Chapter 1 makes the case for considering dance in relation to peacebuilding, based on an interrogation of existing research from across a range of fields of study. The chapter explores how growing interest and research in arts-based peacebuilding highlight the importance of utilising multiple pathways in the pursuit of peace. It also examines how, globally, dance and music are recognised as important facilitators of social cohesion and the creation and expression of culture. Recognising these components, the chapter considers theories and practices of dance and peacebuilding, including discussions of embodiment and empathy, among other key relevant concepts; this exploration provides a context for understanding how and where dance and peacebuilding meet. The chapter argues for the recognition of the importance of the role of dance in encouraging diverse forms of communication, in building relationships across difference, and in engaging the participation of diverse actors in local, national and international forums. Finally, the field is outlined by exploring a basic typology of six categories proposed to understand efforts at dance-based peacebuilding (therapeutic; artist-led social change or protest; community-led social change or protest; collective forms; educational; and diplomatic).

Chapter 2 discusses the role of young people in peacebuilding and the ways in which dance plays a part in this process. Previous research has identified the importance and political significance of young people in peacebuilding. Simultaneously, international organisations such as the United Nations have made steps towards increasing the opportunities and support for young people in peacebuilding endeavours, locally and globally, including through the passage of UN Security Council Resolution 2250 on Youth, Peace and Security in 2015. Despite these efforts, and the extent to which youth are immersed in conflict both as recipients of violence and as perpetrators, young people remain on the sidelines of peace initiatives and are not sufficiently recognised and engaged in policy, theory or practice. The research conducted for this book suggests that dance can constitute an effective, inclusive pathway to support youth participation in peacebuilding, especially when incorporating elements of peer leadership. At the same time, the data gathered across the three case studies highlights the importance of including options for peace, reconciliation and social transformation that are age appropriate, gender sensitive, culturally relevant and flexible.

Chapter 4 explores the concept of practising peace though a deep investigation of one set of activities involving the use of mirroring movements. Cultivating empathy has been identified as one crucial element of building peace. As researchers have established, empathy is essential to the restructuring of relationships after violence. Mirroring is a well-established dance activity that is used in many settings and contexts, including theatre, dance therapy, dance education and community dance, and simple variations are included in some mainstream peacebuilding resources as icebreakers. As seen in the three case studies across cultures, peace must be practised, and the process of mirroring provides opportunities for this by inviting interpersonal exchange and the building of kinaesthetic, or felt, empathy, which provides avenues through which to see, understand and feel others across difference. In addition to the potential of empathy within peacebuilding, this chapter discusses the politics of empathy and its challenges in arts-based peacebuilding.

Chapter 3 considers the creation and sharing of ‘hub dances’ – group dance exchange activities – across and between programme sites, to investigate what dance can tell us about local and/or global approaches to peacebuilding, including how the two are defined, interact or may co-constitute one another. It also examines the political ramifications of this co-creation and/or interchange. The hub dances aim to serve as a vehicle for cross-cultural moments of exchange and to provide opportunities for (re)creating identity in multiple ways that can support peacebuilding. At the same time, the use of hub dances also prompts further examination of the different cultural contexts in which conflict occurs and the tensions between the homogenisation of dance ideas paired with individual or group freedoms, and the possibilities of instilling stereotypes or being valued for difference. Likewise, the chapter considers the ways in which the creation, practice, and exchange of hub dances enacts meaning around the identities of self, others and the community, and how this relates to the creation of broader social change for peacebuilding across difference.

To date, practitioner self-care is underexplored in Peace and Conflict Studies, even though peacebuilders themselves could benefit immensely from further investigation in this area, which could in turn strengthen the depth and quality of their work as facilitators for peace. Indeed, the research for this book has suggested that participants had an opportunity to experience themselves in ways that enabled them to express a deeper sense of self-understanding, embodiment and strength to go on with their work. Chapter 5 considers how, in the midst of difficult work in conflict-ridden circumstances, peacebuilders have embraced the opportunities that dance provides to relieve stress and re-engage with their bodies. At the same time, acknowledging that diverse bodies may be placed differently in settings of conflict, the chapter also interrogates the prospects and challenges posed by gender and age norms in particular sites of peacebuilding. It also suggests that dance has broader implications in peacebuilding because it can help enable a more reflective stance for considering conflict. In this sense, it has to potential offer new and creative directions for pursuing peace.

This chapter introduces the book’s main purpose: exploring the relationship between dance and peacebuilding in pluralist societies. It highlights instructive insights dance can provide when reflecting on existing theories and debates around peace and conflict. The research deepens the understanding of the roles the arts, and dance in particular, play in peacebuilding. Building on existing work in International Relations, Peace and Conflict Studies, and Dance, as well as complementary areas of study such as anthropology, neuroscience and law, this chapter sets out how the book considers the work of a non-governmental organisation and its participants deploying dance for youth peacebuilding through case studies across three contexts – Colombia, the Philippines and the United States. These case studies include multiple delivery sites of the dance programme in different contexts of violence or conflict and varied approaches to peace. The introduction previews how investigating the application of a dance-based peacebuilding programme across these three case studies allows us to consider nuance and context, as well as commonalities across the locales.

Beginning with an analysis of William Prinsep’s watercolour of nautch dancers (circa 1840), this chapter discusses the figure of the Indian nautch dancer as ‘homo sacer’, the killable target of anti-nautch dance bans introduced in British colonial India. It focuses on the British-controlled colonial city of Calcutta, a dynamic and experimental hub in nineteenth-century undivided Bengal, where the management of native populations, including sex workers and dancers, were led by colonial-era scientific and commercial agendas, and which resulted in an intersectional race-gender-caste-based violence against professional nautch women. Examining a series of newspaper reports from the colonial archive that prominently feature nautch events, the chapter tracks changing British attitudes towards nautch dancing, ranging from mild tolerance to total denouncement. A ‘corpo-active’ method of re-animating nautch archives through the body is introduced as a framework for the book, which resurfaces nautch subjects from visual and material archives as active agents rather than passive victims of tragedy. Overall, the chapter provides an overview of three broad tendencies against or with which the whole book moves: nautch as contagion, nautch as disappearance and nautch as ‘survivance’.

The chapter begins with a survey of literature on nineteenth-century colonial exhibitions and world’s fairs as a cultural practice and the complicity of academic disciplines such as anthropology and ethnology in promoting violent forms of pedagogy. It provides a brief overview of the ‘nasty’ Indian nautch, a racially charged practice framed simultaneously by colonial desire and abhorrence, which moved between the Empire’s exhibitions and theatres as disturbances. It then examines one particular colonial exhibition, the failed Liberty of London’s 1885 exhibition, and specifically analyses the work of nautch dancers whose moving bodies both engaged and disrupted the scopophilia framing live human exhibits. The chapter then listens to the dissenting voices of Liberty’s performers and delves into the legal proceedings they set in motion against their producers. In the final section, the chapter examines how re-imagining the Liberty’s nautch experience by embodying archival silences and slippages might be a usefully anarchic ‘corpo-active’ method that animates the memories of subaltern dancers forgotten by both British and Indian nationalist history.

This chapter examines the material trace – a scrapbook – belonging to a once-celebrated Bengali courtesan, Indubala Dasi (1899-1984). Part I, ‘My Name is Indubala!’, introduces Indubala’s life as a singer, actress and performer, and her activism in the domain of sexual labour rights in Calcutta’s red-light district. Part II, ‘Indubala’s Scrapbook’, offers a detailed analysis of the contents of her scrapbook. It reveals how the carefully curated documents within this quiet and intimate archive gives evidence of a dynamic homosocial world. Part III, ‘Lean Worlds, Voracious Bodies’, uses a multi-page party menu from the scrapbook to reflect on Bengali courtesan women’s appetite in colonial India. The concluding section examines amod (pleasure) and alladi (indulgence) – words found in the invitation cards inside the scrapbook – as coalitional strategies, affective states of organised inner-world resistance that Bengali courtesans and sex workers as queered subjects mobilised not just to survive but also to thrive in the world. This exuberance disrupts the trope of the ‘tragic courtesan’, offering an alternative view of Bengali courtesans as women who did not just endure the world but also curated other joyous ways of being in the world.