A VISION OF ALEPPO BrandeisUniversityDesignLab

BY: Hauke Ziessler, Masters in Conflict Resolution

and Coexistence/Near Eastern and Judaic Studies, ‘18 (Design Lab Facilitator)

Maggie Ziegel, BA ‘18 (Teaching Assistant) WITH: Cynthia Cohen, PhD, Director, Brandeis

Program in Peacebuilding and the Arts Kristin Parker, Interim Director, The Rose Art

Museum, and Cultural Heritage First Responder

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AVisionofAleppo:BrandeisUniversityDesignLab

TableofContents

ExecutiveSummary..............................................................................................................................3Overview..........................................................................................................................................3TheoreticalFrameworksfromthefieldofCulture,ArtsandSocialTransformation...........................4KeyConceptsfromFirstAidtoCulturalHeritageinTimesofCrisis....................................................4SponsorsandInvolvedParties..........................................................................................................5Methodology....................................................................................................................................6Recommendations............................................................................................................................7Conclusion........................................................................................................................................8Appendices.......................................................................................................................................8

AVisionofAleppo:FullReport.............................................................................................................8Introduction.....................................................................................................................................9KeyConceptsfromthefieldofCreativity,theArts,andSocialTransformation–byCynthiaCohen..9KeyConceptsfromthefieldofFirstAidtoCulturalHeritageinTimesofCrisis-byKristinParker...11SponsorsandInvolvedPartners......................................................................................................12ParticipantsandGuests..................................................................................................................13BackgroundofDesignLabMethod.................................................................................................14

1.Teamwork......................................................................................................................................142.TheWorkSpace.............................................................................................................................143.TheProcess.....................................................................................................................................144.Exploration.....................................................................................................................................15

TheMethodologyandStructureof“AVisionofAleppo”DesignLab...............................................16Process...........................................................................................................................................16

Group1:.............................................................................................................................................16Group2:.............................................................................................................................................17Group3:.............................................................................................................................................19Group4:.............................................................................................................................................20

Recommendations.............................................................................................................................23

SuggestionsofImprovementstotheProcess......................................................................................27

Conclusion..........................................................................................................................................27

Appendices........................................................................................................................................27

Bibliography.......................................................................................................................................28

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ExecutiveSummary

Overview

Designlabsthriveonthemindsetsthatcreativepeoplebringtoproblemsandpossibilities:willingnesstolearnfromfailure;confidenceinourcreativecapacities;empathy(bothfortheothersontheteamandthepeoplewithwhomandforwhomwecreateproposals);eagernesstoembraceambiguityandparadox;optimismandabeliefthatwedohavethecapacitytoimproveconditions,atleasttosomeextent;awillingnesstotry,andtry,andtryagain.Withthesethoughtsinmind“AVisionofAleppo”wasacollaborationamongundergraduatestudentsinBrandeis’programinCreativity,theArts,andSocialTransformation(CAST),andprofessionalsfromthefieldsofconflicttransformation,culturalpreservation,artsandculturalwork,andarchitecture.Throughtheprocess,studentswereintroducedtotherolethatpreservationoftangibleheritageplaysintherecoveryofidentityandcommunityinpre-andpost-violenceenvironments.Italsoexploredmorebroadlytherolethatartistsandculturalworkersplayinrebuildingtrustintheaftermathofviolenceandinengagingmembersofdiasporacommunitiesinrememberingandimagining.Equallyasimportantasstudentlearning,agoaloftheDesignLabwastobrainstorminnovative,feasible,concretestrategiesforrecoveryinAleppo,whichcouldbesharedwiththeAleppoProject. AleppohasbeenacentralfocusofthemediacoveringtheSyrianwarandcrisis.Withtherecentceasefire,thewesternmediaseemstobesuggestingasteptowardspeace.Yettherealityisoneofdesperationanddestructionontheground(Chulov&Shaheen,2016).Culturalheritage,monumentsandmemoriesarebeingdestroyeddailythroughdiversetacticsusedbyallsides.Afeworganizationshavebeguntocapture,preserveandprotecttherichculturalheritage,oratleastcreaterecordsofimages,soundsandstories,beforethingsaredestroyed.Butprojectshavestruggledwithavastnumberofobstaclesandthusareconstantlyrethinkingnewandinnovativestrategiestotryandcapture,protectandrestoreculturalheritageformultiplepurposes,includingeducationforrefugeesandmembersofhostcountrycommunities.AtBrandeisUniversity,theVisionofAleppoDesignLabwassetuptocreateaspaceofinnovative,collaborativethinkingthatwouldresultinconcreteprojectideasfortheAleppoProject.ThisReport

• introducesthereadertokeyconceptsthatanimatedthedesignlab,drawnfromthefieldsofArtsandSocialTransformationandFirstAidtoCulturalHeritageinTimesofCrisis

• describesthemethodologyoftheDesignLabProcess• highlightsrecommendationsthatemerged

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TheoreticalFrameworksfromthefieldofCulture,ArtsandSocialTransformation

ThedesignlabonAleppowasinformedbytheoryandpracticeemergingfromthefieldsofconflicttransformationaswellasartsandsocialtransformation.Wedrewonthefollowingframeworks:

• Themoralimaginationasthecultivationoffourdisciplines:o Creatingspacesforothers’creativityo Takingriskstoreachoutto,andbevulnerableto,enemies,adversaries,otherso Rememberinginterdependenceo Cultivatingcuriosityabouttheparadoxicalnatureofthingsthatinitiallyseemin

opposition• Reconciliationasthegradualprocessesofrebuildingtrustintheaftermathofaperiodof

alienationinrelationships,includingre-humanizationofthe‘other’,mourninglosses,sharingstories,addressinginjustices,lettinggoofbitterness,andimaginingabetterfuture.

• Minimizingrisksofharm• Thepermeablemembranebetweenartandsociety,aframeworkdesignedtofacilitate

communicationbetweenartistsandotherchangeagentsbyfocusingattentiononsocio-politicaldynamics(thecontextandtheeffectsofarts-basedinterventions)aswellastransformationsthattakeplacewithintheaestheticrealm,theboundedspacesofcreativeprocesses.Thisframeworkinvitesattentionto:

o untappedsourcesofresilienceo thenatureofthetransformations–inbeliefs,attitudes,values,consciousness,

relationshipsamongpeopleandabstractelements,etc.–thattakeplacewithinthespaceofcreativity

o thedepth,breadthandcreativitywithwhichtransformationsthattakeplacewithincreativespacesare“castback”intosociety,includingtheproject’sreachandthenatureofthetransformationsintheconsciousness,relationshipsandactionsofmembersofcommunities(inadditiontoparticipants,witnesses,andaudiencemembers).

Ideasfromthesefourframeworksinformedthestructuringofthedesignlab,andtherecommendationsthatitproduced.

KeyConceptsfromFirstAidtoCulturalHeritageinTimesofCrisis

Preservationofculturalheritagehastheabilitytounitepeopledividedbywarordisaster,providingasenseofbelongingthroughsharedmemoriesandculturalandsocialpractices;tangibleandintangibleheritageandareinextricablylinkedtogether.Accesstoculturalheritageisalsolinkedtotherighttofreedomofexpression,freedomofreligion,freedomofthoughtandeconomicfreedom,whichallowforself-determinationandsocialcohesion.Culturalheritageinallitsformsembodiesdiversity,somethingmostatriskduringcomplexemergencies,“formodernconflictsareoftenassociatedwithidentitypolitics,ethnicexclusivismor/andreligiousfundamentalism”(SeeCelineYvonne,EthicsforanEmergingField,pg.14.Tobepublished,BrandenburgUniversityPress:March2017).

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TheHagueConventionof1945requiresparticipantStatestoabidebystandardsthatprotectculturalpropertyduringconflict,refrainingfromhostilityagainstit.Thedestructionofidentity-orculturalcleansing-throughthedestructionofheritage,isoftenthefirstweaponofwar,aggravatingconflictandobstructingreconciliationanddialogue.TheframeworkofFirstAidtoCulturalHeritageinTimesofCrisis(FAC)aimstoincorporateculturalrecoveryintothehumanitarianclustersystem,aligningwiththehumanitarianprinciplesofhumanity,neutrality,impartialityandindependence,ensuringapeople-centeredfirstaidinformedbyaninclusiveattitudeandrespectfordiversity,andgeneratingcontextspecificresponses.Aspectsofthisframeworkwereincorporatedintothedesignlabtoensurerecommendationsthatarepeople-centered,inclusiveandrespectthediversityofthecontext.

SponsorsandInvolvedParties

The'AVisionforAleppo'DesignLabwashostedbytwodifferentunitsatBrandeis:• TheminorinCreativity,theArts,andSocialTransformation(CAST),anacademicprogram

launchedbytheprograminPeacebuildingandtheArts,basedatTheInternationalCenterforEthics,JusticeandPublicLife.

• TheRoseArtMuseumTheyworkedinconjunctionwiththeAleppoProject,basedinBudapestattheShattuckCenteronConflict,NegotiationandRecoveryattheCentralEuropeanUniversity.TheAleppoProjectaimstoaddressthreeissues:1)Howcandonorsbetterhelpthosetryingtosurviveamiddestructionandhowcanthataidhelprebuildcommunitiesandcities?2)Howcanrefugeesmaintainavoiceinwhathappenstotheircitieswhilebalancingtheneedtoredevelophealthiercommunities?3)WhatcanwelearnfromtherecentreconstructionofcitiessuchasBeirut,KabulandSarajevo?Thecoreprincipleistosupportthepeoplewhogenerallyareshutoutofdecisionsonaidandreconstruction,particularlyrefugeesandwomen,findavoice.Participantsincluded:

• RobertTempler,Director,CenteronConflictNegotiationandRecovery,AleppoProject• AlHakamShaar,CCNRFellow,AleppoProject• RimLababidi,Architect,originallyfromAleppo• EylemErtürk,administratorfromAnadoluKultur,Turkishartsorganization• KristinParker,ActingDirector,RoseArtMuseum;CulturalHeritageFirstResponder• MadhawaPalihapitiya,Assoc.Director,MassOfficeofPublicCollaboration,Brandeisalumnus• JaneWilburnSapp,ArtistinResidence• DanFeldman,VicePresidentofInstitutionalPlanning,Brandeis• MyriamMarcuello-Lopez,ShadiSheickhSaraf,HaukeZiessler,MAinCoexistenceandConflict

UndergraduatestudentsandassistantsfromCASTminor

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Methodology

Thedesignlabmethodologybringsvariousconstituenciesrelatedtoaproblem,issueorpossibilityintocreativeconversationthatworkstodesignstructures,processesorexpressionsthatsolveproblems,resolveconflictsorexpandonpossibilities.CASTdesignlabsaredesignedtoengagestudentsandgivethemexperiencetobecomeexpertsineffortstowardmorejust,peaceful,resilient,andvibrantcommunities.‘AVisionforAleppo’wascomprisedofvariousexpertswithknowledgeofAleppoandofarts,designandpeacebuilding,aswellasfacilitatorsandtheundergraduateandgraduateBrandeisstudentsoftheCASTintroductorycourse.(SeePage9forthefulllistofparticipants).Designthinkingrequiresthreekeyelements:teamwork,thedesignprocess,andacollaborativeworkspace(D-ForgeBremen,2016).Thekeyismakingthehumanaspectofproblemsolvingthecentralbuildingblockoftheprocess(Dorst,2011).TheDesignlabtookplaceduringthree3-hoursessionsoftheclassCAST150b:IntroductiontoCreativity,theArtsandSocialTransformation.Thefirstsessionfocusedonbuildingtheexpertiseoftheparticipants,throughpresentationsanddiscussionofarticles.Forthenextsessionofideation,followingapresentation,participantsweredividedintofourgroups;eachofwhichtackledoneofthefollowingquestionswithsupportfromafacilitatorandexperts.●Whatcanbedonenow,whilewarisbeingwaged,topreservethepossibilityofmemories?Howshouldsuchactivitiesconsiderdistinctandcompetingnarratives,anddivisionsamonggroups?●Afterthewar,howcanlocalcitizensandartistsbeinvolvedinrebuilding?Whatplatformsandprocessescanbeenvisionednow?Howshouldtheseplatformsandprocessestakeaccountofthedivisionsandmistrustbetweencommunities?●Forpeoplewhohavebeenandwillbedisplaced,howcantheiraccesstoculturalheritageandmemorybemadepossible?Howcansuchinitiativesbedesignedtofacilitatetherebuildingofintercommunalrelationships?●Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?Inthefinalsessionofthedesignlab,thegroupspresentedshortcreativepitchestotwoexpertswhoparticipatedvirtually.Theexpertsrespondedtoeachideaandexploredthegivenprototypeswiththeparticipants(seeAppendix2).

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Recommendations

TheVisionforAleppodesignlabdevisedfourbroadrecommendationsrelatedtoarts,cultureandtherebuildingofthecity,andproposedpossibleactionstepsforeach.Theseideasareelaboratedinthebodyofthereport.1. PreservethePossibilityofMemory

Inwar-torncities,suchasAleppo,agreatdealofculturalheritagehasbeendestroyed.Foraculturallyresonantcitytoberebuiltinthefuture,stepsmustbetakentopreservememoriesofbothtangibleandintangibleculturalheritagenow,evenasviolencecontinues.ThesepreservationactivitiescantakeplacebothwithinSyriaandinrefugeeanddiasporacommunities.Action1:Documenttheculturalheritage(environment,artifacts,sounds,artandmusic,etc.)ofthecitywithfilmandpictures.Action2:Buildaninteractivedatabase(eitherofflineoronline)thatisopensourcewherediaspora,refugeesandlocalscanbeginuploadingalltheirfiles(includingphotos,soundclips,videos,oralhistoryinterviews,etc.)Action3:Collectaresourcelistofcasestudiesofotherprojectsconsciouslybuildingplatformswherememoriescanbeshared.Action4:Setupincomegeneratingprojectsinrefugeeanddiasporacommunitiesrelatedtoculturalheritageandoralhistorywork.

2. ReimagineandRebuildtheCity Afterthemassdestruction,publicspaceshavechangedfromplacesofcelebrationandculturetotriggersoftraumaanddevastation.Inrecreatingthecity,itisimportantbothtoimaginewhatthecitycouldbe,andrememberwhatthecityoncewas.Therefore,whileitisimportanttomeetlocalinfrastructuralneeds,itisalsoimportanttorootnewbuildinginmemoriesofwhatthecommunityoncehad.Thesepublicspacescanthenagainbecomehubsofintercommunalinteractionandcelebrationofcommunity.Action1:StartafestivalinpublicspacesshapedaroundrebuildingthedestroyedShuksandspacesofinteraction.FocicanbeFood,Musicandtraditionalcraftsthattranscendboundaries.Action2:DevelopcommunitycentersandcreativespacesAction3:Createvocationaltrainingcentersthatdeveloplocalskillsandbringthemintotherebuildingprocess.

3. AcknowledgeTraumaandAddressitinpartthroughArtsandCultureTheaftershockandeffectsfeltbystakeholdersofcrisisandwarinhibitopendialogueandactasroadblockstorebuildingandmovingforward.Iftraumaexistsunaddressed,trustcannotbebuilt.Therefore,itisimportanttocreatespacesandopportunitiesforvictimstoprocessandheal,inbothuni-communalandheterogeneouscontexts.Artsandculturehaveuniqueresourcestooffertrauma-healinginitiatives.Action1:UsetheNationalMuseumsandexistingculturalgroupstoshowcasetheartsandsharedculturalheritage,andcreatespacesforritualsofmourning,dialogue,andenvisioningthefuture.

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Action2:CollectstoriesusingexistingYouTubechannelstocapturesongs,storiesandpoemsoftherefugeediaspora.Highlightexpressionsthatdignifyandshareexpressionsofgriefwithoutencouragingattachmenttovictimnarratives.Juxtaposeexpressionsinwaysthatacknowledgethesufferingofpeopleonallsides.Action3:Startarttherapyandothergroupsfororphansandchildrenwhohavelostimportantfamilymembers.

4.RebuildTrustJustasitisimportanttorebuildphysicalmonumentsandinfrastructure,itisjustasimportanttoworktowardtherebuildingtrust,sothatpeoplefromadversarycommunitiescancollaborateintherebuilding,andsothepossibilityofsafetyandpeaceisfeltbystakeholders.Thepreviousthreerecommendationsshouldbeimplementedinwaysthatconsiderbreakdownsintrust,andpossibilitiesforrebuildingtrustbeginningintheplanningstage.Theprocessesofpreservingmemory,imaginingthefuture,andaddressingtraumacanallbedesignedtofacilitatetheredevelopmentoftrust.Action1:Builtrelationshipsacrosslinesofenmityandcultureintheprocessesofpreservingmemory,reimaginingthecity,andwhenpossible,addressingissuesoftrauma.Action2:Usetheaterandartprojectsinpublicspacestocreateopportunitiesofopenandconstructivedialogueandcommunaltraumarelief.Action3:Setupacampforyoungpeoplerunbylocalpeople,offeringopportunitiesforfunaswellasvocationaltrainingandtraumahealingActing4:Engageindividualsfromallsidesoftheconflictworkingtogethertoproduceanoralhistoryproject.

Conclusion

StudentsandothermembersoftheBrandeiscommunitywhowereengagedin“AVisionforAleppo”feltprivilegedtobeinvolvedinaprojectofsuchscopeandsignificanceastherebuildingofanancientcity.WorkingonthedesignlabbroughtusclosetothesufferingofAleppo’speopleandthedestructionofitsculturaltreasures.Whilestudentsworkedhardtounderstandtheculturalheritageofthecityandthedynamicsoftheconflict,theyrealizethattheyareoutsidersandnovices,andtrustthatrecommendationswillbeconsideredinthatlight.IfanyoftheideasdevelopedinthisprocessproveusefultothoseresponsiblefortheredesignofAleppo,itwouldbeourhonortohavecontributed.

Appendices

I. AlistofalldocumentationavailableII. MethodologyofdesignlabIII. IntroductoryandinstructiontextsforfacilitatorsandParticipantsIV. NotestakenbyTeachingAssistantsthroughouttheDesignLabprocessV. Studentrapporteurnotesandphotos

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AVisionofAleppo:FullReport

Introduction

AleppohasbeenacentralfocusofthemediacoveringtheSyrianwarandcrisis.Withaceasefirebrokeredthewesternmediaseemstobesuggestingasteptowardspeaceyettherealityisoneofdesperationanddestructionontheground(Chulov&Shaheen,2016).Inamongstthisdestructiontheculturalheritage,monumentsandmemoriesarebeingdestroyeddailythroughthediversetacticsusedbyallsides.Aselectfeworganizationshavebeguntocapture,preserveandprotecttherichculturalheritagebeforeitisdestroyed.Butprojectshavestruggledwithavastnumberofobstaclesandthusareconstantlyrethinkingnewandinnovativestrategiestotryandcapture,protectandrestoreculturalheritageforadiversityofuses,educationforrefugeesandtheirhostcountriesbeingonesuchuse.AtBrandeisUniversity,aDesignLabwassetupaspartoftheintroductorycourseoftheCreativity,theArtsandSocialTransformation(CAST)minor,totacklethisproblemandcreateaspaceofinnovative,collaborativethinkingthatwouldresultinconcreteprojectideasandrecommendationsforfutureprojectsoftheRoseArtMuseum,theAleppoProjectandCASTminor.ThisReportintroducesthereadertokeyconceptsfromthefieldsofCreativePeacebuildingandCulturalHeritageasaHumanRight,describethemethodologyoftheDesignLabProcess,andfinallyhighlighttherecommendationsemergingfromtheprocess.

KeyConceptsfromthefieldofCreativity,theArts,andSocialTransformation byCynthiaCohen

ThedesignlabonAleppowasinformedbytheoryandpracticeemergingfromthefieldsofconflicttransformationaswellasartsandsocialtransformation.Wedrewonthefollowingframeworks:Themoralimaginationastheabilitytostaygroundedintherealworld,withitssufferingandinjustice,whilesimultaneouslyimaginingandworkingtowardamorejust,lessviolent,morevibrantworld.Thisconcept,aselucidatedbyJohnPaulLederach(2005),involvesthecultivationoffourdisciplines:oCreatingspacesforothers’creativityoTakingriskstoreachoutto,andbevulnerableto,enemies,adversaries,othersoRememberinterdependence,inthesensethatthewell-beingofone’sgrandchildreniscontingentonthewell-beingofone’sadversary’sgrandchildrenoCultivatingcuriosityabouttheparadoxicalnatureofthingsthatinitiallyseeminoppositionReconciliationasthegradualprocessesofrebuildingtrustintheaftermathofabreach,and/oraperiodofalienation,inrelationships,especiallythroughcreativeopportunitiesforpeopleandcommunitiesto:

• Rehumanizethemselvesandeachother• Sharestories,constructmorecomplexstoriesandidentities• Mournlosses• Empathizewitheachother’ssuffering• Addressinjustices

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• Letgoofbitterness• Imagineandsubstantiateanewfuture(Cohen,2005)

Minimizingrisksofharm,by,forinstance,

● Minimizingtheriskofengaginginepistemicviolence(understoodasinjurytolocalwaysofknowing,culturalpractices,formsofexpression,etc.)

● Minimizingtheriskofworseningdivisionsbetweenconflictinggroups● Minimizingtheriskofre-traumatizingcommunitiesandindividualsthathavesufferedfrom

violence● Minimizingtheriskofunderminingartisticintegrity● Minimizingtheriskofcreatingorperpetuatinginjuriouspowerdynamics● Minimizingtheriskstoartists,culturalworkersandprojectparticipants,particularlythose

workingincontextsofgovernmentrepressionorpolarizedparamilitaryformations(Cohen,VareaandWalker,2011)

Thepermeablemembranebetweenartandsociety,aframeworkdesignedtofacilitatecommunicationbetweenartistsandotherchangeagentsbyfocusingattentionofsocio-politicaldynamics(thecontextandtheeffectsofarts-basedinterventions)aswellastransformationsthattakeplacewithintheaestheticrealm,theboundedspacesofcreativeprocesses.Thisframeworkinvitesattentionto:

• untappedsourcesofresilienceaswellasuntoldstories,unexpressedremorse,suppressedfeelingsofguilt,rage,shameandfear,etc.

• theaestheticandethicalsensibilitiesofthoseresponsibleforculturalproductions• thenon-consciousaswellasconsciousprocessesbywhichtheelementswithinasocietyare

broughtintocreativespacesforfocusedandcreativeattention• thepreparationofthecreativespace• thenatureofthetransformations–inbeliefs,attitudes,values,consciousness,relationships

amongpeopleandabstractelements,etc.–thattakeplacewithinthespaceofcreativity• thedepth,breadthandcreativitywithwhichtransformationsthattakeplacewithincreative

spacesare“castback”intosociety,includingwhethermanypeopleandkeypeoplehavebeenreached,andthenatureofthetransformationsintheconsciousness,relationshipsandactionsofparticipants,witnesses,andaudiencemembers.(Whatchangesbecauseoftheculturalproduction?)

• Theextenttowhichrisksofharmhavebeenminimized(Cohen,VareaandWalker,2011)Ideasfromthesefourframeworksinformedthestructuringofthedesignlab,andtherecommendationsthatitproduced.

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KeyConceptsfromthefieldofFirstAidtoCulturalHeritageinTimesofCrisis byKristinParker

TheHagueConventionof1945requiresparticipantStatestoabidebystandardsthatprotectculturalpropertyduringconflict,refrainingfromhostilityagainstit(UNESCO,n.d.).Thedestructionofidentity-orculturalcleansing-throughthedestructionofculturalheritageisoftenaweaponofwar,aggravatingconflictandreducingtheabilityofreconciliationanddialogue.TheUniversalDeclarationofHumanRightsproclaims,“Everyonehastherightfreelytoparticipateintheculturallifeofthecommunity,toenjoytheartsandtoshareinscientificadvancementanditsbenefits.”Caringforculturalheritageensuresthisrightandpromotessocietalwellbeing(UN,1948).Culturalfirstaidreferstotheprotection,stabilizationandsecurityoftangibleandintangibleheritage,whichareinextricablylinkedtohumanrights:therighttofreedomofexpression,freedomofreligion,freedomofthoughtandeconomicfreedom,allwhichsupportself-determinationandsocialcohesion.Throughprotectionofheritageduringandpost-conflict,communitiesmayrecovertheirculturalpracticesmorereadily,whichcontributestoreconstructionandsocialcohesion. TheframeworkofFirstAidtoCulturalHeritageinTimesofCrisis(FAC)forculturalpreservationwasestablishedbytheInternationalCommitteeforthePreservationandRestorationofCulturalProperty,withsupportfromthreenations-theInternationalCenterfortheStudyofthePreservationandRestorationofCulturalProperty,theSmithsonianInstitutionandthePrinceClausFundCulturalEmergencyprogram(Tandon,2015).Thiscapacitybuildinghasbeencreatedinresponsetotheunprecedentedincreaseinbothnaturalandmanmadedisastersoverthepasttenyears(suchasthe2010earthquakeinHaitiandwarinIraqandSyria).Themissionofculturalfirstaidistostabilizeandsecureheritageatriskduringcomplexemergenciesandtoincorporateculturalrecoveryintothehumanitarianclustersystem.Theguidingprinciplesalignwithhumanitarianprinciplesofhumanity,neutrality,impartialityandindependenceasfollowedbytheUnitedNationsOfficefortheCoordinationofHumanitarianAffairs.(UNOCHA,2011).Thosetrainedinculturalfirstaidabidebythefollowingprinciples.Theyare:

• Proactiveyetsensitivetohumanneeds• Respectfulofthelocalcontext• Capableofbuildingtrustandunderstandingamongstpeoplewithdifferentviews• Abilitytoimplementfirstaidoperationsforprotectingculturalheritageincoordinationwith

government,NGO,militaryandhumanitarianagencies• Abilitytobuildandmanagerecoveryteams• Capableofassessingandmitigatingfutureriskstoensurerecovery

Takingapeople-centricapproach,allowinglocalcommunitiestoinformandsecuretheirownheritage,is,surprisingly,notthetraditionwithintheheritagerecoveryfield.Historically,thereisatopdownapproach,withlargeculturalinstitutionsdecidingforacommunitywhatismostimportanttopreserveforposterity,oftenciting“universalvalue”asajustificationtodirectresourcestoproject,ledbylargeinstitutionswhoareoftenfromoutsidethecommunitiesimpacted.However:

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statisticsindicatethatinmostdisasters,localcommunitiesarethefirsttorespondandsecuretheirculturalheritage.Forexample,duringthe2012conflictinNorthernMali,privatelyheldancientmanuscriptswerekeptsafethroughtraditionalinter-communalnetworks.Moreover,communitieshavetime-testedcopingmechanismsandawealthofknowledge(e.g.,traditionalbuildingmethods)thatcouldbeutilizedinreconstructionandrecovery.Thus,involvementofthelocalcommunitiesisessentialtotheplanningandimplementationoffirstaidtoculturalheritage”.(Tandon,2015)

AspectsofthisculturalframeworkwereincorporatedintotheAVisionofAleppoDesignLab,introducedthroughreadingsandcasestudies.Specificprinciplesthatwereaddressedbyparticipantsincluded:

• people-centeredfirstaid–localcommunitiesareoftenthefirsttorespondtosecuretheirheritage,andtheirknowledgeisessentialtoanyrecoveryprocess;

• aninclusiveattitudeandrespectfordiversity-necessarytobuildtrustandencouragecooperation;

• contextspecificresponse–thereisnosingleapproachwhenaddressingcomplexemergencies.Carefulassessmentsmustbemadetoanalyzeimmediateneedsandidentifythewidevarietyofactorsinvolvedtoprotectculturalheritage.

SponsorsandInvolvedPartners

The'AVisionforAleppo'DesignLabwashostedbytwodifferentunitsatBrandeis.ThefirstistheminorinCreativity,theArts,andSocialTransformation(CAST),anacademicprogramlaunchedbytheprograminPeacebuildingandtheArts,basedatTheInternationalCenterforEthics,JusticeandPublicLife.Nowinitsthirdyear,theCASTminoroffersstudentsanopportunitytoexploretheoryandpracticeatthenexusofarts,culture,socialjusticeandconflicttransformation.Thefacultycommitteeoftheminorisco-chairedbyDr.TomKingandDr.CynthiaCohen;Cohen,whohaspublishedwidelyontheaestheticsandreconciliation,istheinstructoroftheintroductorycourse.ThesecondistheTheRoseArtMuseum,whichisBrandeisUniversity’son-campusArtMuseumfoundedin1961.TheRoseArtMuseumisaneducationalandculturalinstitutiondedicatedtocollecting,preservingandexhibitingmodernandcontemporaryartandmakingitaccessibletothecommunity.TheMuseumiscurrentlyworkingwiththeAleppoProject,housedattheShattuckCenteronConflict,NegotiationandRecovery,ledinpart,byAlHakamShaar(MemberoftheAleppoCitadelFriendsSociety)andRobertTempler(expertonpublicpolicyandconflictresolution)onbrainstormingnewstrategiestotheirwork.TheShattuckCenteronConflict,NegotiationandRecovery'sAleppoProjectaimstoaddressthreeissues:1)Howcandonorsbetterhelpthosetryingtosurviveamiddestructionandhowcanthataidhelprebuildcommunitiesaswellascities?2)Howcanrefugeesmaintainavoiceinwhathappenstotheircitieswhilebalancingtheneedtoredevelophealthiercommunities?3)WhatcanwelearnfromtherecentreconstructionofcitiessuchasBeirut,KabulandSarajevo?

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TheAleppoProjectaimstocomeupwithpolicytoolsandideasthatenhancethepowerofcommunitiestodeterminetheirownfuturesandhelpsdonorsdomorewithless.Thecoreprincipleistohelppeople,particularlyrefugeesandwomenwhoareshutoutofdecisionsonaidandreconstruction,findavoice.

ParticipantsandGuests

Tohelpfacilitatetheprocesseffectivelyandensurethestudentshadaccesstoaplethoraofdiverseopinionsandexperts.Differentguestswereinvitedatspecificpointsintimeduringeachofthesessionstoaidtheprocess.Thefollowingpeoplewereparticipantsorexpertsatdifferentpointsintime:ExpertswithknowledgeofAleppo:

• RimLababidi–SyrianArchitect• AlHakamShaar(asmentioned)• RobertTempler(asmentioned)

ExpertswithknowledgeofArts,DesignandChange:

• EylemErtürk(AnadoluKultur)–TurkishArtsAdministrator• KristinParker–TheRoseArtMuseumInterimDirector• MadhawaPalihapitiya–AssociateDirectorattheMassachusettsOfficeofPublicCollaboration• JaneSapp–Composer,Artist-in-Residence• CindyCohen–DirectorofBrandeis’PeaceBuildingandtheArtsProgram• DanFeldman–VPofInstitutionalPlanning,Brandeis

Facilitators:

• MyriamMarcuello-Lopez–MAinCOEXandNEJS‘17• MadhawaPalhapitiya(asmentioned)• ShadiSheikhSaraf–MAinCOEX,‘16• HaukeZiessler–MAinCOEXandNEJS’18(facilitatorandlogisticalsupport• MaggieZiegel–BA’18(facilitatorandlogisticalsupport)

Participants:

• StudentsfromtheFall2016CAST150Bcourse–“IntroductiontoCreativity,theArtsandSocialTransformation

• JenniferLargaespeda–’16(documentation)

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BackgroundofDesignLabMethod

ThebusinessworldhasbecomeadaptiveandcreativeininnovativeapproachesofproblemsolvingwithstructuressuchasDesignThinkingortheFlexonsapproach.Withtheadventofsocialbusinessesandthedistancingfromtraditionalmeansoffunding,(suchasgrants)NGOsarealsolookingtobusinessmodelsforinspirationtoproblemsolve.Theideaoftheseapproachesistocentertheprocessinahorizontal,open,collaborativeandexperimentalstructurethatleavesspacefor“out-of-the-box”thinking(Mckinsey,2016).Thedesignthinkingprocessisespeciallypopularwithuniversitiesandbusinessesasitcreatesaninteractiveandnewapproachtoproblemsthathavebecomeseeminglyintractable(Dorst,2011).Designthinkinginvolvesthreekeyelements;teamwork,thedesignprocessandacollaborativeworkspace(D-ForgeBremen,2016).Thekeyismakingthehumanaspectofproblemsolvingthecentralbuildingblockoftheprocess(Dorst,2011).

1.Teamwork

Asmentionedhumaninteractionisthekeycomponentofdesign-thinkingandthusthemethodologyusedintheprocessisveryinteractiveranginginapproachestoaccommodateanddefinespacesfordifferentdispositions(Fierst,Diefenthaler&Diefenthaler,2011).Theideaisthattheprocessisrootedinadeepempathyforthehumanneedsinherentintheproblemthatistackled.Bycreatingahorizontalenvironmentexperts,managers,secretariesandthevariousotherpositionstackletheproblemonanevenplayingfieldwherenoideatakesprecedenceoveranother(Dorst,2011).Tocreateaconduciveenvironmentwherethisispossible,therightsetupisessential.

2.TheWorkSpace

Changeteamsoftenmeetinrigidmeetingroomsettingswhereacreativethoughtprocess,candiddialogueandideationisnotpromoted.Hence,theDesignlabrequiresaconduciveworkingenvironmentthatgivessufficientspaceforcreativethoughtanddynamicstructure.Throughmovablefurnitureandanarrayofvisualmaterials(e.g.post-its,flipcharts,coloredpencils,markers,whiteboardsetc.)adynamicandinteractiveenvironmentiscreated(Stanford,2016).Thekeyistomaketheideasandprocessesmoretangiblefortheparticipants(Fierst,Diefenthaler&Diefenthaler,2011).

3.TheProcess

AscanbeseeninFigure1theprocessisbothflexibleandstructuredinthesamesense.Whiletheparticipantsmoveforwardinastepbystepformattherearealwayspossibilitiesinreturningtothedrawingboardretestingandrecreating.Theprocessbeginswithdiscoverywheretheparticipantsattempttounderstandandestablishabaselineofexpertiseforallparticipantsinthedesignthinkinglabandtobeginaprocessofacclimatizingtheparticipantstoaproblem-solvingthoughtprocess.Fromthis,questionsaredefinedthatwillbeusedtodirectlytackletheproblemandtobegindefiningafocuswithinthenextsteps.Withthesequestionsparticipantsmoveintotheempathyandideationphasewherethroughanopen-mindedapproachbrainstormingispromoted.Thisphaserequiresempathyasnoideasarewrongandout-of-the-box-thinkingisrewarded.Hereideasaredevelopedandconsolidatedtodefineconcreteanswerstotheposedquestions.Thisisvitalastoenterthenextphase

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ofexplorationasolidprototype,canonlybeestablished,ifthebrainstorminghasdefinedanall-encompassingbackdrop.Aneffectivewaythiscanbedone,isbyshapingthethoughtprocessaroundmodelssuchastheBusinessModelCanvasandtheSWOTAnalysis(Fierst,Diefenthaler&Diefenthaler,2011).

4.Exploration

Itisimportantthenwhenthephaseofexplorationisentered,theprojectideaisnotonlyansweringthequestionsthatarebeingtackledbut,thatthroughexperimentation,theycanbetested.Thenextstepistotaketheideathatresultedfromthepreviousexercisesandbeginconcretelybrainstormingatimelineandplanonexactlywhenandhowthenewsolutionwillbeimplemented,withdirectcallstoactionsforthechangeteams.Bydefiningaroadmapofthenextstepsonecanconstantlytesttheprogressoftheimplementedideas,exploringitssuccessandrevisitingpriorstepsofthedesignthinkingprocessinfurtherworkshops,iftheideafailstobeeffective.Thisisrepresentedbytheblackarrowsinfigure1,whichshowadynamicinteractionbetweenthedesignthinkingsteps.Byreturningtothewelldocumentedprocessandreanalyzingone'ssteps,futureproblemscanbereassessedandredefined.Furthermore,theinnovativeapproachoftesting,returning,redefiningandretestingcreatesaninteractiveandconstantlyadaptiveapproachtobuildinganorganizationorprojectidea.Asshownabovethedesignlabmethodologybringsvariousconstituenciesrelatedtoaproblem,issueorpossibility,intocreativeconversationtodesignstructures,processesorexpressionsthatsolveproblems,resolveconflictsorexpandonpossibilities.CASTdesignlabsaredesignedtoengagestudentsandexpertsinexercisestowardmorejust,peaceful,resilient,andvibrantcommunities.Thisisaninterestingapproachtoadapttotheclass,asaconstantlychangingenvironment,suchasAleppo,requiresanadaptableprocess,wherepastactivitiescanbeintegratedintonewerdevelopments.Finallycreatingastorylinethatintertwinesthediverseapproachestosolvingtheproblemsathand,willhelpestablishaconstantlyadaptingproject.

Figure1(D-forge,2016)

Figure1

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TheMethodologyandStructureof“AVisionofAleppo”DesignLab

Asmentionedthemethodologyisdeeplyrootedinthedesignthinkingprocess.Theentireprocesswasstructuredin3threehoursessionsaspartoftheclass.Thisgavetheprocessadifficulttimeconstraint,inwhich,thegroupshadtoworkwithefficiency.Thefirst3-hoursessionwascenteredinraisingtheexpertiseofthestudentsandexploringthematterathand.Thesecondsessionrevolvedaroundideationwiththestudents,usingtheirknowledgefromthereadingsandprevioussessionstoexplorethequestionsprovidedtothem.While,thefinalsessionfocusedonpresentingtheideas,collectingfeedbackandrealigningtheeffortsofthedifferentgroupstogetherwithkeyexpertsinthefield.ThesecondsessionwasbasedinsmallergroupactivitieswhicheachtackledoneofthequestionsreferencedbelowinProcess.Formoredetailedinformationoftheexactmethodologyconsolidateappendix2.Withthesequestionsinmindonecannowexploretheprocessandtheresultsofeachgroup.

Process

Tounderstandhowtheabove-mentionedstructureandmethodologyresultedintherecommendationslistedandtoalsoexplorethesuccessesandlimitationsoftheprocessoneshouldunpackeachgroup'sresultsandhowtheyproceededthroughthegivenmethod.Fromthisasetofrecommendationswillbegivenandfinallythelimitationswillbeexploredfurther.

Group1:

Question:Whatcanbedonenow,whilewarisbeingwaged,topreservethepossibilityofmemories?Howshouldsuchactivitiesconsiderdistinctandcompetingnarratives,anddivisionsamonggroups?ThegroupworkingwiththisquestionwerefacilitatedbyHaukeZiesslerandsupportedbyKristinParker,anexpertinthefieldofrestoringandprotectingculturalheritageandmemory.Thegroupprogressedthroughthestepsquitewellandworkedeffectivelytocomeupwithasolidprojectidea.TheywerenotabletofinishtheentirelistoftheBusinessModelCanvasbutwereabletotouchonveryimportantpotentialrisksanddynamics,whichtheprojectneededtoconsider.Theresultsoftheprocesswereparticularlyinterestingastheprojectwasveryconcreteinitsplanandhadmanyelementsofthinkingoutofthebox.Theentireresultofthegroupcanbeharnessedbytheircatchphrase:“Preservingthepasttocreatepathwaystothefuture”.Theideawastopreservetherichculturalheritageofthecityinanumberofways.

a. Givingmanygroupsfromthelocalpopulationcamerastocaptureandmapasmuchofthearchitectureandcityaspossibleandtocreatelocalizedagency.

b. Filmnotonlypeopleandtheirstoriesbutalsorecordculturaleventssuchasmusicanddanceorjustcapturesoundrecordingstocreateavastdatabaseoftheirculturetopreserveittothebestoftheirabilitiesdespitethetoughconditions.

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c. Writtenhistoryisalsovaluable.Thus,itwasproposedthatoralhistorystoriesarecapturedoftheold,young,refugeesandlocalstopreservememory.Thekeyistocreateahistorythroughthepeoplebythepeople´.Theydefinetheircultureanddeterminewhattheircultureis.

d. Allthiswillbecollectedonadatabasethatwillbecomeaninteractivewebsitewhereaccessisgiventoall,butnotassociatingitwithacloud,toprotectthelocalpeople’sidentity.

e. Thedatabasecanbeusedbyexternalpartnerstogetabetterideaofthesituationandthusplanandimplementeffectiveprojectswithinthecountrye.g.UNHCR.

f. Theprogramcancreateapathwaytoinviteasenseofhopeamongtheyoungpeople,throughvariouseducationprojects.Thekeyistoconnectthedifferentdiasporathroughtechnologytobringthefragmentedcommunitiestogether.Byintertwiningeducationalprogramswithrefugeecommunitiesabroadandwithinthecountry,peoples’storiesareconnectedacrossboundaries.

g. Thedatabasecanbeusedtotellthestoriesoftherefugeesandhelpthemtocapturetheirmemoriestoworkthroughtheirtrauma

h. ThedatabaseisalsoawaytotransferskillstotheSyrianrefugees.i. Oneideaistobeginaprojectbasedonthevastinformationinthedatabasetorebuildthe

city,virtually,utilizingthedocumentation,therein,toestablishafuturerebuildingplanofthecity.

(SeeAppendix5foradditionalnotes)Openquestionsthatwereofferedbystudentsandtheexpertswerequiteinterestingastheyexpandedontheideasandareimportanttoconsiderwhenmovingforwardonconcretesuggestions:1.Howdowegoaboutthedocumentationprocessinawaythatpeoplearenotendangered?2.Howtofindeducatorsandconnectthedifferentgroupstointeractwiththegroups?Andhowtofacilitatesuchaproject?3.Whocouldmaintainandwritesuchadatabaseconsideringbiasesandlanguagebarriers?4.Towhatextentarememoriessharedmemories?Andhowaretheyfilteredthroughtheconflictdiscourses?Whogetstodecidewhatmemoriesareshared?Itcanbeseen,whilethetimeconstraintsdidnotgivespacetoexplorethestrengths,weaknesses,opportunitiesandthreatsoftheidea,itwasapparentthatthestudentsthoughtofawidespectrumofideas.Whiletheshortpresentationthegroupofferedduringthethirdsessiondidnotrevealtheentirediscussiontheyhad,itcanbeseeninthenotesofthisgroupthattherewasanextensiveexchangeoftacticsandideasonhowexactlythephotographyapproach,thedatabaseandtheeducationprojectsshouldbestructured(SeeAppendix5foradditionalnotes).Butitisfascinatingtoseethislinkbetweentheoldandthenewandthediasporaandthelocalpopulation.Theclearattempttobringthedifferentsidestogetherisaninterestingonetoexplorefurther.

Group2:

Question:Afterthewar,howcanlocalcitizensandartistsbeinvolvedinrebuilding?Whatplatformsandprocessescanbeenvisionednow?Howshouldtheseplatformsandprocessestakeaccountofthedivisionsandmistrustbetweencommunities?

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ThisgroupwasfacilitatedbyMadhawaPalihapitiyaandjoinedbytheexpertRimLababidi.Theyfocusedontherebuildingprocessanddidthisbyproposingaweeklyfestivalthatcelebratestheculture,artandmusicofthecity.Byrecapturingpublicspacessuchasthelargelydestroyedmarketstheyworkedonmakingpublicspacesanintegralpartoftherebuildingprocess.TheyproposedusingtheconceptsofDahab(thefamouscraftsofthecity),Kebab(theuniquefoodofthecity)andTerab(thefamousmusicofthecity).Theideaistousethesetraditionalpracticestorestoretheheritage,tocaptureandreinventthepublicspacesandturnthemintovibranthubsofcollaborationinsteadofspacesthatspreadfearandhatredastheyhaveinthepast.Thegroupespeciallyfocusedonthefollowingvaluableassetsthefestivalcouldcontribute:

1. Itisaneconomicstimulusforartists,farmersandlocalpopulations2. Itcanbeeducationalinrestrengtheninglostpractices3. Itcanrestoretheinterestandtrustfortheother4. Jobcreation

Fromthis,3elementswereproposedthatthefestivalwillconcentrateon:1. Kebab-foodcanbringpeopletogetherthroughafarmer’smarketwherecooking

lessonsareofferedtoinspirerehumanization2. Terab-Musicisagoodvehicletobringthepasttogetherwiththepresent.Whileit

bringsbackpasttraditionalfolksongsanddances,itcanalsobeinnovativeasitadaptstotellthestoriesofthemodernlocalpopulations.

3. Dahab.Craftscanbringpeopletogethertointeractinacollaborativemanner,bycollaboratinginartisticprojectsandbeautifyingthesurroundings.Equallyitcancelebratelonglosttraditionalartsandcraftsandcanbegineducationalprojectstorevitalizethetraditions.

Thegoalthereforeistocreateaspaceofengagementwiththeotherwhereemotionsareexchangedandsafespacesareborn.SeeAppendix4+5formoredetails.Throughthecommentsofboththeexpertsandthestudentsinterestingaspectswereaddedthatgaveanewdepthtotheidea.Spaceshouldbegivenfortheprojecttoformdynamically,withinthecommunities,tohelpthenewgenerationsinventapublicspacethatsuitsthemandthatpromotestheirinterests.ItwasthenaddedthatperhapsVirtualRealitycouldbecomeanewformatofexperiencingthefestival.Aseventsarerecordedwith360°camerastheeventscanbeexperiencedinspaceswhereonlyruinsexist,todocumentthespacesandreimaginewhatcouldbedonetorebuildandrevisionthecity.Thefactthatitisalongitudinalprocessisvitalasaonceofffestivalwillnotinstilltrustbuttheprocessshouldbealongevergrowingprocess.Bybringinginyoungvoicestheveryfestivalcouldbeorganizedbylocalsfromdifferentbackgroundstomaketheveryeventplanningprocessoneofcross-culturalinteraction.Thegroupstruggledwiththeprocedureastheyranoutoftime.Withtheiravidbrainstormingprocess,theygotsidetrackedalotandfeltthattherewasnotenoughtimetoformulateandconcretelyexploretheirprojectidea.ThenotesseenintheAppendix5areaveryspeedyandroughoverviewoftheideashowingthelackoftimeavailable.Thiswasaproblemmanyofthegroupsfaced.

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Group3:

Question:Forpeoplewhohavebeenandwillbedisplaced,howcantheiraccesstoculturalheritageandmemorybemadepossible?Howcansuchinitiativesbedesignedtofacilitatetherebuildingofintercommunalrelationships?ThisgroupwasheadedbyEylemErtukandstruggledtogettoaconcreteideaastheybegantoexplorethetopicofidentity,withintheirgroup,exploringwhosememoriesarecapturedandhowthedynamicsbetweenthedifferentgroupsmaydevelop,withanyprojectthatyouwouldimposeontheregion.Hencetheydesiredtocreateaprocessthatwouldbelocallyownedandflexibletothelocalsituation.TheirideawasshapedaroundaformofstorytellingwhichcouldbecollectedoveramediumsuchasaYouTubechanneltocapturesongs,storiesandpoemsoftherefugeediaspora.Thiswouldallowtherefugeestoreclaimtheirvoicethatweresuppressed.Theartsanditsdiverseoutletsofexpressionwouldbetheplatformused.Asatoolforintegration,tohelpcreateanavenueofunderstandingintheirhostcountries,storytellingprojectscouldbeusedasatooltobuildabridgetothehostcommunitiesandtobuildhopefortherefugeesbyputtingtherefugeesinamorepositivelight.Thegroupwasveryeffectiveinnotonlyexploringtheirownshortcomingsbutthechallengesthattheirprojectideawouldface.Theseareafewoftheircriticalquestions:

1. Howtoprotectthesafetyoftheindividuals?Perhapsthroughapodcast,radiostationorusingUSBstickswherepeoplecanloadtheirmemoriesontoastickinananonymousfashion.ThismaybeagoodwaytogetstoriesoutofSyriaasUSBsticksareeasytomovewithoutdetection.

2. Howtoreachouttopeopletosharetheirstories?Heretheymentionedthatacrediblesourceshouldbefound.

3. Theiridea,toensurethatitisnotjustmerelyanotherwebsiteintheseaofinformationthatisonline,wastousealreadyexistingnetworkssuchasHumansofNewYorkorStorycorps.Thiswaythefollowersofthegroupscanbeutilized.

4. Inwhatlanguage,wouldthematerialbegiven?HerethequestionwasiforiginalArabiclanguageorEnglishwouldbeused.Translatingmaterialtomakeitmorerelatablewouldberathertimeconsuming.Ablogwithboththeoriginalandtranslatedtextcouldbevaluable.

Inthefeedback,someinterestinginformationwasadded.Twopotentialpartnerswerementioned.TheHumanLibrarywhichisaplacewhereonecanloanaperson'sstorylikeabookcreatinganopenspaceofcandiddialogueandthesecondbeingHumansofAleppo.Itwasalsoaddedthatoneshouldconsiderpeoplewithnoaccesstotheinternetandthatperhapsthroughbooksandjournalsthesepeoplecouldbereachedandinteractedwith.Andfinally,itisimportanttoconsiderwhosestoriesyouaretellingandwhyyouaretellingtheirstory?Itisimportanttoconsiderbuildingsuchprojectswiththemaximumamountofownershipbythepeoplethemselvestomakeitagenuineandrelevantproject.

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Group4:

Question:Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?ThisgroupwasledbyJaneSappandShadiSheikhSaraf.Thegroupstruggledtofocusonthetaskandascanbeseeninthefinalnoteswhichbranchedoutinawidearrayoftopics(Appendix5).Theywereconstantlythinkingoutoftheboxtryingtofindnewandinnovativewaysoftacklingthequestion.Especiallyinterestingwastheirconnectiontootherregionstoexplorehowtheycouldtacklethetopic.Whatespeciallystoodoutwastheywereoneoftheonlygroupsthattooktheopportunitytogiveaverycreativespintotheirprojectpitch.Theirprojectproposalwasacampforyoungpeoplewithalargeparticipationofthelocalpopulationsthatwould:

● Createanopportunitytoconnect.● Toworktowardsapostwarsenseofhope● Amethodtoworkthroughtraumaandanxietyaboutthefuture.● Awaytoremovekidsfromtherealityofapost-warsituation● Rebuildtrustwithothersinthecommunity.● Createasafespaceofdialogue.● Tofacilitateintergenerationalinteractionbetweenyouthsandlocalpopulationsthat

couldteachyouthswhatpeaceisandhowtoworkthroughtheirtrauma.● Tohelpyouthstointeractandregainaculturalidentity● Providevocationaltraining

TheideaoriginatesfromaprogramledbythenationalmuseumintheIvoryCoastwherethecamphadmanysmallcampsspreadoutaroundtheentirecountry.Onceasmallerandpersonalidentitywasrestoredthecampscongregatedforaverylargenationalcampbringingyouthsofallwalksoflifetogether.Alargeshortcomingthegroupthemselvesidentifiedwasthesafetyoftheyouthsassuchcampswouldbeverysusceptibletoterroristattacks.Hence,theideais,tosetupdaycampswherechildrencouldgohomeintheeveningstoensuretheirsafetywhichwouldinturnbealogisticalchallenge.Thefocusofthiscampwouldbeafterthewar,oncethesituationisstable.Somekeycommentscomingoutoftheirpresentationwastoensurethatintheprocesstraumaiseffectivelyaddressed.Itisimportanttonotonlyprovideentertainmentasawaytogettheyouthsoutoftheircontextsbuttoalsoworkthroughtheirtrauma.Thebenefitcan,inthisprocess,bemutualbothforadultsandyouthsastheresilienceinchildrencantrulymotivateadultstoalsoworkthroughtheirowntrauma.Thisiswherethequestionofwhatthelongitudinalimpactofaonceoffcampisandhowonecouldensurethatoncetheyouthsgobacktotheoutsideworldtheyarenotcrushedagainbythetoughenvironmentthattheyenter.Howcanoneperhapsintegratethemintoaconnectedsocialprojectthatwillhelpthemcopewithdailylife.

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Theirproposedsolutiononlytackledtheafter-warsituationbuttheirnotesrevealedfarmoredepthintothetopicwhichcanbeshapedaroundCohen’ssevenstepsofreconciliation(previouslymentioned):• Rehumanizethemselvesandeachother

o Createfoodeventswherepeoplecooktogethercreatingabuffetwherepeoplecanshareintheexperienceandfoodtogether

o UsetheNationalMuseumsandalreadyexistentculturalgroupstoorganizeartexhibitshowcasesindifferentpartsofthecountry,tohelpeducateanduniversalizedifferentpartsofthecountryviaart.

o Developcommunitycentersandcreativespaces,tobuildaplaceforcivilianstoshareviewsinacommunityforumstyleand,ultimately,setupanartconventionwherebothindividualartbutalsogroupartprojectscanbedeveloped.Canfundingcomefromthegovernment?

• Sharestories,constructmorecomplexstoriesandidentitieso Usetheaterasamediumtotellthestoriesandnarrativesofdiversegroupswhichare

ultimatelycombinedintoalargeroverarchingplayorworkofart,highlightingtheindividualnarrativesbutworkingtocreateanewgroupidentity.

o Buildmusicalprojectswherethechildrenincommunities’bondthroughmusicallybondingwitheachotherandstoriesaretoldthroughsong.

o Setupasportsleaguewherethedifferentsidesshouldworkandplaytogethertomakeitasuccess

• Mournlosseso Startmourningandtraumareliefgroupsfororphansorchildrenthathavelostimportant

familymembers.o IssueacalltoSyrianartists,athomeandindiasporacommunities,tocreateworksthat

addressthelegacyoftheviolence,includingallitslosses.• Empathizewitheachother’ssuffering

o Buildworkshopswithmenthatlearntraditionallyfeminineactivitiestogether,e.g.cook,paintorsing,specificallymenofconflictinggroups.

o Beginfemaleintergenerationalpotluckswhereyoungwomenandolderwomenarepartneredinamentorstyleprogram

o Stories(seesecondbulletpoint,justabove)canbecuratedandjuxtaposedtohelppeopleonallsidesoftheconflictempathizewitheachother.Visualart,narrativeandperformativemediacanbeusedtopresentstories.

• Addressinjusticeso Perhapstheceasefirecanalsobestrengthened,bynotonlyhighlightingtheneedto

preservelifeandrestorethebasicinfrastructure,butalsotocreateownershipoftheprotectionofartandculturalheritageinthecity.

• Letgoofbitternesso InitiateanOpenMiceventwhereyoungpeoplecanopenlyaddressissuesandcongregate

acrosssocialboundaries.• Imagineandsubstantiateanewfuture

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o Vocationaltraininganddevelopment:byprovidingtrainingforciviliansandallowingskilldevelopmentduringthewarnewnetworksarebuiltandvitaljobsneededforrebuildingthecitycanbedeveloped.

o PublisharegularanonymouszinepublicationOverallitwasveryinterestingandfascinatingwhatthestudentscameupwithwhenworkingtogether.UsingthewealthofknowledgeandideasthatcameoutofthisdesignlabthisreporthasestablishedalistofconcreterecommendationsthatcanbeusedbytheAleppoProject,theRoseArtMuseumandtheCASTprogramtoplanthenextstepsintheprojectstorestore,protectandcapturetheculturalheritageofSyriaandbeginplanningtherebuildingprocessofthecitiesandthepeople.

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Recommendations

Theserecommendationscompartmentalizethefindingsintoeasilymanageablecategoriesfortheeaseofassessment.Whilereadingtherecommendations,itisadvisabletorelatethembacktobothParker’sandCohen’stheoreticaloutlinetoseehowtheserecommendationsmeetthetheoryandexpandontheproposedimpact.Especiallyinterestingistoexplorehowthesevenformsofreconciliationaremetwithmanyoftheprocessessuggestedbelow.Tokeeptherecommendationsfocusedandrelevanttheywillbedividedintorecommendationsthatcouldbeimplementedimmediately,inthefuture,inSyriaandintheDiasporaandRefugeepopulations.Thefollowingfourfociweredecidedtobethemostvitalinmakingrecommendationsandapproachingthesituationfromabottom-upgrassrootsapproach.PreservethePossibilityofMemory Inwar-torncities,suchasSyria,whereaplethoraofactorshavebeeninvolved,culturalheritageandmemoryhasheavilysuffered.Thus,forthecommunitiestothrive,thesememoriesandexperienceneedtopermeatethroughtheentiretyoftherebuildingprocess.Thepreservationofmemoryandexperiencegiveseachstakeholderownershipoftheirrichheritage,andenablesthecommunityasawholetomoveforward.

Action1:Documenttheculturalheritage(environment,artifacts,sounds,artandmusic,etc.)ofthecitywithfilmandpictures.Purpose:TorecreateandpreservetheculturalheritageofAleppo.Thisdocumentationwillalsoserveasaresourcetothepeopleandtotheactorsworkingonrecreatingthecity.Constituencies:AllcitizensandstakeholdersofAleppoandSyria.Output:AlargedatabaseofdocumentationofAleppo.Outcome:AsourceofheritageandidentitytobeusednowandthroughthefutureofrebuildingAleppo.Action2:Buildaninteractivedatabase(eitherofflineoronline)thatisopensourcewherediaspora,refugeesandlocalscanbeginuploadingalltheirfiles(includingphotos,soundclips,videos,oralhistoryinterviews,etc.)Purpose:TocreateacollaborativeplatformwhereallSyrianscanparticipatetocapturethememoryandculturalheritageofthecity.Constituencies:AllSyrianswhetherlocal,diasporaorrefugee.Output:ArepositoryofthehistoryandculturalheritageofSyria.Outcome:Asourceofunityandcollectiveidentityaccessibletoallandcontributedtobymany.Action3:Collectaresourcelistofcasestudiesinconsciouslybuildingplatformswherememoriescanbeshared.Purpose:Consolidationofapproachestocapturingmemoriesandtheorganizationsalreadyworkinginthefield.Constituencies:InternationalOrganizations,fundersandartistsinthediasporaandhostcountries.Output:Aconciselistofrecommendationsforfundersandtoengageartists.Outcome:Aclearandeasilyaccessiblevisionfoundedinsolidtheoryandpastpractices.

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Action4:Setupincomegeneratingprojectsindoingculturalheritageworkororalhistorywork.Purpose:Empowerrefugeeanddiasporapeopletohelpbuildintercommunalrelationshipswithhostcommunitiesaroundtheworldanddocumentmemories.Constituencies:HostcommunitiesandDiasporaOutput:Arichdatabaseandcollectionoforalhistoryinterviewsofrefugeesandtheirstoriesandtheempowermentofrefugees,aswellasjobcreation.Outcome:Findingpurposethroughself-empowermentandself-trustbyexploringone’sowncultureandheritageinawaythatisvaluable.

ReimagineandRebuildtheCity Afterthemassdestruction,publicspaceshavechangedfromplacesofcelebrationandculturetotriggersoftraumaanddevastation.Inrecreatingthecity,itisimportanttoholdtwotruths:whatthecitycouldbe,andwhatthecityoncewas.Therefore,whileitisimportanttomeetlocalinfrastructuralneeds,itisalsoimportanttoroottheseidealsinthosethatthecommunityoncehad.Thesepublicspacescanthenagainbecomehubsofintercommunalinteractionandcelebrationofcommunity.

Action1:StartafestivalinpublicspacesshapedaroundrebuildingthedestroyedShuksandspacesofinteraction.FocicanbeFood,Musicandtraditionalcraftsthattranscendboundaries.Purpose:CaptureandreinventthepublicspacesandturnthemintovibranthubsofcollaborationConstituencies:LocalPopulationsofSyriancitiesespeciallytheShukownersandartists.Output:Arestorationoflostarts,traditionalunifyingfactorsandtherecaptureofpublicspacesonceusedforviolenceOutcome:RebuiltlivelycitycentersrootedinthehistoryofSyriaandwhatoncewas.Action2:DevelopcommunitycentersandcreativespacesPurpose:BuildPlatformswhereopendialogueispromotedinacommunityforumstyle.Constituencies:LocalPopulationsofSyriancities.Output:Aspacetobeginredefiningcommongoalstotackletherebuildingprocessacrossbarriersofmistrustanddivisions.Outcome:Anewfoundsenseofcommunityandvalidationoftheimportanceofeachcitizen’svoiceandopinionsinapositive,safeandopenspace.Action3:Createvocationaltrainingcentersthatdeveloplocalskillsandbringthemintotherebuildingprocess.Purpose:Buildnewnetworksofinteractionandempowerlocalstakeholderstoinvolvethemselvesintherebuildingofthecity.Constituencies:Localuneducated/unemployedSyrianpopulationsofwarringgroups.Output:Restructurednetworksarebuiltandvitaljobsneededforrebuildingthecitycanbedevelopedandmadeavailabletolocalcitizens.Outcome:Astrongfoundationwithinthecommunityatthebeginningandhopefullythroughouttherebuildingprocessthroughcontributiontolaborandcommunityempowerment.

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AcknowledgeTraumaandAddressitinPartthroughArtsandCulture Theaftershockandeffectsfeltbystakeholdersofcrisisandwarinhibitsopendialogueandactsasaroadblocktorebuildingandmovingforward.Iftraumaexistsunaddressed,trustcannotbebuilt.Therefore,itisimportanttocreatespacesandopportunitiesforvictimstoprocess,healandlearntogether.

Action1:UsetheNationalMuseumsandalreadyexistentculturalgroupstoorganizeartshowcasesinSyria.Purpose:ToteachandbuildcommonalitiesbetweenallSyrianandotherwiseaffectedpeopletoroottheminculturetoaddresstheprevailingtraumanationwide.Constituencies:LocalSyrianartists,creatorsandcollaborators.Output:Arevivalofartcultureasatoolfortraumareliefandsenseofheritage.Outcome:Interactivecoordinationofmuseumstoprotectmemoryandculturalheritage.Buildingtrustasownershipoftherebuildingprocessisjointlyorganizedthroughcombinedgoals.Action2:CollectionofstoriesusingexistingYouTubechannelstocapturesongs,storiesandpoemsoftherefugeediaspora.Purpose:Tobuildjointaccesstoculturalheritageandmemoryasatoolforcollectivehealing.Constituencies:DiasporaandrefugeecommunitiesofSyriaaroundtheworld.Output:AlargedatabaseandwellpublicizedcollectionoftherichculturalheritageofSyrianrefugeesanddocumenttheirstories.Outcome:Asenseofcollectivehopeandcommunitytochallengethedespairandlonelinessfeltbydisplacedpersonsthroughartandcreation.Action3:Startmourningandtraumareliefgroupsfororphansorchildrenthathavelostimportantfamilymembers.Purpose:Tobuildintercommunalrelationshipsandcreatespaceandopportunityforcollectivehealingandprocessing.Constituencies:DiasporaandrefugeecommunitiesOutput:Widelyaccessibletraumareliefgroupswithatargetofhelpingpeoplethroughtheirmourningprocesses.Outcome:Asenseofcollectivehopeandcommunitytochallengethedespairandlonelinessfeltbydisplacedpersonsthroughbeingincommunitywithpeoplegoingthroughsimilarlosses.

RebuildTrust Justasitisimportanttorebuildphysicalmonumentsandinfrastructure,itisjustasimportanttorebuildtrustwithinthesocietytofosterthepossibilityofsafetyandpeacefeltbystakeholders.Ideally,thepreviousthreefociwouldkeeptheideaofrebuildingtrustinmindthrougheachstep,andbuildingtrustwouldbetheultimateoutcomeofresurrectingthiscommunity.

Action1:Usetheaterandartprojectsinpublicspacestocreateopportunitiesofopenandconstructivedialogueandcommunaltraumarelief.Purpose:Tochallengeandworkagainstthedeeplypolarizedrhetoricandmistrustthatispresent.

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Constituencies:ResidentsinAleppoandotherSyriancities.Output:Publicspacesthatflourishcommunitytheatre,artandhealing.Outcome:Reconciliationthroughfindingcommongoals,mourninglossandexploringnewfrontiersthroughartandcollaboration.Action2:Setupacampforyoungpeoplerunbylocalsthatwouldprovidevocationaltrainingandtraumahealing.Purpose:Buildintraandintercommunitysafespacestofostertrustbetweendifferentgroupsofpeopleaffectedbythesametraumaaswellasprovidespacewithinwhichpeoplecanhealwiththeirowncommunities.Constituencies:LocalSyrianPopulationsofwarringgroups,focusingonyouth.Output:VariouscampsindifferentareasofSyriawhichfosterhealingandequippeoplewiththetoolstheyneedtorebuildtheircity.Outcome:Foundationsofalongitudinaltrustbuildingprocessarelaidoutbysharinginmourningandrehumanizingtheother.Action3:Setupasportsleaguewherethedifferentsidescouldworkandplaytogether.Purpose:Buildtrustandfosterhealthyrelationshipswhileteachingvitalskillstoyouthsuchasteamworkandempathy.Constituencies:LocalSyrianPopulationsofwarringgroups,focusingonyouth.Output:Revitalizationoflocalsportsthroughmanydifferentteamsandathleticoutputs.Outcome:Trustchanneledthroughfindingcommonalitiesviaalternativemethods.Action4:Usedifferentindividualsfromallsidesoftheconflictworkingtogethertoproduceanoralhistoryproject.Purpose:Buildtrustthroughthearts.Constituencies:LocalSyrianPopulationsofwarringgroups,targetingwomen,youth,elders,disabledpeopleandothermarginalizedgroupstomakethemstakeholdersinthetrustbuildingprocess.Output:Joinedprogramsthathaveanimpactonrebuildingcommunityandtellingthestoriesoftheotherthroughinteractivemethods.Outcome:Acommongoalandconnectionbetweenpeoplecurrentlypolarizedintheircommunities,experiencesand/orbeliefs.

Questionsthatshouldbeexploredfurther

1. Towhatextentarememoriessharedmemories?Andhowaretheyfilteredthroughtheconflictdiscourses?Whogetstodecidewhatmemoriesareshared?

2. GermanandFrenchuniversitieshaveastrongpresenceinSyria.Howhavetheypreservedsitesfromlooting?

3. Howdowestreamlinedocumentationinawaythatpeoplearenotendangered?4. Whocouldmaintainandwritetheproposeddatabaseconsideringbiasesandlanguagebarriers?5. Howtoreachouttopeopletosharetheirstories?

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SuggestionsofImprovementstotheProcess

• Strongerpriorcoordinationofthefacilitatorstoensurethattheyareallunifiedininformationonprocess,aims,logisticsandstructure.Toensurethereisapedagogicalcommonalitybetweenthedifferentgroups.

• Allotmoretimefortheprocesstogivespaceformoreideadevelopment.• Amoreindepthexplorationphasewouldhaveensuredstrongerconnectionsbetweentheideas

formedandthetheoriesandpriorreadingsgiven.

Conclusion

WiththedestructionthathasandmaystillhappeninSyriaandAleppothedesignlabbrainstormedinteresting,out-of-the-boxandinnovativeideasforpotentialprojectstotacklethefutureproblemswithbuildingpeaceinthiswartorncountry.Forthiswork,issuesofidentity,culturalheritage,empathyandtraumareliefareintegral.ThroughtheinteractiveanddynamicstructureofthedesignlabalistofdiverseideaswerebroughtforwardtohelpbrainstormfutureprojectsoftheRoseArtMuseum,theAleppoProjectandtheCreativity,theArtsandSocialTransformationProgram.ThestudentsthroughtheirastuteknowledgeofthesituationandthecoursewereabletonotonlyidentifytheimportantlinkageswithinthecountrythatneedtoberestoredbutalsotheroleoftheDiasporarefugeegroupsthatwillbevitalinrestoringandrebuildingwhathasbeendestroyedpolitically,socially,economicallyandphysically.WehopethisreportadvancesthefieldandprovidesaconciseandinspiringoverviewoftheDesignLabProcessanditseffectivenessincomingupwithconcreteandimplementableplansforfutureprojects.Withthatitisvitaltothankthesponsorsandinvolvedorganizationswithoutwhomiswouldnothavebeensuccessful:

• TheRoseArtMuseum• TheminorinCreativity,theArts,andSocialTransformation(CAST)anacademicprogram

launchedbytheprograminPeacebuildingandtheArts,basedatTheInternationalCenterforEthics,JusticeandPublicLife

• theAleppoProject,housedattheShattuckCenteronConflict,NegotiationandRecovery

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Appendices:

Appendix1

AlistofallDocumentationAvailable

● Appendix2:Methodologyandstructureof“AvisionofAleppo”● Appendix3:IntroductoryandinstructiontextforfacilitatorsandParticipants(including

References)● Appendix4:NotestakenbyTeachingAssistantsthroughouttheDesignLabprocess● Appendix5:Studentrapporteurnotesandphotosbyparticipants● VideoandPhotosdocumentingthedesignlab● StudentReflectionsonDesignLabProcess(Excludedduetoconfidentialityofstudents)

Appendix2

Methodologyofdesignlab

MethodologyandStructure

TheDesignlabtookplaceduringthree3-hoursessionsoftheclassCAST150b:IntroductiontoCreativity,theArtsandSocialTransformation.Apoolofexpertsparticipatedandconsultedintheprocess.Duringthistimeparticipants,wouldworkthroughthedesignthinkingprocessusingafictionalcontextthatwasgiventotheminthefirstsession(seeappendix3forthefullscenario).ThefictionalcontexthadmanysimilaritiestoAleppobutaimedtoremovetheparticipantsfromthesituationalcontext,whichhadthepotentialtooverwhelmstudents(Appendix3).AsAleppoandtheSyrianwarisextremelycomplextherewasadangerthatstudentswouldgetcaughtinthedetailsinsteadofexploringconcretesolutions.Byremovingtheparticipantfromthisdirectsituation,itispedagogicallyeasiertothink-out-of-the-boxandnotbehamperedbysmalldetails,whichmaydivertfromthedeeperissues.Withtheconstraintsoftime,thedesignthinkingprocesshadtobeadapted,tobepedagogicallyvaluableforthestudentsbutalsoproducehighqualityresultsforfutureprojects.Henceeachsessionwassetuptoaddressoneofthefourphasesofthedesignthinkingprocess,withthefourthphaseoftestingleftopentotheprograms,NGOsandpartnersthatwillusetherecommendationsofthedesignlabforfutureprojectdevelopment.Thefirstsessionfocusedonbuildingtheexpertiseoftheparticipantsandgettingthemreadyforthenextphaseofideation.Forthenextsessionofideation,theparticipantsweredividedintofourgroupswhicheachtackledonequestionwithsupportfromafacilitatorandexpert.Inthefinalsession,thegroupsweregivensometimetoprepareashortcreativepitchtopresenttheprojectideatotwo

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expertsthatcalledinviaskype,givingcommentsoneachideaandexplorethegivenprototypeswiththeparticipants.Tounderstandthisprocessdeepereachsessionwillbeunpackedinmoredetail.Thevideofootageoftheclass’paneldiscussioncanbeseenuponrequestthroughcoexistence@brandeis.edu.

Session1:BuildingExpertise

ThefirstsessiononNovember,1,2016focusedonpreparationforthelabanddefiningafoundationalsharedknowledgeforallparticipants.Thissessionwassetupin3phases:

Step1:

ApresentationanddiscussionwithRobertTempler,DirectoroftheShattuckCenteronConflictNegotiationandRecoveryattheCentralEuropeanUniversity,expertonpublicpolicyandconflicttransformation,andamemberoftheAleppoProjectteam;andKristinParker,InterimDirectorofTheRoseArtMuseum,andexpertonculturalheritagepreservationandrescue.Thesetwopresentationswereintroductorypresentationsthathelpedparticipantsunderstandthecontextandhelpdefineatheoreticalbasisofknowledgeofwhatfactorsmaymakeworkmoredifficultandwhattheneedsareonthegroundregardingculturalheritagework.

Step2:

Thestudentswererequiredtoreportonvariousreadingsrelatedtoculturalheritageandviolencepreventioninmunicipalities,aswellascasestudiesfromBeirutandMostarbeforeclassinlinewithasmallreflectiontheyhadtowritefortheirclassrequirements.Inthesession,eachgroupwasrequiredtopresenttheirreadingandgivea1minutesynopsisofthemainarguments.Thesewerethendiscussedtoexplorehowculturalheritagewasrestoredinotherpartsoftheworld.Thisfurtherdeepenedtheknowledgeofeachparticipantandensuredeveryonehadatoolbox,withwhichthenextsessionscouldbetackledeffectively.

Step3:

ThelaststepwasaPresentationbyEylumErtürk,avisitingartsadministratorfromIstanbul,Turkey,whopresentedanddiscussedthetopicof“Arts,CultureandDialogueforDiversityandConflictTransformationinTurkey,”alsolookingatworkwithSyrianrefugeesinTurkeyundertakenbyherorganizationAnadoluKültür.Fromthisrichfoundationalsessionstudentswereaskedtoworkonareflectionthatwouldfurtherworkthroughvariousreadingsthatweregiventoeachofthespecificgroups.

Session2:Ideation

OnNovember8th,thesessionfocusedontheprocessofideation.Thesessionwassplitintotwoparts,awholegroupdiscussiontoconsolidateandrefocustheclasstothethemesofthedesignlab,andthensmallgroupsthatwouldtacklefourquestions.

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Step1:

RimLababidi,architectfromAleppoandKristinParkerpresentedresearchonheritagedamageinAleppotobringtheparticipantsbacktothefundamentals.Rimendedherpresentationwiththeconcretenextstepsofthesessionbyreadingthesynopsisofthefictitiouscontexttheparticipantsworkedwith(SeeAppendix3).Subsequentlythegroupssplitupintothefourgroupsaroundthefourquestionsoutlinedbelow.Eachgroupwasaccompaniedbyafacilitatorandanexpertwhowouldassistintheprocessasguidesandsourcesofdeeperinformation.Additionally,oneofthestudentswasappointedtobearapporteurtotakenotesandcapturethedevelopmentofthedifferentgroup’sideas.Theideawastoworktowardsdevelopingprojectideasforthereconstructionofahypotheticalcity,inresponsetothefollowingquestions:

● Whatcanbedonenow,whilewarisbeingwaged,topreservethepossibilityofmemories?Howshouldsuchactivitiesconsiderdistinctandcompetingnarratives,anddivisionsamonggroups?

● Afterthewar,howcanlocalcitizensandartistsbeinvolvedinrebuilding?Whatplatformsandprocessescanbeenvisionednow?Howshouldtheseplatformsandprocessestakeaccountofthedivisionsandmistrustbetweencommunities?

● Forpeoplewhohavebeenandwillbedisplaced,howcantheiraccesstoculturalheritageandmemorybemadepossible?Howcansuchinitiativesbedesignedtofacilitatetherebuildingofintercommunalrelationships?

● Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?

Theprocesslookedasfollows:1. Participantsworkinsilenceonseparatestickynoteswritingquickbroadprojectideasthatcould

answertheirgivenquestion.○ Eachstickynotehadtohavetwoparts;

Ø Whatconstituencyorgroupdoestheproposedideaaddress?Ø Whatistheidea?

○ Participantswereaskedtopostthesenotesonaflipchartgroupingsimilarideasandthinkingabouthowtheycouldbemappedvisually.Thekeywasnotqualityitwasquantity.Theycoulddraworwrite.Thegoalwastoestablishgroupingsofideasforfurtherdiscussion.

● Thefloorwasthenopened,withineachgroup,tohonestandopendialoguetorevisetheideasand

clusters.Thegoalwastofindtwoconcreteideasthatthestudentscouldworkwithgoingforward.Theideatoadvance,shouldincludeboththeconceptoftheideaandtheconstituency.Somequestionsgiventomoderatorsmeanttostimulateopenplanideationwere:

○ Noticetheseideas(pickingtwoinparticular)havebothsimilaritiesanddifferences.Whatvaluedoestheideahaveandwhatdifferencesarethere?

○ Whatotherclustermightspecificideasbegroupedwithandwhy?

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○ Whichideasdoyouthinkaremostpowerfulandhavethemostpotential?○ Putamarkbytheideasyouwouldliketoexplorefurther;youcouldputyourmarkbyuptothree

ideas.Youwillworkwiththetwothathavethemostmarks.

Step2:

Usingtheirnon-dominanthand,eachparticipantwasaskedtodrawanimageofoneofthetwoselectedideasinaction,completingthedrawingin3–5minutes.Discussifanyconcreteideasand/oranythingnewemergesfromthisexercise.

Figure2

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Step3:

InthistasktheBusinessCanvasModelandSWOTAnalysiswerecombinedtogivetheparticipantsasetofquestionstosetupaconcreteplanfortheirprojectidea(Figure2).Thepositiveelementofthisprocessisthataseachstepistackled,one,isautomaticallyreassessingtheprevioussteps,tryingandtesting,astheprojectideadevelopsinaninteractivemanner.Here,aflipchartwasprovidedwiththeheadings,seeninFigure2,andparticipantswereaskedtousethematerialsgiventothemtointeractivelydiscusstheirprojectideausingtheheadingsgiven.Somequestionsgiventothemoderatorstostimulatetheprocesswere:

● Whywouldwebedoingthisproject?Whatproblemsorpossibilitieswoulditaddress?● Whatmethodologieswouldbeused?Whatactivitiesandactionswouldtakeplace?● Whowillbeinvolvedintheprojectandinwhatroles?(beneficiaries?Staff?

Facilitators?)● Whatdoyouimaginewouldbetheproject’sstrengthsandpossiblevulnerabilitiesor

weaknesses?● Whatconditionsexternaltotheprojectcreateopportunitiesandmightadvancethe

project?Whatconditionsexternaltotheprojectmightthreatenitsabilitytosucceed?● Whataretheoutputs?(Whatconcretethingsarecreated?)● Whataretheoutcomesandimpact?

Theclassconcludedwiththisactivityandthegroupswereleftwiththeinformationthattheyshouldusetheweek,untilthenextsection,toreflect,withtheirgroup,onthesessionandplanhowtheirideacouldbepitchedtoapanelofexperts.

Session3:TheExplorationPhase

Thislastsessionwasdesignedtotacklethefinalstepofprototypeexploration.Heregroupsweregivensometimetomeetandcomeupwithacreativeprojectpitch.Subsequentlyeachgrouphadexactly5minutestopresenttheirprojectideainfrontoftwoexpertsthatjoinedthesessionvirtuallyviatheplatformBlueJeans.OnewasRimLababidiwhotheyhadmetinpersonandsecondwasAlHakamShaarwhowasalsopreviouslymentionedinthispaper.Eachgroupwasthengivenaroundofcommentsandquestionbytheexpertsandtheotherparticipants.Afterallgroups,hadpresentedafeedbackroundwasopenedwhereparticipantscouldreflectandsharetheirthoughtsontheprocess,thedesignlabandwhattheylearntthroughtheprocess.

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Appendix3

IntroductorytextforFacilitatorsandParticipants

InstructionOutlineforParticipants

November8and15,2016CAST150b:IntroductiontoCreativity,theArts,andSocialTransformation

ForNovember8:GeneralresourcesfortheWholeClass:AboutculturalheritageandSyria:

1. WatchTrailerandClipsfromthefilm“TheDestructionofMemory”http://destructionofmemoryfilm.com/trailerhttp://destructionofmemoryfilm.com/trailer

2. InsideAleppo:Thetaleoftheflowersellerhttp://spiralclips.teammiraculous.com/video/116455/inside-aleppo-the-tale-of-the-flower-seller(6minutes--verybeautifulandverysad)

3. Watch“HomeWithin”:SyrianclarinetistKinanAzmehandSyrianArmenianvisualartistKevorkMouradperformtogetherattheKennedyCenter.https://m.kennedy-center.org/home/play/M6818https://m.kennedy-center.org/home/play/M6818

Optionalaboutdesignlabs:1. “WhatisHumanCenteredDesign?”andFacilitators’Guidehttp://www.designkit.orghttp://www.designkit.org/

Reflection#9:DueonSunday,November6,midnightContactthestudentmembersofyourgroupanddecidehowyouwanttodivideupthepreparationforthedesignlab.Read,watchandlistentotheresourcesyouareresponsiblefor;orexplorealltheresourceslistedforyourgroup.Identify5ideasfromtheseresourcesthatarerelevanttothequestionyourgroupisaddressing.Thesecouldtaketheformofaquoteandyourcommentaryonit;oracautionbasedonreportsfromcontextsotherthanAleppo;importantdata;oranimageorphrasethatcouldsparkcreativityamongthegroupmembers.RESOURCESFOREACHOFTHEFOURSMALLGROUPS.(Note:theseresourcesareintendedtogiveparticipantsinthesmallgroupsideasaboutwhatisalreadyhappening,inrelationtoAleppoandotherwar-tornpartsoftheworld,tostimulatepeople’sthinkingforthedesignlab.Youdonothavetoreadorwatcheachentryinitsentirety.Thebestapproachwouldbetodivideuptheentriesamongmembersofthegroup,sothegroupasawholecanbenefitfromthekeyideas.Anotheroptionwouldbetoskimalloftheentriesassignedtoyourgroup,andchoosethosethatseemmostpromisingtoengagewithmoredeeply.Groupshavebeencomposedtobringarangeofdifferentperspectivesandcapacitiestoeachquestion.Feelfreetoperusetheresourcesforothergroupsbesidesyourown.)Group1:Participant#1(rapporteur),Participant#2,Participant#3;KristinParker,resourceperson

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Whatcanbedonenow,whilewarisbeingwaged,topreservethepossibilityofmemories?Howshouldsuchactivitiestakeintoaccountdistinctandcompetingnarratives,anddivisionsamonggroups?1.TheDestructionofMemory:Conversationaboutfilm:http://library.fora.tv/2016/01/28/The_Destruction_of_Memoryhttp://library.fora.tv/2016/01/28/The_Destruction_of_Memory2.“EmergencypreservationcompletedatSyria’sMa’arraMosaicMuseum”http://www.penn.museum/information/press-room/press-releases-research/670-syria-emergency-preservationhttp://www.penn.museum/information/press-room/press-releases-research/670-syria-emergency-preservation3.“Howtosavetheartsintimesofwar”http://www.smithsonianmag.com/smithsonian-institution/qa-how-to-save-the-arts-in-times-of-war-5506188/?no-isthttp://www.smithsonianmag.com/smithsonian-institution/qa-how-to-save-the-arts-in-times-of-war-5506188/?no-ist4.“USTroopssavedartastheMonumentsMenofIraq”http://uscbs.org/news/us-troops-saved-art-as-the-monuments-men-of-iraq-us-experts-work-to-save-a-culture/http://uscbs.org/news/us-troops-saved-art-as-the-monuments-men-of-iraq-us-experts-work-to-save-a-culture/5.PalmyraCastleillustratingtechniqueofphotogammetryhttp://arck-project.com/project/palmyra-castle/http://arck-project.com/project/palmyra-castle/andasmalllibraryofotherPalmyraobjectsofculturalheritagehttp://thearckives.orghttp://thearckives.org/6.ReportoftheSpecialRapporteurinthefieldofculturalrights,byKarimaBennoune.OfficeofHighCommissioneronHumanRights3February2016:https://documents-dds-ny.un.org/doc/UNDOC/GEN/G16/016/97/PDF/G1601697.pdf?OpenElement7.textoftheConventionfortheSafeguardingoftheIntangibleCulturalHeritage,UNEducational,ScientificandCulturalOrganizationUNESCOhttp://www.unesco.org/culture/ich/en/conventionhttp://www.unesco.org/culture/ich/en/convention8.Websitesthatdocumentextentofdamage:a.http://monumentsofsyria.com/wp/wp-content/uploads/Syria-damage-list-17-Oct-2016.pdf;http://monumentsofsyria.com/syria-conflict/[skimtogetasenseofwhat’shere]b.http://apsa2011.com/apsanew/http://apsa2011.com/apsanew/c.http://www.syriaphotoguide.com/home/tag/aleppo/http://www.syriaphotoguide.com/home/tag/aleppo/

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Group2:Participant#1(rapporteur),Participant#2,Participant#3;RimLabibidi,ArchitectasresourcepersonAfterthewar,howcanlocalcitizensandartistsbeinvolvedinrebuilding?Whatplatformsandprocessescanbeenvisionednow?Howshouldtheseplatformsandprocessestakeaccountofthedivisionsandmistrustbetweencommunities?1.“HowSyria’sarchitecturelaidthefoundationforbrutalwar”TedTalkbyMarwaAl-Sabouni:https://www.ted.com/talks/marwa_al_sabouni_how_syria_s_architecture_laid_the_foundation_for_brutal_warhttps://www.ted.com/talks/marwa_al_sabouni_how_syria_s_architecture_laid_the_foundation_for_brutal_war2.“Conflicturbanism:Aleppo”http://c4sr.columbia.edu/projects/conflict-urbanism-aleppohttp://c4sr.columbia.edu/projects/conflict-urbanism-aleppo3.SavingbooksfromtheSyrianWar:http://observers.france24.com/en/20151021-saving-books-syria-war-daraya-libraryhttp://observers.france24.com/en/20151021-saving-books-syria-war-daraya-library4.“TherestorationoftheTempleoftheToothRelicinSriLanka:apost-conflictculturalresponsetolossofidentity,”Chapter9inCulturalHeritageinPostwarRecoveryhttp://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdfhttp://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdf5.“ArmedConflicts,peacecultureandprotectionofculturalheritageinWestAfrica,”chapter10inCulturalHeritageinPostwarRecovery[Noteinparticularthevariousconstituenciesaddressedonp.104]http://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdf6.“Promotingculturalheritageinpost-warrecovery:ElSalvador,”chapter12inCulturalHeritageinPostwarRecoveryhttp://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdfhttp://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdf7.SaddamHusseinsBasraPalaceTransformedintoMuseumhttp://www.npr.org/2016/09/30/496032457/saddam-husseins-basra-palace-transformed-into-museum8.Biladi:HeritageforDialoguehttp://thisisbiladi.org/?p=1061http://thisisbiladi.org/?p=10619.ThedancerandCambodianHistory,”ToniShapiro-Phimhttp://www.pcah.us/media/files/d90d3f492a8365efbae616c35b2a4458.pdfhttp://www.pcah.us/media/files/d90d3f492a8365efbae616c35b2a4458.pdfGroup3:Participant#1(rapporteur),Participant#2,Participant#3,EylemErtürkasresourceperson.Forpeoplewhohavebeenandwillbedisplaced,howcantheiraccesstoculturalheritageandmemorybemadepossible?Howcansuchinitiativesbedesignedtofacilitatetherebuildingofintercommunalrelationships?1.RefugeeSupportMap–Mapoforganizationsworkingwith/forrefugeesinEurope:http://refugeesmap.info/http://refugeesmap.info/

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2.SyrianMusiciansinIstanbul/SoundsBeyondtheBorderhttps://www.youtube.com/watch?v=Uu8IRFM7yW0https://www.youtube.com/watch?v=Uu8IRFM7yW03.SmallProjectsIstanbulhttps://www.smallprojectsistanbul.orghttps://www.smallprojectsistanbul.org/4.“And,Programme”digitalcommissionprogramoftheBritishCouncilhttps://syria.britishcouncil.org/en/programmes/arts/and-syriahttps://syria.britishcouncil.org/en/programmes/arts/and-syria5.“Syria:ThirdSpaceProgramme,”BritishCouncilhttps://www.britishcouncil.org/arts/syria-third-space/6.“WhatareSyrianartistsshowingusabouttheconflict?”https://www.britishcouncil.org/voices-magazine/what-are-syrian-artists-showing-us-about-conflicthttps://www.britishcouncil.org/voices-magazine/what-are-syrian-artists-showing-us-about-conflict7.“BooksandGamesforChildrenonSyrianCulturalHeritage,”http://anadolukultur.org/en/announcements/books-and-games-for-children-on-syrian-cultural-heritage/367http://anadolukultur.org/en/announcements/books-and-games-for-children-on-syrian-cultural-heritage/367

8.Fightingtosavetheregion'sculturalheritage(Beirut)

https://en.qantara.de/content/the-national-museum-in-beirut-fighting-to-save-the-regions-cultural-heritagehttps://en.qantara.de/content/the-national-museum-in-beirut-fighting-to-save-the-regions-cultural-heritage9. BerlinmuseumtoursinspireMid-EastRefugeeshttp://www.bbc.com/news/world-europe-35976090http://www.bbc.com/news/world-europe-3597609010.“Hmongpostwaridentityproduction:heritagemaintenanceandculturalreinterpretation,”chapter5inCulturalHeritageinPostwarRecoveryhttp://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdfhttp://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdf11.“Usingpoetrytoshedlightontheworstofmemories,includinggenocide”InterviewwithPeterBalakianhttp://www.pbs.org/newshour/bb/using-poetry-to-shed-light-on-the-worst-of-memories-including-genocide/http://www.pbs.org/newshour/bb/using-poetry-to-shed-light-on-the-worst-of-memories-including-genocide/12.AvenuesofChange(aboutthePhiladelphiaFolkloreProjectandLiberianWomen’sChorusforChange,anddanceamongstCambodianrefugees)http://www.brandeis.edu/ethics/peacebuildingarts/pdfs/library-authors/2016_01_CatherineFilloux_AvenuesOfChange.pdfhttp://www.brandeis.edu/ethics/peacebuildingarts/pdfs/library-authors/2016_01_CatherineFilloux_AvenuesOfChange.pdf

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Group4:Participant#1(rapporteur),Participant#2,Participant#3;withMaggieZieglerasfacilitatorandJaneSappasresourceperson.Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?1.Review:“CreativeApproachestoReconciliation,”the7elementsofreconciliation,andwhytheartsandculturalinitiativesareuniquelywell-suitedfortherebuildingoftrusthttps://www.brandeis.edu/ethics/peacebuildingarts/pdfs/CreativeApproaches.pdfhttps://www.brandeis.edu/ethics/peacebuildingarts/pdfs/CreativeApproaches.pdf2.“OnefootinthedooroftheLevant”aboutAmrAl-Azm:https://www.good.is/features/issue-36-amr-al-azmhttps://www.good.is/features/issue-36-amr-al-azm3.“Dr.Sarmast’sMusicSchool–Witness”https://www.youtube.com/watch?v=p_-AEVuYQ00https://www.youtube.com/watch?v=p_-AEVuYQ004.AfghanChildren’sAnthem2015,https://www.youtube.com/watch?v=1R8jkHhGpXA&feature=youtu.behttps://www.youtube.com/watch?v=1R8jkHhGpXA&feature=youtu.be5.“PoliticalconflictandrecoveryofculturalheritageinPalestine,”chapter7inCulturalHeritageinPostwarRecoveryhttp://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdfhttp://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdf6.“Promotingculturalheritageinapost-warenvironment:TheCôted’Ivoire,”chapter11inCulturalHeritageinPostwarRecovery[notepotentialroleformuseumsinpost-conflictreconciliation]http://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdfhttp://www.iccrom.org/ifrcdn/pdf/ICCROM_ICS06_CulturalHeritagePostwar_en.pdf7.“TheCreatedSpace:PeacebuildingandPerformanceinSriLanka,”inActingTogetheranthologyvolumeI.Summaryofcasestudy:http://www.brandeis.edu/ethics/peacebuildingarts/actingtogether/pdfs/Vol.1_summaries/Ch4Palihapityiasummary_5-18-11.pdfhttp://www.brandeis.edu/ethics/peacebuildingarts/actingtogether/pdfs/Vol.1_summaries/Ch4Palihapityiasummary_5-18-11.pdf8.“CreatingaNewStory:Ritual,CeremonyandConflictTransformationbetweenIndigenousandSettlerPeoples,”inActingTogetherantholgyvolume1.Summary:http://www.brandeis.edu/ethics/peacebuildingarts/actingtogether/pdfs/Vol.1_summaries/Ch10Walkersummary_5-18-11.pdfhttp://www.brandeis.edu/ethics/peacebuildingarts/actingtogether/pdfs/Vol.1_summaries/Ch10Walkersummary_5-18-11.pdfAssignmentforNovember15thReflection#9:Duemidnight,November13th:Returntotheresourcesfortheprevioustwoweeksand/orfindadditionalresourcesthatwillhelpyoustrengthentheideasdevelopedforprojectsinyoursmallgroups.Workingindependentlyortogether,

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eachgroupshouldcompletetheprojectplanningchartfor1–3projects.ThesewillbecomethebasisforcreativepresentationsthatyouwilldevelopduringtheNovember15thclasssession.

Project1 Project2

Purpose/intention

Methodologies,activities,actions

Whatgroupsofpeoplewillbeinvolvedinwhatroles?

Anticipatedstrengths

Anticipatedweaknesses

Anticipatedopportunities(externaltotheproject)

Anticipatedthreats(externaltotheproject)

Outputs

Anticipatedoutcomes/impacts

Potentialpartners

Potentialsourcesofsupport

Questionstobeaddressed

Additionalnotes

FacilitatorGuide

November8thclass:2:05-2:45PresentationbyRimaandKristinanddiscussion2:45–3:00Settingupsmallgroups;distributingpencils,paper,markers,etc.Movefurnitureasnecessary3:00-4:50Smallgroups(includingbreak)November15thclass:2:00-2:45Studentsinsmallgroupsreconvenetodevelop1–2minutecreative“advertisements”foroneortwoprojectideas.

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2:45-4:15Creativepresentationsaresharedwithclassanddiscussed;ExpertsfromAleppoprojectskypesintowatchandcommentonpresentations.4:15-4:40Wholegroupdiscussion:Wheredowegofromhere?What’snext4:40-4:50Reflectionsondesignlabprocess.Whatworkedwell?Whatcouldbedifferent?

Proposedroles/assignments:

November1 November8 November15

Cindy Introduceclassandmanageflowofthreesegments

ManagesoverallflowofsessionwithHauke

ManagesoverallflowofsessionwithHauke

Hauke Co-presentswithKristinonchapterAttendsreception5:45

ManagesoverallflowofsessionwithCindy

ManagesoverallflowofsessionwithCindy

Kristin IntroducesBob,setsthestageonculturalheritageCo-presentswithHaukeonchapterAttendreception5:45

IntroducesRimServesasresourcepersonforGroup#1;back-upasfacilitatorforGroup#1ifwecan’tidentifyalternative

Supportsgroup1indevelopingcreativepresentationManagesskypesessionwithAleppoProjectrepresentative

Eylem Presentationonyourwork,4-4:50Attendreception5-5:45

ServesasresourcepersonforGroup#3;Back-upfacilitatorifwecanidentifyalternative

Supportsgroup3indevelopingcreativepresentationRespondstocreativepresentations

Rim IntroductiontodesignLab Servesasresourcepersonforgroup#2;Back-upfacilitateifwecan’tidentifyalternative

N/A

Maggie Takenotesonwholeclass TakesnotesonRim’s Supportsgroup4to

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session(ifyouwish,findastudenttoassistyou)

presentationGatherrawnotesfromeachrapporteuratendofclass(disseminatenotestogroupmembersandHaukeandCindy)ServesasfacilitatorforGroup#4

developcreativepresentationVideotapecreativepresentations?TAkesnotesonwrap-upandreflectionsessions

Jane Activeparticipation Servesasresourcepersonforgroup#4

N/A--

BobTempler PresentationwithKristin-2-2:50Respond-briefly-tochapterpresentations?Attendreception5-5:45

N/A N/A

ExpertPersonFromAleppoProject

N/A N/A Skypesintolistentostudentpresentationsandresponds

Studentrapporteurs

TakenotesonsmallgroupsessionsandsubmitthesetoMaggieatendofclassonNovember8

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Assignmentofrolesforsmallgroups:

Question Facilitator Resourcepeople

Students

Whatcanbedonenow,whilethewarisbeingwaged,topreservethepossibilityofmemories?Sub-question:Howshouldsuchactivitiestakeintoaccountdistinctandcompetingnarratives,anddivisionsamonggroups?

Hauke Kristin XXX

Afterthewar,howcanlocalcitizensandartistsbeinvolvedinrebuilding?Whatplatformsandprocessescanbeenvisionednow?Sub-question:Howshouldtheseplatformsandprocessestakeaccountofthedivisionsandmistrustbetweencommunities?

Madhawa Rima XXX

Forpeoplewhohavebeendisplaced,howcantheiraccesstoculturalheritageandmemorybemadepossible?Sub-question:Howcansuchinitiativesbedesignedtofacilitatetherebuildingofintercommunalrelationships?

Miriam Eylem

XXX

Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?

Shadi JaneSapp XXX

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ProcessforsmallgroupsonNovember8:3:00-3:05:Introductions3:05-3:15Workinginsilence,onseparatestickynotes,brainstormanswers(ideas)toyourgroup’squestion.Youranswershouldhavetwoparts:a.Whatconstituencyorgroupdoesyourproposedideaaddress?b.Whatisyouridea?Postyourideasonthewallorwhiteboard,placingthestickynotesnearothersthataresimilarintermsoftheidea.Writeasmanyideasasyoucan.Thekeyisnotqualityitisquantity.Youmaydraworwrite.Thegoalistoestablishgroupingsofideasforfurtherdiscussion.3:15-3:45Continuetoidentifyandadjustgroupingsofideas,anddiscuss,withyourgroup,thedifferentclusters,tofindcommonalitiesandtoexploredifferences.Thegoalistofindtwoconcreteideastoadvance.Theseideastoadvanceshouldincludeboththeconceptandtheconstituency.Possiblequestionsformoderators:

·Noticetheseideas(pickingtwoinparticular)havebothsimilaritiesanddifferences.Pleasediscussthedifferences.·Whatotherclustermightthisideabegroupedwithandwhy?·Whichideasdoyouthinkaremostpowerfulandhavethemostpotential?·Putamarkbytheideasyouwouldliketoexplorefurther;youcouldputyourmarkbyuptothreeideas.Wewillworkwiththetwothathavethemostmarks.

3:45-3:50Usingtheirnon-dominanthand,eachparticipantdrawsanimageofoneofthetwoselectedideasinaction,completingthedrawingin3–5minutes.Discussifanyconcreteideasand/oranythingnewemergesfromthisexercise.3:50-4:40Comparingtwoideastobedevelopedasaprojectorinitiative.

Whywouldwebedoingthisproject?Whatproblemsorpossibilitieswoulditaddress? Whatmethodologieswouldbeused?Whatactivitiesandactionswouldtakeplace?

Whowillbeinvolvedintheprojectandinwhatroles?(beneficiaries?Staff?Facilitators?Audiencemembers?)Whatdoyouimaginewouldbetheproject’sstrengthsandpossiblevulnerabilitiesorweaknesses?Whatconditionsexternaltotheprojectcreateopportunitiesandmightadvancetheproject?Whatconditionsexternaltotheprojectmightthreatenitsabilitytosucceed?Whataretheoutputs?(Whatconcretethingsarecreated?)Whataretheoutcomesandimpact?

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Note:Strengths:Strengthsdescribethepositiveattributes,tangibleandintangible,internaltoyourorganization.Theyarewithinyourcontrol.

Weaknessesareaspectsofyourbusinessthatdetractfromthevalueyouofferorplaceyouatacompetitivedisadvantage.Youneedtoenhancetheseareasinordertocompetewithyourbestcompetitor.

Opportunitiesareexternalattractivefactorsthatrepresentreasonsyourbusinessislikelytoprosper.

Threatsincludeexternalfactorsbeyondyourcontrolthatcouldplaceyourstrategy,orthebusinessitself,atrisk.Youhavenocontroloverthese,butyoumaybenefitbyhavingcontingencyplanstoaddressthemiftheyshouldoccur.

Project1 Project2

Purpose/intention

Methodologies,activities,actions

Whatgroupsofpeoplewillbeinvolvedinwhatroles?

Anticipatedstrengths

Anticipatedweaknesses

Anticipatedopportunities(externaltotheproject)

Anticipatedthreats(externaltotheproject)

Outputs

Anticipatedoutcomes/impacts

Potentialpartners

Potentialsourcesofsupport

Additionalnotes

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4:40WholegroupreconvenestomakeplansuntilnextclassNovember15th2:00-2:45Smallgroupsreconveneandengageincreativeworktoprepare1minute“advertisement”foreitheroneorbothoftheirideas2:45-3:152smallgroupspresenttheiradvertisements;wholegroupdiscussionoftheirideas3:15-3:30BREAK3:30–4:002smallgroupspresenttheiradvertisements;wholegroupdiscussionoftheirideas4:00-4:50Wrap-upofdesignlabprocess:

● Processforreportingonthedesignlab● Plansforfollow-uplabduring‘DeisImpact● LearningaboutthewarinSyriaandtheconditionsfacedbyrefugees,whatcouldweatBrandeis

doinrelationtoAleppoandthewarinSyria?● Whathavewelearnedabouttheprocessofcreatingandimplementingdesignlabs

IntroductionTextforParticipants

ACityUnderSiege:TheContextBantarisanancientcityofabout250,000residents,thesecondlargestcityinthecountryofUllfor.Thecountryisknownforitsdiverseculturalheritage,withcenturiesoldtraderoutesthathavedevelopedbetweenneighboringcountries.Bantarisknownaroundtheworldforitsrichanduniqueliterary,musical,architecturalandartistictraditionsthathavedevelopedduetothecross-pollinationofmanyculturesovertime.InBantarthemarketsserveassocialcenters,anditisknownaroundtheworldforitsornatepublicgardens,ancientamphitheatersandabeautifulnationallibrarycontainingimportanthistoricmanuscriptsthatdescribetherichculturalheritageofthecountry.Therearevariouscentersofworship,embeddedwithindifferentneighborhoods,andmanymuseums.Historically,Ullforhaswelcomeddisplacedpeoplefromneighboringcountriesandisknownforitstoleranceandhospitality.Manydifferentculturalgroupshaveco-existedthere,respectfully.

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Overthelasttwenty-fiveyears,reservesofoilhavebeendiscoveredandthishasbecomethemainsourceofexportforthecountryandencouragedmanynewbigbusinessinterestsfromothercountries.Thisnewindustryhasdivertedgovernmentresourcesawayfromlocaleducationandhealthcare,towardssupportingthisnewoilindustryanditsinfrastructure.Apoliticalparty-theWellingtonPartyledbyPresidentMontague-hasbeeninpowerduringthistime.Hisgovernmenthasbeenlimitingfreedomofexpression,puttingrestrictionsoninternetaccess,banningcertainsongsfromplayingontheradio,andrequiringacertainkindofdresscodeforwomen,assertinggreatcontroloverthistraditionallytolerantsociety.Anycitizenthatquestionsthecentralgovernmentisputatriskofbeingimprisoned.Threeyearsago,severalcitiesinUllforstagedlargescaleprotests,demandingfreedomofexpressionandaccesstoinformation.ThegovernmentrespondedbytargetingthenationallibraryinBantar,settingitonfireinanactofsymboliccontroloverknowledge.Takingadvantageofthiscivilunrest,anextremistorganizationfromaneighboringcountry,knownasTheRealFront,hasdeclaredallegiancetothegovernment,invadingBantarneighborhoodstosupportlocalpoliceforceswhoarealliesofthegovernment.Manyformerlypeacefulactivistshavetakenupweaponstodefendthemselvesagainsttheseextremistforcesembeddedwithintheirneighborhoods.Eachneighborhoodhasitsownbrigademadeupofformeractivistsandcivilians.SomeoftheseneighborhoodbrigadeshavealliedthemselveswithTheRealFront,whohaveluredthemwithpromisesofresourcessuchasfood,shelterandmoreweapons.Afull-scalewarbrokeouttwoyearsagoinvolvingcivilianbrigadesagainstgovernmentforces,RealFrontalliedbrigadesagainstregularcivilianbrigades.Sincethattime,therehasbeenextremelossofcivilianlifeincludingmanywomen,elderlyandchildren.Over75%ofthecityofBantarhasbeenphysicallydamagedduetobombing.Hospitalsandmarketshavebeendestroyedbygovernmentbombs.Accesstoschoolsisimpossibleduetothedailybombingandriskofsnipers.Thelocaluniversityhasbeentakenoverbytheremainingactivistcommunitytobeusedasacommunicationscenter,andthegrandcentralparkhasbeenturnedintoagraveyardforcivilianskilled.Theancientamphitheaterhasbecomeagovernmentprisontohouseactivistsandanyoneelsewhoopposesthegovernment.Beforetheviolence,peopleofdifferentreligiouscommunitiesandpoliticalallegianceslivedinproximitytoeachotherandinteractedregularly,particularlythroughthemarket.Now,however,thecityhasbecomesegregated,withpeoplefromdifferentcommunitieslivingindifferentregionsofthecity.Thewarhasgivenrisetomultiplenarratives,andhasforcedcivilianstopicksidestosurvive.Despitethis,civiliansareendangeredbyallsidesoftheconflictasthecity’sneighborhoodshavebecomebattlefields.Therefore,mistrustisrampantanddifferentgroupshavebecomepolarized.Despitethedailyviolence,civiliansareattemptingtomaintainanormallife.Someschoolshavebeensetupinthebasementsofhouses.Anundergroundlibrarywascreatedusingbookscollectedfrombombedouthouses,andvegetablesellersstillbringtheirfoodtothemarkets,despitetheriskofbombs.The

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ruinsoftheoldestchurchinthecity,whichwasnearlydestroyed,isstillusedforavarietyofrituals.Aweddingrecentlytookplaceamongtheruins.Aceasefirehasbeencalledforbytheinternationalcommunitywhoareoutragedbythecontinuingviolenceandconsiderthedestructionofthisimportantcityamatterofworldinterest.Youhavebeenaskedtoparticipateinataskforcetoconceiveofaplantorebuildthecity,andtoengagelocalcitizensinenvisionafuturethatwillallowcivilianstoreturntonormallife.Thetaskforcewilladdressfourquestions:

• Whatcanbedonenow,whilewarisbeingwaged,topreservethepossibilityofmemories?Howshouldsuchactivitiestakeintoaccountdistinctandcompetingnarratives,anddivisionsamonggroups?

• Afterthewar,howcanlocalcitizensandartistsbeinvolvedinrebuilding?Whatplatformsandprocessescanbeenvisionednow?Howshouldtheseplatformsandprocessestakeaccountofthedivisionsandmistrustbetweencommunities?

• Forpeoplewhohavebeenandwillbedisplaced,howcantheiraccesstoculturalheritageandmemorybemadepossible?Howcansuchinitiativesbedesignedtofacilitatetherebuildingofintercommunalrelationships?

• Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?

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Appendix4

NotestakenbyTeachingAssistantsthroughouttheDesignLabprocess

NotesTakenByMaggieZiegel,TA#111/01/2016–FirstclassGuests:RobertTempler(presenter),KristinParker,JaneSapp,EylemErturk(presenter),ElaineReuben‘63,Miriam(graduatestudent)

RobertTempler:theAleppoProject

AreyouallAmerican?AmongtheAmericanshere,howmanyofyouhavefamilymemberswhofoughtinawar?

- Mostofourlivesareshapedbywarinonewayoranother- Mostpeopledirectlyimpactedbyconflictexpresstheshockofwhathappened,allfeelsverysudden- Whenwarstrikes,itstrikeswithincrediblespeedanddestroysabsolutelyeverythingaboutpeople’s

lives- Profoundimpactonindividuals- Importanttounderstandscaleofchange- WarinAleppowasalsoverysudden- Onlyin2012thatyoubeganseeingmajorprotestsinAleppo,veryrapiddescentintoviolenceas

govt.beganshootingatpeople,arrestingmanypeople,torturingpeoplewhohadbeenarrested.Thiscausedahugeresponse(FreeSyrianArmy)

- EasternhalfofAleppo-nowcontrolledbySyrianArmyo Largelymadeupofmigrantso ‘Shantytowns’

- WesternhalfofAleppo-Hometoculturalheritageo Profounddivisionbetweenthesetwosides.Manypeoplehaveneverevenbeentothe

Easternsideofthecity- Therefore,Aleppoisuniqueinitsseparation.Veryneglectedbythegovt.- 2006-2010=severedroughtthathitEasternhalfintensely.Longestdroughtsincerecordshavebeen

keptinSyria.SubstantialchangeinclimateinMiddleEast- PeoplefelttheyhadnothingtoloserisingupagainstAssad.Enormousdemandsforchange.- EasternsideofAleppobeginsbeingbombed.Simplytodestroythecityandclearoutthepopulation

todepriveanygroupsfightingthereofanysupport.Also,toremovethepoorandthoseofpoliticaloppositionfromthecityandfromSyria.Itwasaimedatcreatingrefugees

- Weseeaprocessofexpulsionhappeningallovertheworldlikethiso Killcityasalocationofprotest,uprisingo Destroyculture.Destroythingspeoplehaveincommono Polarizeidentity.“Identitybecomessomethingthatyou’rewillingtokillfor"–thisiscreated

anddrivenbypoliticalactors.- InSyria,thereweremanydivisions.InAleppo-thebiggestonewasofwealth.Alsoreligion/religious

sects.10thofpopulationisChristian(alsomanysects)

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- Divisionsexistedbefore,butwerenotextremelyimportantbeforeconflict.- Fairlydiversepopulationwhoatonepointedworkedtogetherquitewellwithitsownculture,

economy,etc.(inAleppo)- Peopleareattemptingtopushasideidentitiesthatmaylinkpeopletogether.Dehumanization,

attempttofermentanddriveviolence.- Easternhalfofthecitystillhasquarterofamillionpeoplelivingamongwreckage- CenterofEasternhalf(lastperfectlypreservedMedievalArabcity)hasnowbeenseverelydamaged- Enormouslossanddispersalofheritageinallofitsforms.Acitythathadaveryrichcultureof

music,plays,TVseries,language,teaching,sophisticatedandcosmopolitancitythathadbroughttogetherpeoplefromacrosstheMiddleEastthroughbeingatradingcity.Extremelydamagedthroughthisexpulsionofpeopleandthedivisionsthathavehardenedacrossit.

- Thereisnowliterallyaphysicalbarrierofabandonedbussesetc.thatdividesthecityfromtheEastandtheWest

- Easternhalfisnowundersiegebythegovernmentandisstillbeingbombed.- Quitepossiblytheoldestcontinuousinhabitedcityonearthisnowbeingdestroyed.Tonsofdamage

toarichandimportantculturethatweareallconnectedto.- AleppowasimportanttoChristianity,JudaismandIslam.- TherenaissancebasicallycameoutofAleppoandDamascus- ReconciliationandRecoveryforthiscity.Anyprocessofrebuildingisgoingtobeenormously

complicatedo Securitychallengesarestillveryreal

- “Rebuildthecollectiveidentityofacity”o Whatmakesacitywork/enjoyable?

▪ Art,Architecture,Humanities,HistoryandCulture▪ PublicSpaces(vitaltoengagementtoeachotherandsenseofotherpeopleinyour

world,peacefulrelationshipsbetweenpeopleofdifferentidentities)▪ Efforttoaddressthelonghistoryofthisconflictandviolence(50+yearsofverydeep

violenceagainstthepeopleofthiscountry)- Howtorebuildthelifeofacity?- Lookatothercitiesthathavebeenrecoveringfromconflict.(Beirut,Baghdad,Lebanon)–howto

notfailinreconciliationinrecreating/savingAleppo- Citiesthathaverecoveredmoreeffectivelyhaveseenartsandcultureandexpressiveformsoflife

playquiteanimportantroleinrebuildinglinks/relationships.- Cultureisextremelyimportantinrebuilding.Weneedtomoveawayfromrigidideasof

reconstructionandprioritizeculturetorecreatewhatisessentialaboutacity.HUMANENGAGEMENT-abilitytogooutandfindanamazingarrayofthingstoengagementinthatspace.

- Needengagementtobesuccessful.- Aleppowillbeanimmensechallengetobringbackmanyofthesevitalculturalthings.

o Physicalinfrastructureo Severeresistance(fromfunders)o Humandivision

Student:YoumentionedRussia,whatotherinternationalplayershaveparticipatedineitherside?- Verymany

o Turkeyo UnitedArabEmirateso Russia

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- Differentcountriesaresupportingdifferentrebelgroupsandarethereforenowfightingeachother

- Self-Identifiedgroupsfightingo Rangesfromafewguystosomeverysignificantorganizationso Coverawidespectrumofreligiousandpoliticalpositionso Supportedbydifferentgroups

- ISIS–maingasandoilproducingareaofSyriaandmistreatsothers- Muchmorecomplicatedandglobalthana2-sidedconflict- Morethan18differentcountriesontheRebelside- Afghans,Iranians,Ukraniansallonthegovt.side- CausedaterribleworseninginviolenceinAleppoasmostoftheviolencehappeninginAleppois

beingdonebypeoplewithnotiestothecountryorhistory(outsideagents)- Therefore,levelofviolencehasbeenveryextremeandseverelydestructive.Absolutebrutalityand

theextentofviolationsofinternationallaw.- TheideaofwarbeingheldbetweentwodifferentcountriesabidingbytheGenevaconventionisno

longerwhatthedefinitionofwaris- GenevaandHagueconventionshavebeendisregardedbyallsidesinSyria- WewillseeanUrbanfuture(morepeoplelivingincities)- Nearlyallconflictnowtakesplaceincities–moreopportunityfordestruction- CitiesaretherepositoriesofcultureStudent:Withsomanypartiesinvolved,whentheconflictisoverthereisgoingtobeacertainpartythatisseenasthe‘winner’ortakescontrol.Howdoesrebuildingthecity(andthe‘winner’)impactthecityandhowdoesthisalsoimpacttheculture?- Reallymassiveimpact- Manystudiesbeendoneonthis,(ex.whydidcertainGermancitiesrecoverfasterthanothers?)- Alotofsuccesshastodowithwillingnessoflocalauthoritiestolistentopeopleandacceptthe

inputofpeople.Alotdependsonwhetheryouhaveangovt.authoritywhoiswillingtolistenratherthandictate.

- WehavenoideahowtheSyriancrisiswillend.- ExamplesofSoeulProf.Cohen:SomegroupsinAlepponowrepresentsomeofthesedifferentcommunitiesthatareactuallythinkingtogetheraboutthefutureofthecity.Itisimportantforustobeawareofthem,whattheyarelike,howmany,etc.- LocalcoordinatingcommitteesinSyria

o Committeesthatemergedaspeoplebegantotakeoverlandandgovernmentsmallcitieso Developedalotoffairlydemocraticprocesses.Triedtoincorporateparticipatoryo Givingoutfood,administeringhousingo Workedwithschoolsandaidagencies

- Functionedasalocalgovernmentandbeenquitesuccessful-butsqueezedbyJihadorganizations(ISIS),andtheAssadregime

- Therearegroupsoutworkingintheseways,butbothsidesareattemptingtogetridofreasonablepeople.Therefore,thesepeopleareverysqueezed!Levelofviolencedirectedagainstthemishorrendous

- Startedoutasactivists

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ProfCohen:WeknowthatinmanyplacesinSyriatherehavebeensmallgroupsofwomenwhohavebeenabletohaveceasefireincertainplaces.Whatistheroleofwomeninreconstruction?- Womenhavebeenextremelyimportantinmanyofthesegroups- Aleppohadverylownumbersofwomeninworkforcebeforewar- Womenwereconstrainedfrompublicsphere- Littleconsiderationofthespaceswomenoccupy,ex.Puttingwellsinthecommunitiestoprevent

thewalkstogetwater.Womenthenvandalizedthesewellsasthewalkforwaterwasveryimportantandsacredtothem

- Womenwillbelargelyimportantformanyreasonso Somanymenhavebeenkilled-womenwillnowneedtobebreadwinners

Student:Intheplanningoftherebuildingofthecity,areyouexpectingpeoplewhohavefledAleppotocomebacktoAleppo?Howdoweconsiderthisinourplanning?- Yes.Wedidsurveyworkafewmonthsagowhere70%ofAleppiansinTurkeywantedtocomeback- Thefurtherawaytherefugeesarethelesslikelytheyaretowanttocomeback- Majorityofrefugeesareinneighbouringthreecountries- Peopledowantto‘gohome,’manyarealreadyreturningtoAleppo- Thereisaverystrongcorrelationbetweeneducationandreturning.Theleasteducatedpeopleare

themostlikelytoreturn.Student:Weshouldthinkaboutthisinthemidstofthewar,butifwearedoingthisnowhowdoweengageandinvolvetheSyriansandpeoplelivinginAlepponow?- ThereisaverystrongidentityamongAleppians,theyweresomewhat‘snobbish’andthereforewe

thinktheywillbeveryinvolvedinthere-planning- 200differentphrasesandwordsinAleppoforcallingsomeonestupid!- VerystrongidentityandprideinAleppo- Astonishinglybeautifulhistorywithamazingheritage- Therefore,amidstallthehorrorthereisstilladesiretofindsomesortofwaytothinkabout

reconstructionandabouteverythingelseStudent:Notjustaboutbuildingthecitybutbuildingthelifeofthecity,fromyourexperience,howoftentocityplannersconsiderthis?- Urbanplannersveryunlikelytoaddressculturalissues- WantedtojustwipeoutEasternAleppo- Lovetheideaoferasingeverythingandjustbuildingup.Lovetheideaofa‘blankslate’- Architectstendtobeveryresistanttothinkingaboutintricaciesofpost-conflictredevelopmentand

howeverybuildingwillbecontestedinmanyways.

Student:Areyouaskingustothinkaboutcitiesasveryseparatefromeachother?Returntothecity-stateasawayofreimaginingourworkorarewethinkingofacountry,nationality,onecityimpactinganothercity?Whatisourfocus?- Youmayseesomethinglikecity-statesinSyria.Incertainways,thecityisincreasinglyseparate.It’s

ownkindofcountrywithit’sowninterests- Globalseparationofurbanlifeandthescaleofurbanlife.- Lackofopportunity

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Summarypresentation(2min)bystudentsontheirreadings:Chapter1- IntroductiontoCulturalHeritage-lookingattheideaofwhatweshouldbedoingasatop-down

approachorabottom-upapproach- Criticizingpublicdisplaysofreconciliationthathavethepossibilityoffurther

marginalization/silencing- Respectingthepeople’schoiceofwhat‘home’isratherthanhavingthelargegroups/corporations

decidewhatisbest.Chapter2- Identityandcultureinacity,andhowdestructionofculturallandmarksaffectsthepeopleliving

there.Destructionofsymbolsthataremeanttooutliveeveryoneandsymbolizeculturethreatensthesafetyoftheculture.

- ‘don’tknowwhatyou’vegotuntilit’sgone’thedestructionoflandmarksbringsatypeofmortalityevenifyoudidn’tappreciatethelandmarkpriortodestruction.

- Peopleforcedoutoftheirhomeoftenfindhomeandsolaceintheselandmarks,destructioncanbeevenmoredamagingtothesepeople

- Intangibleheritagethatpeoplehavethroughtheirstories,art,etc.andhowdowepreserveandprotectthis?

Chapter3- Culturalheritageandpost-warrecovery

Chapter4- Physicalpartitionsandhowtheyareaphysicalbarrierbetweenplannersandcommunitymembers._____________________________________________________________________________________

EylemErturk:Arts,CultureandDialogueforDiversityandConflictTransformationinTurkey

- Raisingawarenessonculturaldiversityofheritageformanyyears.(+15)- Worldisbecomingmoreandmorepolarizing- Thisworkcanmakedifferencesinpeople’slives- HowlocalissuesaredealtwithinTurkey:

o Turkeyislessthan100yrsoldo Manypeoplehavealwayslivedintheirowncultures,issuesofexile

- Contexto Thereusedtobe2millionArabslivinginOttomanempire,nowlessthan100,000inTurkeyo ConflictwithArmeniaoverregionofland-closedborderin1990so Issuewithterrorists.FightingforautonomyandculturalrightswithinTurkeyo Summerof2015,conflictresumedafterlongceasefire,movingintocitycentersmeaningthere

waslotsofdeathanddestructionofculturalheritageo WholeMiddleEasthasbeengoingthroughuprisingofconflict,violence,warandmass

migrations▪ Since2011(afteroutbreakofSyrianwar)anestimated1millionhavelefttheirhomes,6million

havebeendisplaced,othershavefledtoothercountries

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▪ Turkeynowhostsmorethan2millionSyrianrefugeeso ManySyriansbringingtheircultureandheritagetoTurkeyo Freedomofexpressionhasalwaysbeenaprobleminturkeyo Governmentshutsdowninternet

- ActivistsandArtistsattemptingtopreserveculture- Organization:

o Establishedin2002o Aimtodoprojectswithideathatculturalexchangecanleadtomutualunderstandingo Trytocontributetosocialandculturalpositivechangeo NewFilmFund

▪ HumanRightsDocumentaryFilmSupportProgram▪ Organizesscreenings,discussions,classes,etc.▪ Filmsgenerallyabouthumanrightsissues,war,conflict,peace,LGBTissues,ecology,urban

transformation,etc.▪ Empoweringfilmmakerstocontributetofreeworldandhelpbringhumanrightsissuesinto

focuso TryingtokeepSyrianCulturealiveo SyrianCulturalHeritage

▪ Preparingbilingualbooksandgamesforchildreno Countriesshouldapologizeforhorribleactstheyhavecommittedo Usingartisaveryeffectivewayofdiscussingmanyissuesandunderstandingthe‘other’’spoint

ofviewo CulturalManagersExchangeProgramo Bak(look)revealingtheCity’sthroughmemory

▪ Bringspeopleages18–28fromallcitiesofTurkey▪ Conductartisticprojectstohaveyoungpeopleworktogetheranddocumentstoriesfromdaily

lifewithdailystruggle(whatevertheyseeintheircities)- CreativeStoryTelling

o Artisticpracticewhilealsodiscussingwhythisworkisimportantandwhy/howitshouldcontinuebeingdone.

- Workingtounderstandtheother,spendingtimetogether,havingthecommongoalofproductionandhavingtolistentooneanother

- Raisingawareness-hardestparttomeasure,andextremelyvitalo Callinthepeoplewhoarenotnormallygoingintoexhibitionspaces,whoarenotnormallyseeing

this_____________________________________________________________________________________11/08/2016-SecondClassSummarynotesGroup1:3students(KristinandHauke)Question:Whatcanbedonenow,whilewarisbeingwaged,topreservethepossibilityofmemories?Howshouldsuchactivitiestakeintoaccountdistinctandcompetingnarratives,anddivisionsamonggroups?Idea#1:RecordinghistoryaroundmajoreventsinAleppofromelderly.Providingcamerastodocumenttheircurrentexperience.CreateadatabasethatisaccessibletoeveryoneIdea#2:CurriculumamongstSyrianrefugeecampsthataregearedtowardAleppianhistory.

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WorkshopsthattalkaboutthefutureLiveinteractions/groupprojectsbetweendifferentschoolsGroup2:(Rim,Madhawa)Question:Afterthewar,howcanlocalcitizensandartistsbeinvolvedinrebuilding?Whatplatformsandprocessescanbeenvisionednow?Howshouldtheseplatformsandprocessestakeaccountofthedivisionsandmistrustbetweencommunities?Idea#1:aseriesofoutsidemarketplace,festivals,displayofartsandculture,andfoodstationsIdea#2:Anartexhibitionaboutcorruption.Itwilltalkabouthowtodealwithcorruption,whatitis,andhowtoreclaimyourpowerGroup3:3Sutdents(Eylem,Miriam)Question:Forpeoplewhohavebeenandwillbedisplaced,howcantheiraccesstoculturalheritageandmemorybemadepossible?Howcansuchinitiativesbedesignedtofacilitatetherebuildingofintercommunalrelationships?Idea#1:utilizeformsofstorytellingandcreativeexpressiontotellthestoriesofthosewhosevoicesaresooftensuppressedordismissedIdea#2:after-schoolprogramthatcatersspecificallytorefugeesGroup4:3students(JaneandShadi)Question:Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?Idea#1:SummerCamp:Createasafe-havenforkidsandyoungadultstoplayandenjoyeachother’scompany.Togivealifeoutsideoftheconflict.Idea#2:ArtBuffet:Appreciateanddefineeachgroup’sidentityandformacommunityinclusiveofallofthegroupsthroughartpiecesandfood._____________________________________________________________________________________11/15/2016-ThirdClassGuests:AlHakamShaar,RimLababidi,DanFeldman,ElyemArturkGroup1:3Students(Kristin,Hauke)Question:Whatcanbedonenow,whilewarisbeingwaged,topreservethepossibilityofmemories?Howshouldsuchactivitiestakeintoaccountdistinctandcompetingnarratives,anddivisionsamonggroups?Idea#1:RecordinghistoryaroundmajoreventsinAleppofromelderly.Providingcamerastodocumenttheircurrentexperience.CreateadatabasethatisaccessibletoeveryoneFeedback:Rim:Documentingwhatishappeningunderadictatorshipcanbeverydangerous,thesepeopleareoftenspecificallytargeted.Weneedtothinkaboutthefactorofsafetyforthepeoplethatwillbedoingthis.

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-Whataretheexperiencesthatwearetryingtomakepossibleagain?FocusingonthatinOHinterviews-Atmosphere,feelingsandsensationsarecriticalinpreservingpeople'sstoriesandrecreatingculture-Shouldpeoplebeinterviewingpeopledifferentfromthemselves?(i.e.old/young,Eastside/Westside)Group2:3Students(+Rim)Question:Afterthewar,howcanlocalcitizensandartistsbeinvolvedinrebuilding?Whatplatformsandprocessescanbeenvisionednow?Howshouldtheseplatformsandprocessestakeaccountofthedivisionsandmistrustbetweencommunities?Idea#1:aseriesofoutsidemarketplace,festivals,displayofartsandculture,andfoodstationsFeedback:Rim:musicandpublicspacesaregoingtobeacommongroundbetweeneveryoneregardlessofanydifferences/prejudicesAlHakam:dealingwithfoodandmusicwilllikelybeeasierthandealingwithcrafts!Student:Interestingtolookatnewwaysofcapturingaspace/feeling(i.e.virtualreality)Dan:buildingamomentumofenthusiasminthecommunity-findingawaytospreadthisideatohavemoreandmorepeoplecomingeachtimeGroup3:3Students(Eylem,Miriam)Question:Forpeoplewhohavebeenandwillbedisplaced,howcantheiraccesstoculturalheritageandmemorybemadepossible?Howcansuchinitiativesbedesignedtofacilitatetherebuildingofintercommunalrelationships?Idea#1:utilizeformsofstorytellingandcreativeexpressiontotellthestoriesofthosewhosevoicesaresooftensuppressedordismissed,specificallyforrefugeesthathaveimmigratedtosafespacessothattheycanexpressthemselvesandtheirvoicesthroughart.(i.e.Youtubechannel,facebookpage,etc.)Feedback:Student:Blogsarehelpfulastheyareanonlinejournal/diarythatcandocumentthehistoryoftheculture.Servesasanarchive.ActsasanonlinemuseumKristin:Criticalandsmartthatyouarechoosingtopartnerwithpreexistingorganizations.Cindy:checkoutTheHumanLibrary.FindingawaytohumanizepeopletoeachotherStudent:Toincreaseaccesstothisplatform,itmaybeinterestingtomakeabook/seriesofzines.Thisway,thosewhodonothaveaccesstotheinternetwillhaveaccesstothisplatform.Rim:Thereisalreadya"HumansofAleppo"Facebookpagethatwouldbegreattoaccessallthepeople/alliesthatwecanfind.TheUNhasarefugee-specificprogramaswell.Wouldbegoodtopartnerwithmanyorganizations.Wonderfulideawithalotofpotential!AlHakam:Lovedalotoftheideaspresented.IfyouwanttopartnerupwithagroupthatisinEnglish,thenyouhavethechallengeoftranslation.Howwillyoufindtheresourcestotranslate?Howwouldyouprioritizestories?Towhatlevel/extentdowehavetherighttochoosewhatgoesonthewebsite?Group4:Student(+Jane/Maggie)Question:Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?

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Idea#1:SummerCamp:Createasafe-havenforkidsandyoungadultstoplay,enjoyeachother’scompanyandpreserveculture.Togivealifeoutsideoftheconflict.Forchildrenbutinvolvingasmanymembersfromthelocalcommunityaswell.Regainingaculturalidentitythroughartandmusicinasafeplace.Feedback:Rim:IthinkthisisfeasibleinveryfewareasasthemajorityofAleppoisbeingextensivelybombedconstantly.Wouldbedifficulttokeepsafe.WouldneedtohappenafterthewarAlHakam:Goodcalltokeepitasanopenstructuresothatthereisfreedomofeachcommunitycanshapethisthemselves.Importantthatthiscampdoesnotremainonlyopentopeopleofprivilege.Kristin:Iwasreallyimpressedbythepresentation,andwasgladyouaddressedtheimpactoftraumathatwehadnotyetheard.Realopportunityinrefugeecamps-somethinglikethiscouldhavealotofpotential.Greatchangefrom'waitingforthenextbomb'.Eylem:Duringthewarintheplacesofwarandconflict,canartplayaroleundersuchcircumstancesandhow?Maybeweshouldbetryingtofirstunderstandthecircumstancespeoplearelivingin,andhowcanpeopleexpressthemselvesduringthistrauma?Usingtheartistictoolsforpeopletogettheirspacesotheydonotlosetheirminds.Howtobuildtrustinapost-traumasociety?Dan:Therehasn'tbeenalotoftalkaboutfilm,yetitissopowerfulasamediumintermsofallowingpeopletostepintooneanother'sshoes.AretherefilmswecanfindofAleppofrombeforethewar?FilmscanalsobeaveryhelpfultoolinhumanizingthesurvivorsandcreatingadeeperunderstandingofcultureandhistoryofAleppoforothers.Student:Ireallyliketheideaofhelpingchildren,asitisimportantthattheyhaveafoundation.Student:Byhelpingchildrenhealandprovidingspaceforthemtorecoverfromtrauma,thatwillreflectbackontheadults.Children'sresiliencecancreateinspirationforanentirecommunity.Student:Especiallywhenthinkingabouttrustbuilding,workingwithtraumaisveryimportant.Arethesekindsofcampsreallyeffectiveiftheythenmustreturntotheirsocieties?Howcanthiscamppushchildrentocontinuetoengagebackintheirowncommunities/howcanthecamp'comehome'withthechildren?Workingthroughtraumaisaverylongprocess.Cindy:Rebuildingtrustinvolveslotsofhardwork.Peoplecanrehumanizethemselvestoeachother,butiftheyhavenotdonetheworkofaddressingthepastthesenewrelationshipswillnotbesustainable.

NotesTakenBy,HaukeZiessler,TA#2

PitchofeachProjecttacklingthegroups’questionsExpertone:alHakamShaar-ResearchfellowFromAleppoProjectbasedinBudapestIntroduction:HelivedinarenovatedoldUNESCOprotectedhouses.Fromtheage10.Hisfatherwasaboardmemberoftheprojectsthathelprestoringtheculturalheritage.ResearcherstheoldcityofAleppoandtheintangibleculturalheritagearoundthecity.Experttwo:RimLababidiArchitectfromAleppo

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ExpertThree:DanFeldmanVicepresidentofinstitutionalplanningGroup1presentation:Preservingthepasttocreatepathwaystothefuture

• Picturesthatwillpreservehistoricsitesandtohelptherestore.• GivepeopleinAleppocamerastocreateagency.• Filmnotonlypersonsbutalsorecordingculturaleventssuchasmusicanddance.(sound

recordings)• Writtenhistoryisimportanttopreserve(tellthestoriesoftheoldthroughoralhistory).• Createahistorythroughthepeople.Theydefinetheircultureanddeterminewhattheirculture

is.Creatingawebsitedatabasesoeveryonecanhaveaccesstoit.• Notassociatedwithcloudtoendangerpeople• UsetheDatabasetoworkwithexternalorganizationssuchasUNHCRinrestoringthecultural

heritage.• Createapathwaytoeducatehopeinyoungpeoplethrougheducationprojects.• Theywanttocreateaneducationprojectwithinrefugeecampsandtheirhostcountriesto

motivatethemtosupporttheprocess.• Telltheirstoriesoftherefugeesandbecomeapartofhistorybycapturingtheirmemories.• AsawaytotransferskillstotheSyrianrefugees.Andinstillnationalismandhopeinchildren

throughthedatabaserelianteducationproject.• Thekeyistoconnectthedifferentdiasporathroughtechnologyasawaytobringthe

fragmentedcommunitiestogether.• Torebuildanewfutureplanofacityofhopeandlight.

Openquestions:1.Howdowestreamlinedocumentationinawaythatpeoplearenotendangered?2.HowtoFindeducatorsandconnectthedifferentgroupstointeractwiththegroups?Andhowto

facilitatesuchaproject?3.Whocouldmaintainandwritesuchadatabaseconsideringbiasesandlanguagebarriers?

ResponsebyStudentsandExperts:

• Whatdidyoulikeabouttheproject?o Thedatabase.

• Whatwouldyouconsiderandperhapsimprove?o Trytorecreateanexperienceandnotimposeanexternalsetofideas.Nottoimitate

howthingswereandcapturethespiritoftheplace.o Asyouarerecordingyoushouldaddpersonalaccountshowtheirrecordingsthatthey

aremakinghaveanimpactonthem,andwhatexperiencetheyhadinthesespaces.o Oralhistoryisawaytocapturetheveryrealjourneyofpeopleinthecity.

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o Whowoulddotheinterviewing?Shoulditbefrompeoplewithinthecommunities?Orshoulditratherbefromoppositesidesofthecommunity.

o Howcanwemoveforwardandaddresspeoplethatarenotyetmotivatedtoparticipate?Doweneedtorewardpeoplethataredoingthiswork?Doesthereneedtobefinancialcompensation?

o Howdothesestoriesreachthepeopleoncetheyareinthedatabase?o Howtomeetandchat?

• Considerthecontext?

o ConsiderotherexamplesandtrytolearnfromthemsuchasBeirut.Conflictinadictatorregime.Targetingpeoplethatarevisuallydocumentingthescenesandwhatishappening.Itisanightmareandpeoplearebeingspecificallytargeted.Localmilitiaarrestedashemaybeworkingforsecretservice.

Group2Presentation:Anongoingfestivalonceaweek.

• Dahab,Kebab,Terab• Music,Foodandcraftinawaytorestoreheritageandtocapturetheandreinventthepublic

spacesthatarenolongerdramaticanddangerousbutbringjoinandnewlevelsofconnection.• Itcanrevitalizethecommunitiesinaneconomicsense.Itcanalsobesetupaseducational

projectstorevitalizethelostculturethathadtobeputonthewayside.Hencepeoplecanlearnnewskillsforanewjob.

• Kebab-foodcanbringpeopletogetherinatypeoffarmer’smarketwherewehavecookinglessonsforpeopletoalsolearnmoreabouttheirdelicacies.Itisaplacetorehumanizeeachother.

• Tarab-Musicisagoodvehicletobringthepasttogetherwiththepresent.Itisconstantlythinkingofthepastbutalsoinnovating.

• Createawaytofeelandengagewiththeotherandexperienceemotion.Establishasafespace.Feedback:

• Whatshouldbeconsideredandperhapsimproved?o Craftsareveryspecificandtakealotoftime.o Don’tintervenetomuchandgivethespaceforthegenerationsnowtoinventtheir

publicspaceinordertoalsohelptheirinterests.o PerhapsthinkofhowtheseeventswillberecordedtoalsouseVR.Andestablishsolid

documentation.Itneedsamomentumofenthusiasm.o Festivalcanhelpestablishadignityandbeautyofcommunities.Theplanningcanbe

donebydifferentgroups.Asawaytounderstandeachothersculture.

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o Tryandcreatelivelihoodthroughacontinuousseriesoffestivalstoensurealongitudinalprocess.

Group3:

• CreateaformofstorytellingsuchasaYoutubechanneltocapturesongs,storiesandpoemsoftherefugeediasporabecause:

1.Itallowstherefugeestoreclaimtheirvoicethatwassuppressedthroughdifferentarts.2.Itisagoodwayforhostcountriestoseetheminadifferentlight3.Itallowsfortherefugeestoseethisandgainhopeandalsocreateamorepositivelightofhost

countries

• UseaBlogorYoutube.• Who?Inthelanguageofthedisplacedpeopleandhostcountriestocreateaformof

community.• Privacyandsafetyforindividuals.Maybethroughapodcast?MaybeaRadiostationorusing

USBstickstohandthemout.• Funding?• Howtoreachouttopeopletosharetheirstories?• Youneedacrediblesourcethatcandispensethesemessages.Ifthereisnofollowingitisjust

anotherwebsiteinaseaofinformation.UseStoryCororHONY.• Partneringwithcertainorganizationandusetheirfollowers.

Feedback:

• Whattoimproveandchange?o Theinternetcanbeamuseum.Thisideaplaysverywellintothat.Partneringwith

existingorganizationtonotreinventthewheelisagreatideae.g:§ Thehumanlibrary§ Humansofaleppo

• Whataboutpeoplethatdon’thaveaccesstotheinternetandmaybemakeabookformtospreadandalsohelpprotectpeople?

• Translating.Languagebarrier?Howareyougoingtofindtheresources?Alargeworkload.• Atwhatlevelshouldweintervene.Atwhatpointdoesitbecomeusandnotthepeopletelling

thestories.Group4:

• Constantnoiseendsasthereisasmallcamp.• Thereisanopportunitytoconnect.Postwarsenseofhopefulandovercomingthisnervousness.

Thecampbeginstoimmersetheselffurther.Realityhasnotstoppedbutforamomentyoucan

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getoutandinteractwithothers.Abreakandyoucanbuildtrustwiththoseinthecommunity.Thiscampisasafehaven.

• Thecampisforyoungpeopleandinvolvingasmanymembersofthelocalcommunityaspossible.Tobringintheirskills.Engagingintergenerationalinteraction.Togetyouthstointeractandregainaculturalidentitythroughafunsafespace.

• ItcamefromanideainthenationalmuseuminIvoryCoast.• Expandfrommanysmallercampsintheregionandthenhaveabiggercampwherethesmaller

campscometogetheroncetheyhavefoundasmallerandmorepersonalidentity.• Safetyisabigissue.Woulditbeadaycamporhowwillthelogisticsbestructured.Howcanit

beasafespace?Feedback:

• Itismoreforapostconflictperiod.Forafterthewarorinareaswherethereismoresafety!!• Veryreliantontheconditionsafterthewar?• Howstructuredshouldthecampbeorshoulditbeaflexibleprocess.• Howtoworkwithdifferentminorities?• ItaddressedTraumaverywell.Andperhapsitcanbeextendedtorefugeecamps?• Maybeitisonlyimportantforthemtoexpressthemselves.Itsnotnecessarilytheneedtobring

entertainmentbuttocreateaspacewheretraumacanbeaddressed.• Howtousefilm?• Resilienceinchildrencanreflectintheadultsastheyaremotivatedbyit.• Itneedstostayinthecommunityasyousaid.• Thinkingabouthowthetraumacancontinuebeworkedonafterthecampandhowtobringit

intothecontextofbeingthrownbacktothetoughenvironmentaround.Howtomakeacampalongitudinalproject.

Generalthoughtsfromstudents

• Reconcilingwithlossandthemourning• Artshouldaccountforthenarrativealsoduringthewar.Andthepoliticsaroundit.• Don’tisolateAleppofromSyriaanditisapartofagreatercontextandhowtoworkwiththat.• WhatthestudentshavelearntfromAleppo,DesignLabs,Syria,artasarole?• Howcanourworkherecanalsohaveanimpactthereandlookattheroleofwhatwedoalso

workinginothercontexts.• LearntalotaboutAleppo.• Learntalotaboutthesituation.Itbrokeitdownandtheseriousnessofthesituation.What

projectscangointoit.PeoplefeelHelplessandhowtokeepthehopealive.Importanceofteamwork.Goodteamwork.

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• Therelationshipbetweenartandculturalheritageandhowitfunctionsintheeverydaylife.Itisadifficultanddelicatebalance.Betweenwhatsustainslifeandhowitcanupholdthespiritualandemotionalcomplexities.

• Howtoestablishasafespace.Andgrapplingwithsuchatoughtopiciscrazy.• Thecomplexityofprojectmanagement.Ourpersonalcapacitiesthatweneedinsuchprojects

fromanemotionallevelaswell.• Theprojectwasoverwhelming.Itfeelsfargeographically.Butthechallengewasalsoapersonal

learningcurve• Capturingthespiritofthecommunityandhowdoyoudothat.Howdoyousaveadisappearing

community?Anelementofsadness.• Thinkingaboutproblemsolving.Howdowetacklecertainproblems?• Itbroughthomearealityofanotherreality.Hardtorelateandmakesitmorerealforus.Great

wherethesmallgrouplevelcamein.• TheroleofthepeopleInreconstruction.Issuescomeandgobutthecommunitystays.• Theideasbringinnewideasandanewandinterestingperspective.Alotofcreativity.

Appendix5

Studentrapporteurnotesandphotos

Group1:Participant1,2and3(+Kristin)Question:Whatcanbedonenow,whilewarisbeingwaged,topreservethepossibilityofmemories?Howshouldsuchactivitiestakeintoaccountdistinctandcompetingnarratives,anddivisionsamonggroups?

• Memories:buildings,mentalmemories,intangibleculture• Collectionofpieceoffilm,photography

• Recordingtoreflect• Recordingtosharewiththeworld

• Howtobuildahistoryfromcurrentlivingresidents/citizens:usingtheelderlyasawindowtothepast

• Whatdidthecitylooklikeandfeellikebeforetheconflict?• Whatdopeoplewanttoholdonto?• Howtobuildresilience?

• Soundrecordingtheeveryday/culturalevents• Documentingmemoriesbothpersonalandhistorical

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Future:• Buildingafuture• Wewantkidsandyoungpeoplelookingtowardahopefulfuture(asopposedtowhatRimsaid

aboutnotlookingmorethan2monthsahead)• Buildingthefuturefrombottomup• Teachchildrenaboutcultureinordertobuildanew(adapted?)one• Documentingtopreserveandcreateanexistinghistory

Outcomes:

• Materialsthatallhaveaccessto(aroundtheworld)• Sopeoplecancreatetheirownhistory,writinghistoryasithappens,rememberinghistoryina

timeoflittlehope• Awaytocope

Bluehelmet:neutralforcestogetneutralhistoryandnotpandertoonenarrative

Participantsvisualrepresentationofprojectplan(above)Theworkingsloganofthegroup:Preservingthepasttocreateprojects

forthefuture?(right)à

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Group2:3Students(Rim,Madhawa)Question:Afterthewar,howcanlocalcitizensandartistsbeinvolvedinrebuilding?Whatplatformsandprocessescanbeenvisionednow?Howshouldtheseplatformsandprocessestakeaccountofthedivisionsandmistrustbetweencommunities?

• Project1Intention:

● CreatinginclusivepublicspaceAction:

● Culturenight-performances,arts,crafts,food● Temporarycoveredmarket● Possiblyaseriesoffestivalsorweekly● Bringspeopleofdifferentbackgroundstogether● Createsroutineofengagingwitheachother● Canjumpstarteconomy

Thevisualbrainstormofthegroupbuildingonhope(above)VisualRepresentationofparticipant(topright),Outputs/Outcomes/partnersofgroup(bottomright)

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Roles:● Civicgroups,artists(attending,planning,participating)● Universitystudents(studyingarchitectureorconservation)

Strengths:● Economicbenefit● Buildingoffofsomethingalreadythere● Publicattention(fundingandsupport)● Collaborative

Weaknesses:● Notrustinpublicspace● Lackofcapacities● Corruption● Spacesusednegativelyinpast● Lackofsecurity

Opportunities● Rebuildnormalcy● Startconversations● Revitalizeculturalheritage● Connectingpast,present,andfuture● Spaceforgrowth● Salvagesignificantmaterials

Threats:● Security● Failure

Outputs● Events(festivals,performances)● Collectionofartifacts

Outcomes● Networking

SourcesofSupport● Localartistswhowanttoshowtheirwork● Citizenswhowanttheirnormallivesback

Questionstobeaddressed● Isthecitysafeenoughtodothis?● Couldwegetpeopletoovercometheirfearsandbeinvolved?

Project2

• ExhibitionofArtistsoutingCorruption(Spaceforconversation) Intention:

● Focusoncorruption● Educational● Art/theater/music● Vocationaltraining

Action:

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● Createaspaceforconversationwheregovernmentcorruptioncanbediscussed● Discussiononhowtopreventthisfromhappeningagain

Roles:● Artists,peoplepoliticallyinvolved,NGO’s● Communitygroups,educators

Strengths:● Dialogue(actioncentered)● Localparticipation

Weaknesses:● Trust● Restartconflict?● Needstobelegitimized● Hijackedbycorruption● Whatideologyisbeingtaught?Inclusivity● Mightbeseenasawastebythepeople● Security

Opportunities:● Vocationaltraining

Threats:● Safety● Inclusivity

Outputs:● Spacefordialogue● Placewherethepeoplecanbeheard

Impacts:● Thepeoplewillfeelheard● Couldgetbetterideasfromthem

Partners:● Artists,communityorganizers● Politicalscholars

Support:● Peoplewhowantanuncorruptedgovernment● Thosewhohavefeltabusedbythesysteminthepast

Questions:● Howdidthepreviousgovernmentbecomecorrupt?● Howcanthatbeprevented?● Howcanwebuildabetterone?

Group3:2Students(Eylem,Miriam)Question:Forpeoplewhohavebeenandwillbedisplaced,howcantheiraccesstoculturalheritageandmemorybemadepossible?Howcansuchinitiativesbedesignedtofacilitatetherebuildingofintercommunalrelationships?Self-ExpressionThroughArtisticMeans

1. Forthosewhoaresufferingfromaftermathofconflict

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2. Creationofanorganizationwhichwoulddirectstoryofpeopletocreatepoemcollections,novels,etc.

1. Providefundingtothisorganization2. Reasonsforpeopletorelinquishburdenedpast

3. Creationofanorganization4. Clothes:makingsurepeoplearecomfortableandsafewearingtheclothestheywishtowear1. Gendernorms,expression,andexceptions2. SyriancuisineandmusiceventstobringtogetherSyrianswhoaredividedbywar3. Exhibitionswhichshowphotos,videos,clothes,andmusicinstrumentsfromSyrianswhich

representsculturalheritage/popcultureOveralllossofidentity

● thismayresonatefromthedeprivationofculturalnuancesCulturalExpressionsThatAffectNeurotransmitters

● differentculturesthinkdifferently;thewiringofoursynapsesandreceptiontoneurotransmittersbecomessomewhatlearnedinsteadofinnate

ExpressionThroughReligiousAndMoralBeliefsForthoseoutofimmediatedangerofconflictLivestreamsorcreatedvideosonsocialmedianetworksthatfacilitatethetropeofdanceandsongasmediumstobringindiversegroupsofpeople.

● Openinguptoeveryone—evennationsoftheresidingcountry● Tocreateconnectionsbetweenthedisplacedandthosestillinthecountry● Providingweekly/dailyservices● Celebratingtraditionalholidays

JOBS:ForDisplacedPeopleOutsideofCountry

● IncountriesinEurope,etc.● Variousapproachestohealthcare● Facilitationofjobsincertainlanguages● Workingin/forajobthatmakesculturalheritagepossibleforothers(supportservices,daycares,

newspaper)● Creationofjobsandstructureforrefugees

○ Hopeforrefugeestoaspiretothosejobs● Creationsofmuseumsorplacesdedicatedtowardsrememberingtheturmoilsoftheconflict

○ refugeesinBerlin//EmpathyfromGermanyForThoseWhoStayAfterAConflictHasSubsided

● Tothosewhomoveawayfromaplaceofconflictbutstillresideinthesamestate● Moving=accesstoinformation

○ Publiclibraries

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■ Accesstointernet■ InthecaseofAleppo,thegovernmentholdsinternetprivileges■ Publicationofinternettofurthertrustandopennessofgovernment■ LibrariessupportedbyInternetandbyvariousformulations

EDUCATION:● Isthiseducationinthenativetongue?● Aresubjectsbeingstudiedaspectsthatarerelevanttothespecificculture/heritage?● Isaccent/dialectafactor?

Intention:Supportvoice+RaiseAwareness“Provide”avoiceto“voiceless” SupportingthevoiceAsopposedtograntingthe“right”tohaveavoiceMakesothersrealizethattheyarehumansandbringsempathy

Artisticinterpretationofthegroupsplansbyparticipants(Above)Thevisualbrainstormprocess(below)

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Group4:3Students(Jane,Shadi)Question:Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?Howcanartsandculturebeengagednowandafterthewar,tosupportpeopletorebuildsufficienttrustforpeopletoworktogetherinrebuildingthecity?Whoisthetargetedgroupwewanttoaddress?Wecameupwithideas,thenextstepistodiscussandgroupthesimilarideasJaneSapp

- gatheringwomen’sexperiencesformthewar,thecommunitycouldcreateplaysfromthestories- cookingtogether,creatinganeventwherepeoplecanprepareandsharefoodtogether(festivalsand

events,)sharingfoodasimportantcommunitybuilder- makingmusictogether,achorus,orinstrumentalmusic,startingwiththechildrensingingtogetheror

awomen’schorus,- gatherthechildrenincommunitiestobegintohavethemsingandbondtogetherasyoungpeopleStudent#1

- ideasapplicabletocoted'ivoire- summercampsforchildren- nationalmuseumorganizeddifferentpartsofthecountryartexhibitshowcases,helpeducateand

universalizedifferentpartsofthecountryviaart- aplaceforcivilianstoshareviews,aforum,- fundraisingforcreativespaces,directingfundingtoart- traininganddevelopment,providingtrainingforciviliansandallowingskilldevelopmentduringthe

warStudent#2

- wemustknowtheother,whoarewetrusting?- culturalbuffet,differentgroupsincommunity(possiblylivingclosetoeachother),anareatosample

othersfood,gettoknoweachotherthroughfood- theatreblend,gettogethervariousperfumersformdiversegroups,individualgroupsputonplaysas

theirownidentityandthencreateanoverarchingplayorworkorart,highlightingtheindividualbutworkingto

- artconvention:communalspacetoshowcaseindividualartandthencreateauniversalartpiece- sportsleague,mixupteams,sportsmanship,worktogether- targetingconflictinggroupsin,openupcommunicationsinthesakeofpreservingart,aceasefireto

moveart,centeringartassomethingbothfolkscareabout Student#3

- Mens’groupstodofeminineartstogether,cookorpaintorsing,specificallymenofconflictinggroups

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- femaleintergenerationalpotlucks,youngwomenandolderwomenarepartnered- childrenwhohavelosttheirparentsmourninggroup- youngpeopleopenmic- anonymouszinepublicationDividedtheIdeasintogroups

- women- children- art- foodFindingSimilaritiesWithintheyoungpeople:

- asportsleaguesummercamp- asummercamptohostyoungpeoplewhohavelost- localizedsummercamps,developinternalindividual- specificmourninggroupandopenmic(specificopenmic)- cooking,monthlythingwithindividualgroups- combiningintergenerationalmentorprogram,withmen’sgroups,withopenmic- dinnerandashow,sharingcreativeworksoverfood

- culturalfair!/“ARTbuffet”- food,artexhibit,choirs,plays- peoplesignupandgetpairedwithanotherdifferentperson(familiespairedwithfamilies)IntentionsforSummerCamp:

- life-longpartnershipforthefutureofthecountry- smallscaleduringthewarinlocalizedparts- beforeandduringreconstruction- Roles- counselors,teachersforsummercamps- Strengths- beingtogetherandbuildingcommunity,skillbuilding- buildingrelationships- increasedinteraction- identitybuilding- givinghope,increasesfaith- weaknesses- safespace/funding

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IntentionsforArtBuffet

- trustandfellowshipbuiltamongadults,separategenderedgroups- Roles- intergenerationalcookingmentorshipandartists- strengths- beingtogetherandbuildingcommunity,skillbuilding- buildingrelationships- increasedinteraction- identitybuilding- givinghope,increasesfaith- weaknesses- safespace/fundingOpportunities:

- whowaswhatskills,developingskills- humaninteractions,partnership- identifyqualifiedpeople- createartandfoodThreats:

- safetyissue(emotionalandphysical)- outsideopposers,againstcoalitionwork- willingness- fundsandtiming- location,wherewillwebebased?Output:

- howmanycamps?howbigtheartbuffet?Partners:

- difficulttochoose,howcanyouthinkaboutwhotochoose?- agoodpartneristhelocalpeople,keepincentral,keepitlocalized,alocaltaskforce- wewillwantartists,childrenworkers,schoolsandteachers,ministriesofeducationorarts,find

potentialpartnersandlookforfunders,focusedoncleanpartnerswithnotself-centeredpartners

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