Abstract
ABSTRACT This article discusses the tension often experienced in “Arts for Peace” programmes between the desire meaningfully to evaluate a creative process and the need to account to funders for the delivery of pre-determined expected outcomes that makes no allowance for discoveries made as the project unfolds. Taking the EU-funded Theatre and Peace-building Academy programme (2018–2020) as its case-study, it reflects on the efficacy of the arts to engage with a wide range of people at a deep level, helping them to challenge their assumptions and presuppositions and to begin to see things in new ways and from opposing perspectives. In particular, it invites a re-examination of some of the assumptions that typically frame peacebuilding activities.
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