. (2009). Empathy and Social Perspective Taking in Children with Attention-Deficit/Hyperactivity Disorder. Journal of Abnormal Child Psychology, 37(1), 107–118. https://doi.org/10.1007/s10802-008-9262-4 or Reed, T., & Peterson, C. (1990). A comparative study of autistic subjects’ performance at two levels of visual and cognitive perspective taking. Journal of Autism and Developmental Disorders, 20(4), 555–567. https://doi.org/10.1007/BF02216060

[2] Pearson, A., Ropar, D., & Hamilton, A. (2013). A review of visual perspective taking in autism spectrum disorder. Frontiers in Human Neuroscience, 7. https://www.frontiersin.org/articles/10.3389/fnhum.2013.00652

Timing and Phases

This workshop consists of three phases, totaling about 60-90 minutes:

  • Phase 1 (10-15 Minutes): Introduces perspective-taking as an idea through visual perspective-taking, using optical illusions and an image of a dove to bridge the visual and conceptual.
  • Phase 2 (20-30 Minutes): Engages participants in exploring their own responses to a scenario, followed by a discussion on different elements informing their perspectives.
  • Phase 3 (30-45 Minutes): Participants revisit the scenario, role-playing slight modifications to their perspectives. This is followed by discussion questions and reflection.

Recommended Group Size

This exercise can accommodate various group sizes, with more participants requiring more time for each phase. However, a minimum of 4 to 5 participants is recommended to allow for a diversity of answers.

Materials Needed

The optical illusions for the first phase are provided here, though similar interpretive illusions can be utilized for the same effect. For the second and third phases, a whiteboard and sticky notes or a virtual platform with whiteboard and sticky note capacity is ideal so that participants can see responses. However, reading the scenarios aloud and having participants write their answers themselves is also feasible. Additionally, there are two handouts found in this document that are meant to be used in Phase 2 onward.

Potential Modifications

  • Different optical illusions can be employed to give participants increased experience in visual perspective-taking. Additionally, in face-to-face settings, having students engage with a complex physical object in a circle is another way to explore visual perspective-taking.
  • In large groups, Phases 2 and 3 can be done in small groups of 5 or more people.
  • A fourth phase, exploring real-life or historical scenarios and conflicts, can be implemented using the ideas discussed in the prior phases. This can allow educators to incorporate this exercise into existing curriculum.

Additional Resources

Phase 1: Visual Perspective-Taking

The first phase of this activity seeks to ground the process of perspective-taking using a visual approach, which can provide a foundation for what the participants will engage in later in subsequent phases. Visual perspective-taking is thought to emerge before conceptual perspective-taking[1], so its process may be more familiar to participants than its conceptual counterpart.

[1] Gabbe, A., & Marquis, C. (1996). The Emergence of Visual and Conceptual Perspective-Taking Abilities in Three and Four-Year-Old Children. https://doi.org/10.1184/R1/6712607.v1

Process

Have students look at the following images, responding with what they see in each image.

Some possible interpretations:

  • Two fish swimming in the sea
  • A woman looking to the left

Some possible interpretations:

  • An elderly man and woman facing each other
  • A younger man and woman sitting in a landscape scene
  • A candlestick or chalice

Discussion Questions

  • What did you see in each image?
  • Do you see anything else in the image?
  • If you did not see something that someone else saw, can you adjust what you are looking at to find what they identified?
  • Why do you think you saw what you did in the images?

Lecture Notes

  • Perspective-taking is the process by which we try on a different perspective to gain greater information about the world around us.

A common way we engage in perspective-taking is visually, wherein our position in the world determines how we interpret what is there. For example, take a look at this image:

This sculpture by the artist Michael Murphy is made from a series of floating balls. From one angle, all we can see is the cone of balls. However, by standing at the right place in the room, the balls resolve into the image of an eye.

In addition to its visual dimension, perspective-taking also has a conceptual component, where we ascribe ideas, meaning, and motivation to objects and actions. For example, take a look at this sculpture, also created by Michael Murphy:

Reflection Questions

Ask the participants to reflect on the following questions quietly to themselves:

  • What do you see in this image?
  • What does this image mean to you?
  • What do you think the artist was trying to portray in this image?
  • Is there another way this image could be interpreted?

Finishing up Phase 1

  • By taking on a different perspective, we can gain new information about a situation or expand our understanding of possible interpretations.
  • Visually, this can help us make sense of scenes and images.
  • Conceptually, it can allow us to better interpret and understand the actions, motivations, and intentions.
  • In the next phase, we will explore our own interpretations of a series of scenarios, then reflect on those interpretations.

Additional Resource:

“Visual Perspective Taking” An article and YouTube video discussing different elements of visual perspective-taking.

Phase 2: Interpreting Conceptual Perspectives

The second phase of this activity explores participants’ responses to three different scenarios. In this phase, the participants are focused on reflecting on their responses, which will be revisited in the third phase as they imagine differences in their own perspectives.

Process

  • Distribute a set of sticky notes and writing utensils to each participant.
  • Prepare a whiteboard space with the scenario and provide space to allow participants to place their sticky notes on each section.
  • For each of the following scenarios, have the participants write their answers to the questions on sticky notes, then place them in the appropriate section.
  • After the participants have finished with the scenario, use the subsequent Guided Conversation sections to reflect on the answers.

Scenario

James is caught stealing from Steve’s store. Steve calls the police, but not before physically assaulting James. When the police arrive, they arrest James and send him to jail.

Have the participants use three sticky notes, writing the name of each actor in the scenario at the top (Emile, Steve, the police). Then, have them answer the following questions for each actor:

  1. Was what they did morally right? What influenced this conclusion?
  2. Why do you think the actor engaged in their particular action?
  3. What do you think was the most important factor influencing the actor’s actions?

Guided Conversation

Take five minutes to allow the participants to reflect on everyone’s responses. Then, open the discussion with the following questions:

  • Was there anything surprising about the responses?
  • Was there anything you anticipated in the responses?
  • Were there any responses you did not understand?
  • Were there any responses you disagreed with, and why?

As you progress through the reflection questions, highlight in the discussion different elements of perspectives that may come up, such as the dimensions found on the handouts found on the following pages:

Lecture and Additional Resources

When the reflection questions have been answered or time constraints require moving on, distribute the handouts to each participant and discuss how each dimension plays a part in affecting perspective-taking. The third phase will allow participants to generate their own interpretations of these handouts, with broader meaning generated in the reflection portion of the exercise. However, here are some additional resources to provide additional information on the subject:

Phase 3: Playing with Perspective

This final phase revisits the scenario in Phase 2, having participants imagine slight alterations to the situation to explore each of the dimensions listed in the first handout.

Process

Like Phase 2, a whiteboard is used alongside sticky notes to collect participants’ answers in this phase. Have participants write their answers and post them to the whiteboard for each of the four alternative scenarios. After the scenarios are explored, there is a second reflective conversation.

Scenarios

For each scenario, have the participants use three sticky notes, writing the name of each actor in the scenario at the top. Then, have them answer the following questions for each actor:

  • Was what they did morally right? What influenced this conclusion?
  • Did the change in the scenario change your previous answer? How and why?
  • What do you think is the most important factor affecting perspective in this new scenario?

Scenario 1

Emily is caught stealing from Steve’s store. Steve calls the police, but not before physically assaulting Emily. When the police arrive, they arrest Emily and send her to jail.

Scenario 2

In this scenario, imagine that you are a law enforcement officer responding to the situation. James is caught stealing from Steve’s store. Steve calls the police, but not before physically assaulting James. When the police arrive, they arrest James and send him to jail.

Scenario 3

James is caught stealing from Steve’s store. This is the fifth time Steve has caught James stealing this month. Steve calls the police, but not before physically assaulting James. When the police arrive, they arrest James and send him to jail.

Scenario 4

James, desperate to feed his family, is caught stealing food from Steve’s grocery store. Steve calls the police, but not before physically assaulting James. When the police arrive, they arrest James and send him to jail.

Reflection and Guided Conversation

After the participants have completed the scenarios and posted their sticky notes, give them five minutes to review the responses. Then, have them reflect on the following questions in a group discussion:

  • How did the answers change in each scenario? Did you notice anything surprising?
  • What dimension of perspective-taking might apply to each scenario?
  • Did you notice any stereotyping, caricature, or preferential treatment in the answers?
  • How might perspective-taking affect how you look at incidents or events in the world?
  • How might perspective-taking benefit you when dealing with conflict?
  • Are there any risks or drawbacks to engaging in perspective-taking?

Materials

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Emotional Intelligence and Social Change: A Conflict skills and Peacemaking Activity

Designed by Haley Nelson

Background Information/Content

Social-emotional intelligence is central to group dynamics and conflict. Yet, the exploration of emotional intelligence has historically been neglected in conflict resolution and peacebuilding conversations. The absence of emotional intelligence in conflicts can hinder the ability of group members to navigate conflict, empathize with others, and manage relationships (Schwarz, 2002). When emotional intelligence is considered at the educational, community, or organizational level, group members can learn to harness emotion as a community and relationship-building tool. 

This activity explores emotional intelligence in the context of peace education. This resource draws inspiration from psychology surrounding basic emotions, emotional wheels, and the origin of emotion, as well as conflict resolution and peacebuilding research on emotions and conflict. This activity will support groups in building emotional intelligence on the individual and social levels. This activity is best suited for groups with a common goal, such as classrooms, community organizations, and the workplace. 

Context

This activity is best suited for high school students, college-age students, and adults. The formality of this activity can be adapted to various education settings but is neutral in its current form. The activity consists of two phases and will take approximately 30 minutes per phase. The length of this activity may vary based on the depth of conversation and volume of participation.

The recommended group size for this activity is 4-10 people. Increased group size will increase duration, allowing for productive discussion among group members. This activity would be best supported by materials such as sticky notes, note cards, and a whiteboard. However, this exercise can be completed via discussion if these resources are unavailable.  

Implementation

Phase 1: (30-45 minutes)

  • Introduction (2-3 minutes):
    • Check-in on how everyone feels and provide context for the activity. The purpose of this introduction is to reveal that the activity will encourage participants to explore and feel daily emotions and tensions. The facilitator should consider establishing a controlled environment where participants can explore emotions safely. An introductory example is below:
      • “We are going to discuss emotional intelligence today. We will create a respective space where real emotions will be felt. We will go through a simulation designed to stimulate emotions in scenarios we feel and experience in our daily lives. If you feel the need to leave the space and take a moment for yourself at any time, please do so.”
    • Describe the importance of emotional intelligence when managing conflict.
  • Description of the simulation (2-3 minutes):
    • Provide a scenario, context, and discussion topic for the audience to navigate. For example, a dinner party discussing travel destinations will generate conversation and allow participants a neutral space to explore group dynamics.Assign behavioral traits to participants randomly: Each participant will be assigned a behavioral trait designed to generate tension, such as disruptive talking, withdrawn behavior, and overconfidence.
      • Remind the audience of the difference between behavior and emotions, acknowledging that the two might contrast during the activity.
    • Open conversation for any questions before beginning.
  • Simulation (5-10 minutes)
    • During the simulation, the participants will navigate conversation based on the context and behavioral traits provided. The group may find conversation challenging to navigate. The goal of the activity is to stimulate emotions based on the role assigned, the conversations at hand, or the simulation process itself.
  • Reflection: (5 minutes)
    • Take a moment to check in with participants. Ask the audience to write down the emotions 1. They experienced during the role play, and 2. Behaviors that might indicate others’ emotions during the role play.
    • After listing these observations on a notecard or sticky note, ask participants to hold on to their observations for later conversation (allowing for further engagement).
  • Individual level emotional intelligence? (10 minutes)
    • Define emotional intelligence and explore this definition with the group. This is an excellent opportunity to explore the meaning behind emotional intelligence and clarify any questions regarding emotional intelligence with the group.
    • After defining emotional intelligence, ask group members to share the emotions they experienced during the activity with the group. Ask the participants to refrain from group observations until later.
      • Explore the dynamic of emotions as they arise:
        • Did members experience multiple emotions? Were those emotions in harmony with one another? Did emotions contrast with each other?
  • Clarifying emotions (5-10 minutes):
    • Explore the six types of basic emotions with the group: happiness, sadness, fear, disgust, anger, and surprise. Then, explore emotions surrounding each category and how they can be clarified. For example: if a group member said they felt anxious during the activity, that emotion is rooted in fear. If a group member said they felt confused during the activity, that emotion is rooted in surprise. Provide examples for the group, then encourage them to clarify their shared emotions.
    • Many people, especially adults, will provide cognitive responses instead of emotions when asked how they feel. When asked what emotions they experienced during the activity, a cognitive response might sound like, “conversations about travel destinations made me want to explore the world more.” Encourage using the emotional wheel to assist participants in shifting from cognitive responses to emotional responses. Ask the participant which emotion is closest to their shared responses and explore the differences between emotion and cognition.

Phase 2: (20-30 minutes)

  • Social-emotional intelligence (5-10 minutes)
    • Ask the participants to return to their group observational notes from the simulation. Consider what cues clued participants in on how others might have been feeling.Provide an example of clarifying social emotions for the group:
      • “I noticed that you were quiet after being interrupted. Did you feel sad after that interaction?” Remind the group to use core emotion vocabulary (i.e., happiness, sadness, fear, disgust, anger, surprise). 
      Allow group members to share their observations. 
    • Open a conversation to ask how accurate their observations were.
      • Why were my observations accurate/inaccurate? How can I better observe the emotions in groups moving forward? 
  • Further discussion: (15-20 minutes)
    • Allow the group to discuss their experience with the activity in depth. Some guiding questions might include the following:
      • How aware were you in the moment of your emotions? Others? 
      • Did you feel that other people’s emotions influenced yours? How? 
      • What were your reactions to emotions in the space? How/did you respond?
      • How might you manage your reactions to emotions in the future?
      • How difficult was it to clarify your emotions? 

Ways to further curate this resource:

  • Pedagogies that may strengthen this resource involve increased participant freedom and involvement. The facilitator of this exercise might increase participant freedom by:
    • Encouraging group members to create their own activities to stimulate everyday emotions.
    • Allowing group members to redefine emotional intelligence for themselves based on shared interests.
    • Involving artistic approaches to exploring emotions such as paintings, photographs, and music. This might involve emotional responses to the creation of artwork or the observation of artwork.

Goal

This activity focuses on individual and social-emotional intelligence. As an introduction to emotional intelligence, this activity seeks to help group members identify their emotions and clarify the origin of their emotions. At the group level, this activity seeks to increase awareness of group dynamics through observations and clarification of emotion. This activity aims to foster empathy and connection within a group by discussing the relationship between individual and social emotions. 

After this activity, participants should be able to:

  • Understand the meaning and importance of emotional intelligence.
  • Clarify everyday emotions into the six core emotions.
  • Have increased awareness of the connection between individual and social emotions. 

Resources

Further reading on emotions and insight into social-emotional intelligence:

Cherry, K. (2022, December). The 6 types of basic emotions and their effect on human behavior. Verywell Mind. Retrieved 2022, from https://www.verywellmind.com/an-overview-of-the-types-of-emotions-4163976 

The Junto Emotion Wheel. The Junto Institute. (2022). Retrieved 2022, from https://www.thejuntoinstitute.com/emotion-wheels/ 

Schwarz, R. (2002). Ch 12: Dealing With Emotions. In The skilled facilitator: A comprehensive resource for consultants, facilitators, managers, trainers, and coaches. essay, Jossey-Bass. 

Music and the Mobilization of Nonviolence: Conflict Skills/Peacemaking Facilitation Activity

Designed by Yong June Kim

Background/Contents

Art is a powerful medium to de-escalate the tension of conflict when it is utilized at an appropriate time. Especially, music could bring strong emotional connectivity among people worldwide; it has been constantly used as a simple but strong tool to overcome social oppression and to strengthen the voice of the public with a nonviolent approach. This activity, Music and the Mobilization of Nonviolence, aims to teach how music could greatly impact emotional connectivity and de-escalation of conflict and contribute to a significant nonviolent movement against conflicts we face in our society. The activity was fully conducted online; due to this condition, the online meeting software Zoom was the main tool to proceed with the activity. Since Zoom provided an interactive whiteboard and screen-sharing option which enable the participants to be simultaneously engaged throughout the activity, it was sufficient to facilitate the exchange of emotions and ideas that are stimulated from the session. The resources for this activity are gathered based on self-research; one song deeply connected to social conflicts is selected per genre: Blues, Gospel, Rock, Hip-hop, Classic, Grassroot music, etc.

This type of education could be effectively utilized in any group regardless of age or community level when it is conducted in an informal setting since it is based on experiential learning; however, it could be especially practical for students at the K-12 level. As music itself contains entertaining elements, it could help the students maintain their focus and be fully engaged by actively listening and watching music videos during the activity. The debriefing questions are also based on their emotions and feelings that are directly reflected by the musical contents; this simple discussion could make them feel comfortable and safe to learn the key points of this activity that music itself could connect people and contribute to peacebuilding processes in the long term perspective. Furthermore, they will have the opportunity to have a deeper understanding of the backgrounds of musical genres and pieces that they are used to listen but are not actually aware of the hidden stories they embody.

Implementation

  • Activity Time Duration: 45-60 minutes, depending on the number of songs an educator would like to use.
    • 3 min: Brief introduction and learning objectives
    • 10 min: introduction of a particular genre (it would be helpful to go through research or ask for support from those who have musical expertise during the preparation.)
    • 10 min: Music introduction, listening (4-5 min) and debriefing (5 min) activities #1
    • 10 min: Music introduction, listening (4-5 min) and debriefing (5 min) activities #2
    • 10 min: Music introduction, listening (4-5 min) and debriefing (5 min) activities #3
    • 10-15 min: Review of the activity, simple quiz activities about the music based on debriefing
  • Orientation of the Session: The educator may have multiple sessions, introducing one genre for each session. The first session, however, needs to introduce the overall learning point, which is the music’s impact on peacebuilding and the mobilization of the nonviolence movement in society. Guiding the main theme at the beginning session will help both educators and students to be consistent with understanding the music’s role in the strategic peacebuilding process while engaging in the activity throughout the sessions. For example, sessions could be categorized like the example below:
    • Session 1: Introduction_How Music Helps Strategic Peacebuilding?
    • Session 2: Understanding the Origin of Blues Through Learning the Black History
    • Session 3: Learning Gospel through Analyzing Amazing Grace
    • Session 4: How did Hip-hop Become a Powerful Medium for Raising Voices for Social Issues
    • Session 5: Rock for Peace
  • Each session will start by introducing two to three songs that are relevant to the genre. The educator may briefly introduce the background of the songs and share the lyrics with the participants to help them have a better understanding of the contexts. The facilitator could also have a simple quiz about the music so that the participants can guess the information about the music, providing much more interaction during the session.
  • After appreciating those musical pieces, the educator can move into a debriefing session. When it is conducted online, shared whiteboard and brainstorming programs  through Zoom or Mural could be utilized to have students engaged in the activity. When it is conducted in person, however, the educator may use a large size of paper so that the participants could simultaneously add their thoughts of impression and engaged emotions to the paper. The Questions after listening to the musical pieces could be like below:
    • Let’s share your thoughts; what was the most impressive part for you when thinking of peacebuilding, nonviolence, and conflict?
    • What were the implications of the lyrics, rhythms, melodies?
    • Are there any other elements that seem powerful for the nonviolent process? Why?
    • If you want to introduce other songs you particularly find relevant, please share and explain why it is connected to the topic.

Goal

The objective is to connect music with peacebuilding and the nonviolence movement by emphasizing its contribution to emotional connectivity between groups, individuals, and communities. Through such experiential learning processes utilizing basic senses that are based on auditory, visionary, and somatic senses, it aims to help students to maintain their interest in learning in non-academic approaches. Also, this activity could help the students have better accessibility to understanding past and current major conflicts that are occurring worldwide by appreciating the musical pieces that directly reflect them. By doing so, it could facilitate the process of conscientization (Freire, 1970), which enables the participants to understand the social issues that could be directly related to themselves in a critical manner. The contents illustrated below could be the main learning objectives:

Resources Used for the Activity

Musical pieces that are used for the activity could various depending on the educator’s preferences or participants’ suggestions through discussion at the beginning of the session:

  1. Freire, P. (1970). Pedagogy of the Oppressed. Seabury Press.
  2. B.   Shank, M., & Schirch, L. (2008). Strategic Arts-Based Peacebuilding. Peace & Change, 33(2), 217–242. https://doi.org/10.1111/j.1468-0130.2008.00490.
  3. 12 years a slave – choir song – ”roll jordan roll” 2013
  4. President Obama Sings Amazing Grace (C-SPAN)
  5. Grandmaster Flash & The Furious Five – The Message (Official Video)
  6. U2 – Sunday Bloody Sunday
  7. ‘Stop the war in Ukraine’: Orchestra plays national anthem in central Kyiv as Russians advance
  8. [경향신문]19차 촛불집회 광화문에 울려퍼진 ‘임을 위한 행진곡’

*This activity was designed by Yong June Kim, an undergraduate student at George Mason University’s Carter School for Peace and Conflict Resolution, based on Dr. Arthur Romano’s Graduate Course (CONF 695) “Peace and Conflict Resolution Pedagogy” in Fall 2022. 

“Dancing in the Dissonance” – A Conflict Resolution Skills Activity

Designed by Audrey Williams

I. Introduction

The goal of the “Dancing in the Dissonance” activity is to introduce the concept of “dissonance” as a tool to build curiosity and respect for difference in shared meaning-making spaces. The activity draws on narrative and musical tools for conflict resolution to build a better understanding of how people make meaning both individually and as part of a group. By the end of the activity, participants should have a better appreciation for how curiosity, complexity, and difference relate to healthy experiences of conflict.

By working with a pre-selected song to make and share meaning around sonic representations of conflict, participants will have the chance to ponder how meaning making happens on multiple levels, including:

  • on the level of the individual;
  • on the level of the group; and
  • on the level of the message between artist and audience.

This activity can be carried out in settings where participants already know each other as well as in settings where participants are just meeting each other for the first time. This activity involves a pre-class work expectation, and so it should be used in contexts where the facilitator has enough advance connection with participants to send pre-class materials to them.

At each stage, the activity is designed to help participants build greater appreciation for the flexibility and adaptability of meaning while also exercising their curiosity about how people can have different experiences of the same phenomena. Participants will learn how to see dissonance as an invitation to curiosity, and will walk away with an understanding of how to use curiosity to navigate difference in a generative, rather than destructive, way.

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The War Memorial of Korea: war memories and reconciliation

Oct 1, 2019 – Kanghyun Kwon

Statue of Brothers symbolizes the reconciliation, love, and forgiveness

Regardless of its scale, duration, actors, and implications, war is always saturated with tragedy. The Statue of Brothers created by Korean architect Choi Young-jeep symbolizes the desire for reunification of Korea by showing two brothers meeting in battle during the Korean War: the elder as from South Korea, and the younger from North Korea.

Having this sculpture at the external exhibition area underscores the significance of the War Memorial of Korea not only as the commemorative place for soldiers, but also as the informative museum of tragic memories for future reconciliation in the Korean Peninsula.

The War Memorial of Korea

Located in Seoul, the War Memorial of Korea is designed to be a place for commemoration of soldiers sacrificed in the Korean War of 1950, and peaceful reunification of North and South Korea.

After almost 7 decades since the war had scorched the Korean Peninsula, national scars from the war still remain unhealed and thus extremely sensitive to modern Korean society. The country is still divided into North and South, albeit with several attempts of alleviation of tension between two for peace settlement. The War Memorial of Korea is built to remind the modern society of human insecurity that its predecessors had to endure, and value of security that the current system guarantees, so that there would not be any reoccurrence of similar violent conflict in the future.

Divided into outdoor and indoor exhibition areas, the War Memorial of Korea presents remnants of Korean War in two different categories; one can find sources of military confrontation such as military equipment from the outdoor exhibition area. Indoor exhibition area shows visual information of progression of Korean War from civilian’s perspectives. It tells that everyone, not just soldiers, was involved in this 3 years of tragic event.

Defending the Fatherland show soldiers’ spirit to protect their fatherland

Importance of commemoration

The War Memorial of Korea is often visited by field trip of young generations who wish to study the history of peacebuilding in the Korean Peninsula, and of war veterans and their relatives who fought for democracy of South Korea during the Korean War.

For teenagers and young adults, who have not experienced war and thus feel detached from the terror of war, this place will teach them the tragic background the country had to go through at the beginning of its history, so that they could value the sense of peace they often take for granted in modern society.

For war veterans, the War Memorial of Korea will be the concrete evidence that their service was valuable in the sense that the country which they had protected from the invasion successfully achieved prosperity and did not forget their devotion.

This museum is, in short, a respect for transgenerational humanitarianism. It symbolizes the continuity of virtues which the past generation had protected from threat, and the present and future generations must inherit to their society. As long as this bond between generations stay connected, there will be always the path for peace.

Educating the next generation

The ideal way to incorporate the War Memorial of Korea into educational context is through field trip, because it is a unique place of commemorative spirit. For domestic educational institutions, planning a visit to this place for instructive purpose is an easy task. For those outside of Korea, it would require longer time and more sophisticated planning for visit.

Students from middle school to university who are interested in Korean War would benefit from visiting the War Memorial of Korea. Although high school students or younger might not be able to plan an actual visit to the place abroad, they could apply for commemorative programs for Korean War inside the US, and obtain precious memories from war veterans and representatives from South Korea. University students go even further and visit the place to incorporate the primary resources into their knowledge.

Meanwhile, scholars who explore the early period of Cold War would be interested in visiting this place after reading this post because it is a large database consisting of symbolic remnants as well as records of primary source regarding the early confrontation of the US and Soviet Union.

Clock Tower of Peace

Messages from the war museum

The War Memorial of Korea teaches its visitors the value of peace they often take for granted. South Korea enjoys economic prosperity and democratic peace today, but one must not forget that its foundation was saturated with bloodshed and subsequent devastation. As demand for reunification grows, radical opinions often propose a possibility of war with North Korea to physically overthrow its government and achieve reunification through military means.

As simple as it sounds, it is both politically and morally unreasonable. As a former victim of war, South Korea should not become the starter of war to inflict the same pain it experienced in the past to other countries. Especially if that country is the victim of same war. Moreover, one should not forget that while it is extremely easy to end the existing peace, it is extremely hard to restore the lost peace from the devastation of war.

The War Memorial of Korea opposes the return to Korean War. Any violent means used for conflict resolution in the Korean Peninsula would defy the humanitarian values represented by this place. It is a lighthouse for peaceful reconciliation which navigates the government and civil society actors by asking them the following questions:

> Is it possible to prevent the reoccurrence of Korean War? How can it be avoided?

> Is military means ever going to promote human security? Why is human security important?

> What can the government and society do to arrive at reconciliation?

Kanghyun Kwon is a junior in Global Affairs, B.A., George Mason University.

Images are taken from Prepare Travel Plans (https://preparetravelplans.com/war-memorial-of-korea-guide/), The Seoul Guide (https://www.theseoulguide.com/sights/museums/war-memorial-of-korea/), and Espionart (https://espionart.com/2014/06/27/the-divided-brothers-of-the-korean-war/).

For further information, please visit the official website (https://www.warmemo.or.kr/LNG/main.do?lan=en).

Move This World: Peace Education Through Movement

While attending the Peace Education Exploratorium this weekend, I had the opportunity to learn about many different pedagogies of peace at work in the world today. The role of sports and peace education specifically piqued my interest as one of the guest facilitators, Amanda Munroe, spoke about her involvement with  Move This World, formerly Dance 4 Peace. 

Here is a short video about Move This World’s work. Move This World Video! 

Move This World is a non-profit organization dedicated to using creative movement to transform conflict, violence and bullying in communities around the globe.  Move This World created an innovative curriculum focusing on fostering empathy, mediation skills, diversity appreciation, anger management and conflict transformation. With a need for peace intervention at all levels, Move This World operates with grade level specific curriculum. The curriculum theme for each age group can be viewed by clicking here! 

Founder, Sara Potler, began the program with youth in Bogota, Colombia. Promoting peace through dance, Potler began the formation of the idea that movement can be used to create peace. Today Move This World works internationally in Colombia, Germany and the Philippines and stateside in Baltimore, Newark, New York City and Washington, D.C. Move This World employs several different peace pedagogies. By working and learning students with whom we are learning with, community building is a play. By moving and working together, relationships between peers can strengthen and encourage a community of peace. The second pillar of peace pedagogy, engaging in multiple intelligence’s is played upon. Through movement via sports, dance or whatever gets students flowing you can engage in the body, music, naturalist and interpersonal multiple intelligence’s. By accessing these intelligence’s, students are able to experience alternative forms of education. These tools enable students to benefit by stretching their skills into multiple forms of intelligence’s. 

Ways to use this resource – Elementary & Middle School 

Incorporating movement in the classroom is the first step in introducing peace pedagogy into the classroom. By looking at the curriculum themes for each grade level, teachers can gear their lesson plans to whichever activities best fit their classroom.

Ways to use this resource – High School

While kindergarden through eight grade focuses on key themes to teach students, the high school curriculum focuses on facilitating students own leadership and peace building skills. The first semester hones in on understanding emotions, conflict and cultural diversity. With an entire semester of immersion into conflict resolution information, the second semester is geared towards fostering students own leadership capacity as they grow to be peace-makers in their own community. 

During high school I was involved in the PALS, Peer Assistance and Leadership, which fostered parallel goals as Move This World focuses on during primary education. This program was brought to my high school by the administration in hopes of reducing the increasing amount of violence. While other non-violent programs were simultaneously put in place, as the development of the PALS program increased the violence occurring within the school decreased.  To learn more about training opportunities through PALS, click here. 

Ways to use this resource – Become a Partner! 

If your school or organization desires to facilitate peaceful change through movement, please sign up to receive more information from Move This World by clicking here. Move This World works in Colombia, Germany and the Philippines and stateside in Baltimore, Newark, New York City and Washington, D.C. If your school or organization is outside these regions, Move This World provides many beneficial tools to use in your classroom, as well as great curriculum models to follow. 

Let’s Talk About It!

SchoolTalk was introduced to me when the Executive Director of SchoolTalk, Leila Peterson, came to speak to my Conflict Organizations and Actors class at George Mason University in the Fall of 2012. SchoolTalk works to provide a safe place for families to resolve concerns regarding special education identification, assessment and service delivery. After hearing about SchoolTalk’s benefit to DC public schools, I researched them online to find more information about what they do. While SchoolTalk is a valuable resource to the families, teachers and students in DC public schools, they also provide training services which would benefit educators and families impacted by children with special needs. 

SchoolTalk is designed primarily for educators and parents with special needs children, however their trainings in conflict resolution techniques is applicable in many fields. The goal of SchoolTalk is to create better forms of communication between parents and administrators regarding the delivery of special education services for students. The conflict resolution techniques SchoolTalk provides can provide informal activities tailored to students with special needs or more formal trainings to the parents/guardians of children with special needs. 

Ways to use this resource:

Educators and parents can use the material they learn online or schedule a training with SchoolTalk. To fully implement this resource, participants must be willing and open to hear about alternative ways to resolve conflicts regarding special education. Encouraging a partnership with SchoolTalk reinforces one of the pillars in peace pedagogy, exploring approaches to peace. 

Parents and students who engage in SchoolTalk training and lessons would be able to foster patience with the public education system as well as straightening conflict resolution skills. By utilizing this resource, the communication between faculty and students can become more peaceful, contributing to a more peaceful classroom environment. 

The Interrupters

I had seen clips of the documentary the Interrupters on PBS a few times, but never got a chance to watch the full length of the movie. When I finally wanted to watch it, they weren’t airing it on T.V anymore. Luckily the PBS website had the full documentary online and for this blog I will give a summary of the movie and what I thought about it.

The Interrupters

http://www.pbs.org/wgbh/pages/frontline/interrupters/

The documentary “The Interrupters” looks at the life of three Violence Interrupters and their work within a span of one year. These Violence Interrupters work with an organization called Ceasefire in the most conflict-reddened areas of Chicago, who try to protect these communities from violence that they were once a part of. The film was directed by Steve James, an acclaimed director known for his powerful portrayal and insight of communities and cultures in his movies and documentaries. Interrupters was filmed during a period of constant youth violence in parts of Chicago, in African American and Latino neighborhoods, and during a time when the United States had its eye on Chicago as a national symbol for the violence in our communities.

Founder of Ceasefire, Gary Slutkin, believes that the spread of violence in communities is similar to the spread of diseases and epidemics, “violence is like the great diseases of history…. violence as behavior, not as bad people.” For the young people in these neighborhoods, they see violence as their disease and they expect that they are going to die from this. Tio Hardiman, who created Ceasefires main program, “Violence Interrupters” explains that violence is a two-step process. The first thought is grievances; people come up with reasons to start a conflict for example, “He looked at my girl…he owes me money…he’s a Sunni…he’s a Palestinian, and so forth. The second thought is that these grievances justify the violence.” Tio, just like members of the Violence Interrupters has street credibility (because of his own personal history), which gives him full insight into the violence and minds of Chicago’s youth.

Violence Interrupters

The three Violence Interrupters that are followed throughout this documentary are Amina Matthews, Cobe Williams, and Eddie Bocanegra. Amina was the daughter of Jeff Ford, one of the biggest gang leaders in the history of Chicago. In the documentary Amina is what Tio calls the “golden girl,” she knows how to get them (the community youth) to open up. Being an ex-gang enforcer and one that has lived a life in shoot outs, she knows what its like to be a youth in these communities that are plagued by violence. Cobe Williams, scarred by his father’s murder, began a downwind spiral at the age of twelve. After being in and out of jail numerous times, Cobe decided to turn his life around with the help of his family. In the documentary we see that Cobe, with his humor and general good nature, “knows how to get in, he knows the language – what to say, when to say it.” Cobe too has big time credibility with the gang members because of his past, which allows him to easily insert himself within the conflict in order to resolve it. Last, but not least is Eddie Bocanegra, who is still daunted by the murder he committed at the age of seventeen. For him, his work with Ceasefire as a Violence Interrupter is a repentance for his past actions. Playing on his strength in art, Eddie is able to and concerned with spending majority of his time with young children affected by the aftermaths of violence.  He teaches the children art, warns them of the trauma experienced by those who have come face to face with violence, and makes an effort to keep children off the streets and get them the support they need.

Throughout the documentary, the viewer is able to look into Ceasefire meetings and the conflicts that take place within the communities. Each Violence Interrupter has a past of their own, and each uses their history and knowledge of the streets to get closer to their goal, which is to “ stop the killing, and save a life.”

Youth

One of the first scenes we see is of a conflict-taking place right in front of the Ceasefire building. Amina Matthew quickly interrupts the conflict and has both groups separate.  What is profound is that even a five-year-old girl was shouting profanities and getting involved in a conflict that had nothing to do with her. Later, Amina talks to some of the youth and is able to get them to open up through different forms of communication, one form being laughter. Amina explains, “If you get them to laugh at themselves- find that soft side, not their weak side, then you ride on that.”

In these streets the youth have been brought up with the notion that “you have to stand up no matter what happens… death before dishonor.” They have been taught violence, as violence is a learned behavior. One youth justifies, “If you don’t do it, they’re going to do it to you, you go hard or it’s your life.” They say all odds are against them, they have been brought up this way, they want to fight, and that history is up against them.

One scene in the documentary that was very overwhelming for me was a still shot of a wall of names, names of all who had been killed, murdered, and shot, and in one spot someone had written, “ I am next…” This shows how deep the youths mentality about violence is, and that they think they are stuck in it, when in reality in order to break out of it they have to find change within themselves and their peers. However, in a sense they find an honor in getting killed. They want to be known that they didn’t step down, that they fought and died, and that they know that when they die, they’ll get all the hype, both from the community and the media, that they have made normal around such drastic deaths.

Tio explains in the documentary that “Once media goes back to wherever they came from, we have to step up to the plate and make something happen up over there.” He is aware that a lot of the violence isn’t gang violence, its interpersonal conflict that deals with respect and disrespect, not being accepted in an overall society where a lot of people are ostracized, and so they try to dominate their societies. Their actions go from “zero to rage in thirty seconds” and they act out because of something that upset them earlier in their day.  With this kind of anger and violence, Tio explains that they cannot mediate the conflict without full confrontation. As the documentary comes to a close, Tio explains that African American and Latino communities have been beaten for so long with poor schools, lack of jobs, hopelessness, and despair that it is “hard for people to stick with peace if they don’t have a stick that they can hold on to.”

Analysis

Although this documentary looked at the violence in Chicago communities as a whole, it also focused on specific youth whom Aminah, Cobe, and Eddie personally intervened with; Capyrsha Anderson, Lil Mikey, Flamo, Vanessa Villalba, and Kenneth. Along with these young adults, Ceasefire was able to prevent numerous outburst of violence to occur in their communities.   Its impact was beyond substantial. These Violence Interrupters were right there with each act of violence from the beginning to the end, and used their knowledge and insightfulness to the best of their ability to reduce the tension of the conflicts. Each young adult the Violence Interrupters assisted have taken a full 360 in changing their lives, sometimes all one angry person needs is someone right there beside them to show them the right path. 

Watching this documentary made me realize that these communities have been “brain –washed” into believing that violence is the only way to solve a conflict.  However, when they have member of Violence Interrupters come in and show them alternative options, it opens up a number of other possibilities for them, with a less drastic cost that wont end up affecting them for the rest of their lives.

I could definitely see myself incorporating this type of intervention and peace education into my practice. It is always useful to have those who are knowledgeable of a conflict come in and help resolve a conflict. What I liked the most was that each Violence Interrupter had a violent past of their own which they rid themselves of, and they knew exactly what was going on in the minds of the youth. Because of their insightfulness, they were able to assist the community and individual youths to a level of nonviolence.

Stakeholders:

Stakeholders that I believe will be able to benefit from my post are anyone who lives in a community that violence plays a big role in. For older community members, this type of intervention and peace education would assist their communities to a level of nonviolence for the youth. 


UNOY Peacebuilders

As a Global Affairs major, I was really interested in finding a blog topic that had a global approach and perspective to peace education. Through searching on the web, I found this amazing organization called UNOY (The United Network of Young Peacebuilders). UNOY (prounounced  ‘you know why’) is a global network of young people and youth organisations committed to establishing peaceful societies.  They have been around since 1989 and are based in the Netherlands. they consist of 49 member organizations in Africa, Asia, Europe, Latin America and North America.

UNOY’s mission is ” to link up young people’s initiatives for peace in a global network of young peacebuilders, to help empower their capacities and to help increase the effectiveness of their actions” They achieve this goal by implementing a wide range of activities in each of their main areas: advocacy and campaigning, capacity building and gender. UNOY believes that young people are an essential part of peacebuilding because:

  • Young people are more open to change
  • Young people are future-oriented
  • Young people are idealistic and innovative
  • Young people are courageous
  • Young people are knowledgeable about their peers’ realities (http://www.unoy.org/unoy/who-we-are/our-vision/)

Some projects that UNOY has implemented in 2012 include, the Educating for Peace seminar that brings together members from all over the world, the Peace of Mind educational program for students, and training courses on peace building. Members even traveled to Colombia, Argentina, and Nepal where they were able to teach workshops on issues such as human rights, democracy and gender to youth there!

This organization caters to a wide range of peace educators and students alike. UNOY has created excellent resources that can be incorporated into a classroom or community setting for youth. The beauty of UNOY is that the wide array of projects it creates can be applied in a global AND local context. Most importantly, UNOY gives  young people the opportunity to get involved!!! I would especially recommend checking out their volunteer programs if you’re interested in working on an international level 😉 Through its broad scope of activities and projects, UNOY teaches youth the necessary skills and tools needed to become peacemakers in their own communities.

A clip describing one of UNOY’s projects in collaboration with other international youth organizations:

Resources:

UNOY home page http://www.unoy.org/unoy/

 

 

Bridges To Understanding

I recently learned about Bridges To Understanding through another popular organization, Teachers Without Borders (TWB).  This year TWB has decided to adopt Bridges To Understanding’s youth programs and educational curriculums since the non-profit organization, founded in 2001, will be dissolving (http://www.teacherswithoutborders.org/programs/teacher-programs/peace-education/bridges-understanding).  The Bridges To Understanding’s vision was to “empower and unite youth worldwide, enhance cross-cultural understanding and build global citizenship using digital technology and the art of storytelling” (http://www.facebook.com/bridgesworld?sk=info).

I thought it was interesting to see how Bridges’ two core curriculum-based programs, the Bridges Ambassador Program and the Bridges Global Citizens Program, connected students across the globe in a way most educators (especially those in a public education system) would never accomplish in the traditional classroom setting.  The Bridges group laid the groundwork for a “network of established partner schools and community organizations in Seattle, Peru, Guatemala, South Africa, India and Cambodia where [their curriculums] have been adapted to insure cultural relevancy” (http://www.facebook.com/bridgesworld?sk=info).  The first curriculum, the Ambassador Program, teaches children how to create digital stories about their daily lives, local culture/traditions and community.  With the help of Bridges staff, teachers lead discussion forums on conflict and resolution as well as environmental sustainability issues through both a local and a global lens.  The second curriculum, the Global Citizens Program, works on a more international approach by bringing together partner schools around the world into a classroom-to-classroom discussion forum to talk about important global issues.  This allows students to view others’ videos while sharing their own stories, photography and ideas (http://www.bridges2understanding.org/programs/programs.html).

Contextually, this peer-to-peer learning can be implemented at any age level.  In our global environment, the use of digital technology is something many young children are learning far more quickly than in the past generation.  I think both science and humanities teachers should be encouraging technology-based curriculums such as this one into their classrooms since it not only broadens the children’s skill set for the future workplace (arguable one goal of education), but also gives them the opportunity to explore a vast amount of new information available online.  Technology is typically applied in science classes, but by introducing online discussion forums into humanities classes, students are able to personally clarify the local context of the broad cultural content they learn.  By giving youth a protected informal setting, educators can eliminate some of the psychological barriers preventing students from asking questions in the formal classroom setting while increasing the perceived self-importance of other individual youth who take pride in speaking about their culture; perhaps, for many, this is the first time a foreigner has taken an interest in their lives.

The Bridges organization has added a resource called the Bridges Passport Program for educators to help implement their curriculums with ease.  This program provides educators with access to “ten youth-produced digital stories, with accompanying story guides, for classes to explore rich multicultural content” in the context of any existing curriculum (http://www.bridges2understanding.org/programs/programs.html).  After the merger with Teachers Without Borders, educators can also access both of the Bridges’ curriculums through the TWB website.  The only logistical setback would be that individual classrooms would need access to either a computer, camera or a TV to view and create the digital stories.  I would suggest taking the last class of each week to focus on a global issue presented within the content youth learned in class that week.  Educators can alternate between using a story guide to watch and discuss an international student’s video one week and having their students create videos to post online the next week.  If there are time restraints on watching videos or creating videos which is probably more likely, educators should encourage students to meet outside of school to discuss possible global issues in their local community and think of ways they can incorporate these themes into both a video and the lessons they are learning in class.  The application to already existing class material is key.

This resource is geared heavily towards conflict resolution and human rights education; hence, it would fit well into humanities classes.  Pedagogically-speaking, educators would use this to build trust across cultures and community building.  This resource allows students to explore alternative perspectives on global history and learn how they can reframe it to incorporate means of peace.  Bridges To Understanding specifically works to “develop students’ cross-cultural understanding, as they discover differences and similarities in the challenges faced by their peers in other countries” (http://www.facebook.com/bridgesworld?sk=info).  This requires students to not only become leaders to actively discuss issues in their community, but also active listeners to other students’ problems.  On a practical level, they must also become familiar with technology.  I believe the Northern Virginia public school system would make an excellent candidate as well as George Mason University for implementation of these programs since we have public access to many forms of technology.

Resources:

http://www.bridges2understanding.org/ – The Bridges To Understanding website

http://www.facebook.com/bridgesworld?sk=info – The Bridges To Understanding Facebook page

http://www.teacherswithoutborders.org/programs/teacher-programs/peace-education/bridges-understanding – The Teachers Without Borders website