Rwanda

For the last twelve years, the World Economic Forum and INSEAD have been publishing The Global Information Technology Report (GITR), which features a Network Readiness Index (NRI) that measures the ability of countries to leverage information communication technologies (ICTs) for growth and well-being. This year’s GITR, which focuses on jobs and growth, covers 144 countries. The assessments are based on a broad range of indicators that include Internet access, adult literacy, and mobile phone subscriptions. As noted in the report, the growing availability of technology has empowered citizens of both developed and developing countries with good access to the digital world. However, this year’s GITR has some sobering news about the state of ICTs in many parts of the developing world. Despite some positive trends, the report shows a sharp digital divide between impoverished nations and richer economies.

In a previous blog post, I wrote about the experience of Rwanda, a post-conflict society that is using art as part of its national reconciliation effort. I argued that Rwanda’s active support of cultural industries, including film, music, crafts, architecture and theater, among other art forms, has played a key role in its peace building efforts  in the aftermath of the 1994 genocide that killed nearly one million people. Using anecdotal evidence, I specifically examined the use of theater, which helped national audiences express difficult emotions, re-examine established ideas, and improve their emotional well-being. In this blog post, I will examine how the creative sector has helped facilitate national reconstruction efforts in another conflict zone: Afghanistan.

To begin with, it is important to note that every country’s experience in using art in their reconciliation process is different – anywhere from how their history of conflict influences their engagement to the state of cultural policies in countries. In Rwanda’s case, the government began working alongside international partners shortly after their civil war to establish a platform for the growth of creative industries. Through relatively peaceful periods, they were also able to create an enabling environment that sustained this growth. However, in the case of Afghanistan, the cycles of conflict have made the growth of the cultural policies all the more challenging. Despite difficulties, there are several interesting examples in Afghanistan of how a network of actors, including government, civil society, and international partners, has used art in its attempt to facilitate healing and rebuild national identity.