For the last few posts here, I’ve been thinking about how voice—so central to my exploration of communication—operates not just as a tool for presence but also as a means of moderation and balance in dialogue. In conflict resolution, voice is more than volume or authority; it is about ensuring that expression does not become a tool for dominance, where raising one’s voice becomes a way to claim power over others rather than fostering mutual understanding. Assertiveness should not be mistaken for loudness, and presence is not about overpowering but about engaging effectively.
With this in mind, I have also been exploring how voice might find new dimensions beyond speech. If fostering brave, intentional communication is about empowering presence, then how does this extend to art and objects? This ties back to the microteaching exercise, where objects were at the core, both in the session and in the brief. Can objects, too, serve as communicators, provocateurs, or even as mediators themselves? You can read more about my microteaching session reflections in this link.
In my previous reflections, I explored how vocal tone, authority, and embodied communication shape brave spaces. But through our recent readings, particularly Becker (2019), Hooks (1995), and Ahmed (2019), I see a compelling parallel between voice, artistic presence, and conflict mediation.
Art is not just seen—it is experienced. It infiltrates spaces, takes up room, and demands engagement in ways that speech alone sometimes cannot. This connects to the idea of mediation: art as an object that does not simply reflect reality, but actively shapes how we engage with it.
This was evident in my microteaching session, where objects—like the imaginary ball in the vocal exercise or the peeler in the storytelling activity—served as mediators of meaning. These objects did more than illustrate ideas; they shaped the way participants communicated, prompting embodied responses, shifting perspectives, and even modulating authority. Just as tone and volume influence how a voice is received in a debate or disagreement, the presence of an object can anchor conversations, distribute power, and reframe interactions, making space for multiple voices rather than one dominant one.
The same applies to art in broader contexts. Art doesn’t just reflect reality; it mediates it, much like a voice can. It can make power visible (or invisible), include or exclude, and redefine participation through immersion. Ahmed’s (2019) work on use resonates deeply here—just as a voice becomes meaningful through its application, so too does art. The artistic interventions at Davos, for example, were initially peripheral but became powerful precisely because they were used—not as decoration but as essential discourse.
To truly embed art at the core of societal transformation, it must not wait for an invitation. It must assert itself—immersing audiences, provoking dialogue, and facilitating engagement. The same is true in the context of conflict resolution: mediation is not about neutrality but about active participation in creating balance. From Davos to our own classrooms, the challenge is not just to include art, but to use it as a tool for radical change.
This shift reminds me that the presence of art, like the presence of a strong voice, is not something that should wait for permission. It needs to assert itself, to reshape interactions, challenge hierarchies, and make meaning through action.
References:
Ahmed, S. (2019) What’s the Use? On the Uses of Use. Durham: Duke University Press.
Becker, C. (2019) How Art Became a Force at Davos. World Economic Forum. Available at: https://caroldbecker.com/how-art-became-a-force-at-davos-1 (Accessed: [20/02/2025]).
Hooks, B. (1995) Talking Art as the Spirit Moves Us. In: Art on My Mind: Visual Politics. New York: The New Press.