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most relevant for this study, see Newman , ‘The “New Wars” Debate’ , 173–89 ; Christine Bell , On the Law of Peace: Peace Agreements and the Lex Pacificatoria ( Oxford , 2008 ), esp. 17 ; Christopher Clapham , ‘Rwanda: The Perils of Peacemaking’ , Journal of

in International law in Europe, 700–1200
Sruti Bala

. See Cañénguez (2015). 2 Consider, for instance, the role of radio plays in inciting violence during the Rwandan genocide (Thompson, 2007). More recently, the use of blackface on stage has been heavily criticized in Germany and the Netherlands, pointing to the negative effects of caricaturing blackness, making its racist and discriminatory gestures invisible (Hoving and Essed, 2014). 3 Another way of explaining the emergence of creación colectiva practices is that they were a response to the absence of a national canon or of local contemporary playwrights who would

in The gestures of participatory art
Engaging with ethnicity
Joseph McGonagle

lexis is not incidental: some permit viewers to learn new information such as which people are disabled (placed under ‘handicap’) and two girls’ supposed country of heritage (‘Rwanda’). Arguably then, despite Choquer’s presentation of the vast majority of his images without titles or accompanying text, word–image interaction occurs nevertheless: the categories through which they are accessed impinge, however subtly, upon reception of them. As Clive Scott (1999: 73–4) has argued: Because the photograph, at its taking, is pragmatic rather than semantic, indexical rather

in Representing ethnicity in contemporary French visual culture