Oddie’s art of conflict reconciliation
By Jessica Shepherd
DAVID Oddie likes to make a drama out of a crisis. The actor-turned-teacher-turned-lecturer spends his university holidays setting up drama workshops for teenagers in some of the world’s regions of conflict. It has taken him to the West Bank, Kosovo, Sierra Leone and South Africa.
Four years ago, one Sunday morning, Oddie, a senior drama lecturer at the University College Plymouth St Mark and St John in Plymouth, south-west England, was thinking about the state of the world. The West was still reeling from the tremors of September 11; racial tensions were higher than they had been for some time; Britain and the US were engaged in war in Iraq; and troops had just launched an attack on Falluja.
“I asked my students, ‘what can I do, what can we do?’,” Oddie, 62, says. “My answer was that I could create an arts project that would lead to a more peaceful world. I would develop a global network of young people, artists and educators who would share stories, build bridges and challenge prejudices,” he says. “And I would concentrate on working with young people in regions of conflict, helping them to reconcile their differences with one another.”
Days later, Oddie came up with what he calls a “naff” name that stuck: Arrow, short for Art: A Resource for Reconciliation Over the World. Today, Arrow’s drama workshops and theatre summer schools give marginalised teenagers in the Middle East, west Africa, South Africa and the Balkans one of the only tools they have: self-expression.
And it’s proving very powerful. In Beit Jala, on the West Bank, teenagers used to “spend all their free time throwing stones in the street”, says Marina Barham, who runs Arrow under the auspices of her Al-Harah theatre. “They were very judgmental of each other. Now they know what they want and theatre is very much a part of that,” she says.
Theatres have long had a magical impact in times of conflict, Oddie says. He cites the Dodona theatre in Kosovo which, at the height of war in 1992, was a hive of cultural activities and of community spirit. The theatre was considered one of the few spaces where people felt free to laugh or cry.
Playwright and director Jeton Neziraj, who runs Arrow in Kosovo, is now accepted by the Albanian Arrow group and the Serbian one. Neziraj, an Albanian, has written a play, The Bridge, which both groups have performed.
But Oddie knows he can only go so far. You might expect that a drama workshop that hopes to reconcile divisions in the Middle East or the Balkans would bring Palestinian and Israeli teenagers, and Serbian and Albanian ones, together. Sadly not yet. “They aren’t ready for that,” Oddie says.
The prospect of reconciliation in Kosovo is not so unthinkable. The Albanian teenagers and their Serbian peers know about each other, but won’t work together yet.
For Oddie, theatre workshops and the arts can do something for reconciliation and peace-building that politicians and policy-makers can’t. “Artists enable people to see their situation in a way they haven’t before,” he says. “Politicians can negotiate a treaty, but that’s useless if it’s not accepted that the treaty is needed.
Oddie will take this message to the House of Commons. Politicians in the UK have been falling over themselves to show support. What’s needed now is cash.
A GBP90,000 grant from the UK’s Department for International Development (DfID) has run out and the project is mainly drawing on small grants of between GBP5,000 and GBP15,000 from British unions and charities. Oddie uses a GBP10,000 national teaching award, given to him two years ago, to travel.
“How do we struggle to get a few thousand dollars when billions are spent on the arms trade?” he asks. “We have found it very difficult to break into the commercial area for sponsorship.”
When Oddie gets disheartened, he turns to one of his inspirations.
They include Olaudah Equiano, whose story Oddie has developed and performed as a one-man show. Another inspiration is Desmond Tutu. Tutu chairs the Truth and Reconciliation Committee, which hears the victims and perpetrators of human rights abuses. Tutu has described the committee as “like a stage on which people tell their stories and really listen to each other”. For Oddie, this is exactly what Arrow is all about.
Shortly after Arrow was formed, Oddie wrote to Tutu to ask for his blessing and support. To his surprise, Tutu wrote back that the concept was “exciting, especially as it is so apt for the times”. In November 2006, the Desmond Tutu Centre opened at the college in Plymouth as Arrow’s global centre.
In the past 10 years, Oddie has drawn strength from Buddhism, which he sees as “dealing with the world as it really is” and less dogmatic than Judeo-Christianity. The Buddha seems to say, work with what you have directly experienced and look at how you can work with the core suffering that goes on now.”
This is exactly what Oddie — and Arrow — are striving to do.
—The Guardian, London

