This course on peace and communication is one that I will carry with me for the rest of my life. Considering the current political climate in both the United States and around the globe, the Troubles in Northern Ireland provide a compelling case study. It is a conflict that deserves to be studied and understood, and the peace process that followed offers valuable lessons that can be applied to many other conflicts worldwide.

Reflecting on this course, I learned that division within a society is something that must be examined deeply. A divided society benefits no one. Open communication and an effort to understand every perspective within a conflict are essential to achieving lasting peace.

As a film production major, this course further highlighted for me how powerful a tool art can be in expressing the pain and suffering of those involved in a conflict. Throughout the course, we explored numerous artistic expressions that served to bring communities together. These included traditional Irish singing and dancing, British Council commissions to the Linen Hall Library, film festivals, murals, and exhibitions that honored items once used as weapons during the Troubles. Even after the course ended, I continued my exploration and came across modern artists like Kneecap, a hip-hop trio from Belfast whose music features social commentary, including references to the Troubles.

Before taking this course, I had limited knowledge of the conflict between Ireland and the UK. My academic goal was to learn more about the creative scene in this context, and I was fortunate to achieve that—especially through experiences like walking tours in Derry and Belfast that allowed me to see the famous murals firsthand. I also aimed to draw parallels between this conflict and ongoing global issues, such as the Israeli-Palestinian conflict.

One of the major highlights of my trip was learning about the strong sense of solidarity between Ireland and Palestine. I was struck by how openly Irish communities, particularly in Republican areas, expressed support for Palestine. This level of political openness would likely be met with far more caution, or even backlash in countries like the United States. What surprised me most was the contrast between the divided communities of Northern Ireland—Loyalist and Republican—and how politically vocal and progressive the Republican communities were in their cultural expression. Bright, expansive murals, vibrant pubs, and open dialogue were characteristic of these areas, which often had a strong creative presence.

In contrast, Loyalist communities—sometimes located less than five minutes away—felt vastly different. Their murals tended to be darker and focused on military themes and paramilitary culture, often accompanied by Union Jack flags and memorials dedicated to community members who had died. Observing this stark division was eye-opening, particularly in how these communities attempt to bridge the gap. Initiatives like integrated schools and open forums, such as those presented by the three panelists on Day 1 of the course, exemplify steps toward understanding and unity.

It was such a life-changing experience to see this division firsthand, especially to witness how modern-day Northern Ireland is still growing and healing from this conflict politically. It was extremely challenging to learn about the unemployment rate among Republican families in Ireland and how they are still disproportionately affected by joblessness and issues like drug addiction—topics that were openly discussed by panelists, including those with personal experience. While this information wasn’t entirely surprising, given the deep trauma caused by the Troubles, it was still heartbreaking. The generational effects of the conflict remain present in today’s social culture, where the divide is often left undiscussed. Moving forward, I would love to study how countries find peace through global connections, how they form those bonds, how social media is used as a tool during modern political conflicts, and how intergenerational trauma manifests in cultures, societies, and beyond.

On the final day of our Peace Communication trip in Northern Ireland, June 11, our group explored a wide range of topics, including museum curation in post-conflict settings, international support for peacebuilding, gender advocacy, and the role of education and culture in promoting nonviolence. This full itinerary gave us an impactful and productive cross-section of how different elements contribute to the peace process in the North of Ireland, and how nonviolent strategies can take many forms beyond what we typically imagine.

(Photos from the Ulster-Scots Discovery Center)

We began our day at the Ulster-Scots Discovery Center, where we were introduced to the history and identity of the Ulster-Scots community in Northern Ireland. Deirdre, our speaker, discussed how Ulster-Scots, a primarily Protestant community, historically migrated between Northern Ireland and Scotland and faced persecution, including famine and massacres during the 1641 Rebellion. Many eventually migrated to America in search of stability and new beginnings. Despite being underrepresented in the broader national narrative of Northern Ireland, Ulster-Scots culture survives through music and marching bands, showcasing how communities preserve identity through cultural expression.

(Photos of the speaker Katy Radford and the British Council in Belfast.)

Next, we visited the British Council Northern Ireland, where we heard from Dr. Katy Radford, a social anthropologist. Radford emphasized the importance of nonviolence through the lens of storytelling, art, and education. She spoke about working with both victims and former combatants to create immersive narratives that offer empathy and understanding. This is a form of nonviolent resistance, what Smithey (2018) calls prefigurative collective action, where communities use symbolic, cultural, and educational tools to construct a more peaceful future.

Jonathan Stewart, Director of the British Council Northern Ireland, spoke after Radford, outlining how the organization offers international trust through English language education, arts programs, and cultural exchanges. These efforts, he explained, are essential in promoting peaceful democratic values, especially among youth and the younger generations. This nonviolent strategy aligns with Smithey’s broader definition of nonviolence, which includes proactive, educational, and community-based initiatives.

Kater Hughes from the Electoral Commission further reinforced this concept by discussing how educating young voters about democracy and elections builds political trust. His work aims to reduce the spread of misinformation on social media and empower informed civic participation, another pillar of nonviolent engagement.

In contrast to the British Council’s active peacebuilding role, we also spoke with a representative from the Irish Consulate. Their work in Northern Ireland remains limited due to the region’s ongoing constitutional status, though they support cultural exchange and reconciliation efforts. This contrast helped me appreciate how different governments approach nonviolence with varying degrees of influence and commitment.

(Photos from the Ulster Museum at Queen’s University)

We then visited the Ulster Museum’s “Troubles and Beyond” exhibition, where artifacts and memorabilia from the conflict — including a poster listing 300 murdered RUC officers — were displayed. The curation of memory in this context serves as a nonviolent mechanism for truth telling and collective reflection, allowing society to process trauma without resorting to violence.

(Photos from the Elaine Corry panel and of the speaker)

Our day continued with a panel discussion at the Maldron Hotel with Elaine Corry, a Women’s Sector Lobbyist with the Women’s Resource and Development Agency (WRDA). Corry discussed how loyalist paramilitary violence and gender inequality still affect women in Northern Ireland. Her advocacy for reproductive rights and childcare infrastructure through cross party coalitions, including members of Sinn Féin, is a prime example of nonviolent protest. Smithey (2018) discusses how nonviolence is not passive; it is often revolutionary. The WRDA’s panels, campaigns, and educational outreach all fall under this definition.

(A photo of Bebhinn McKinley the speaker.)

Our final session of the trip was a course reflection with Bebhinn McKinley, a Peace and Reconciliation Practitioner. McKinley works with local government on issues like territory, protest rights, and peace walls. She emphasized that lasting peace requires community ownership, open dialogue, and cultural sensitivity. Her work highlights the structural challenges to nonviolence, including spatial segregation and generational trauma.

As I reflected on the day, I realized that nonviolence is not a single method but a diverse strategy encompassing art, protest, education, gender advocacy, and community healing. Elaine Corry’s WRDA activism and Katie Radford’s narrative work both fall within this tradition. Even museum curation and voter education can act as tools of resistance against extreme divisions and violence. Smithey (2018) describes this, showing how the Peace People in Northern Ireland combined principled belief in nonviolence with strategic public protest to build a mass movement for peace.

However, this does not mean nonviolence is adequate on its own. During our visit to the Free Derry/Bloody Sunday Museum, Caitlin Asking reminded us that paramilitary violence and unemployment still deeply affect younger generations. Nonviolence must be coupled with economic justice, trauma-informed education (such as transgenerational trauma), and community-based therapy to address the root causes of conflict. Peace is not just the absence of war but the presence of justice and opportunity.

Our final day of the trip brought together multiple layers and forms of peacebuilding from the symbolic to the structural and challenged us to consider what a nonviolent society would require.

Smithey, L. A. (2018). The Peace People: Principled and revolutionary nonviolence in Northern Ireland. In F. L. Flesher Fominaya & G. C. Johansen (Eds.), The Troubles in Northern Ireland and theories of social movements (pp. 203–221). Amsterdam University Press.

Hello Everyone,

[ Here is a photo of me! 🙂 ]

My name is Saniyah, and I am currently pursuing a major in Production Design with a minor in Business at Chapman University.

While my primary academic focus lies in the visual and design aspects of filmmaking, I have a growing interest in peace studies, particularly as they pertain to the United Kingdom and Ireland. The U.K. has long served as a center of creative expression, especially in film and music, and has deeply influenced my creative tastes.

I am particularly drawn to the connections of art, history, and politics, and I believe that a nation’s political and social history is essential to understanding its cultural and artistic identity. Ireland’s complex and intense history conveys how conflict and resistance shape artistic expression.

I am drawn to this course because Ireland is a country I’ve always been eager to visit and learn more about. Often overlooked in broader political discussions, Ireland’s history and evolving political landscape offer a unique perspective through which to deepen my understanding of culture and governance. Exploring Irish politics and society will not only expand my global perspective but also help me reflect on political beliefs and values.

Although this will be my first peace studies course, I have taken classes that are similar, such as Introduction to Philosophy, which have sparked my interest in critical thinking, ethics, and social theory. Outside the classroom, I am actively engaged in conversations surrounding global conflict, religion, and cultural identity.

Through this course and our trip to Ireland, I hope to further explore these topics by examining conflicts in Northern Ireland and drawing parallels to current events in the Middle East and South Asia. I am eager to engage in meaningful dialogue and deepen my understanding of historical trauma and political division. Historical issues—particularly those affecting women in Ireland— may be challenging to hear, but are essential to understanding the broader struggle and culture.