This is one of the questions I am addressing in my research. I am interested in creating dialogue with creative practitioners throughout the world and came across an interesting site today. http://freedimensional.ning.com/forum/topic/featured. One of the featured web pages is http://www.wkv stuttgart.de/en/programme/2009/exhibitions/subversive/sections/castillovaras/ The following quote is copied from their text.
"Our aim here is to reconstruct an alphabet of visual memory that addresses the constant tension between memory and forgetting, concealment and revelation, in the Chilean context; but how can this tension be reproduced in the exhibition context?"
The work of CADA – Colectivo de Acciones de Arte (1979 – 1985, RCH)demonstrate the significance of the role of the creative practitioner in Chile during the dictatorship. Their interventions challenged the censorship of the time by creating a highly visible form of protest.
In Northern Ireland, memory and forgetting are part of the ongoing discourse that surrounds the conflict These issues are particularily interesting in the context of an oral archive, offering more questions than answers, as they feed into the collective memory of a community. My belief is that creative processes and practices offer new possibilities and platforms for dissemination of oral history, with its multiplicity of standpoints, which in turn offer new methods of exploration, challenge and understanding of issues in a post-conflicted society.
And so the journey of exploration into the role of creative practices and technologies in the dissemination of an oral archive in a post-conflicted society begins.