The discourse of security in development policies: A genealogical approach to “Security Sector Reform”

Larzillière, Pénélope

doi:10.1111/dpr.12342

Cited by 3 publications

(1 citation statement)

References 35 publications

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“…Inscribed with such a framework, these projects face the usual difficulties such standardized approaches encounter, with the tendency to erase the political issues underlying conflicts. They are also often perceived as being closely tied to Western interests (Larzillière, 2019). However, even more than the content, it is the modes of production that are oriented as such: with artistic creation that increasingly originates from the receipt of a grant after a "well-crafted proposal", whose key audience is the funder (Scheid,Chapter 8).…”

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Introduction: Repertoires of Engagement in Motion

Larzillière¹

2022

The Global Politics of Artistic Engagement

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Perspectives on artistic engagement in political protest have undergone a profound renewal. Yet debate on the links between art and politics is certainly nothing new. From engaged art to 'art for art's sake' at the other end of the spectrum, the engaged artist has represented an archetypal figure since the end of the nineteenth century. But in studies on political protest, artistic intervention has long been treated as something marginal. In such works, art essentially manifests itself in its contributions to shaping and disseminating the cause, and in the figure of engaged artists and their ties to partisan apparatuses. The social and political sciences have, however, recently seen a re-evaluation of the challenges of situating the place of art within politics, which has essentially followed two lines of reflection.First, political aesthetics scholars have argued that "not all art is political, but all politics is aesthetic" (Sartwell, 2010: 1). Protesting about the political order thus involves producing protest aesthetics that challenge dominant ideologies and representations, environments and media, and a dominant aesthetic in which the power of regimes is incarnated (Werbner, Webb, and Spellman-Poots, 2014) (in a manner not dissimilar to Stuart Hall's [1982] analyses of hegemonies). This situates us within what some have called an 'aesthetic turn' in political science. It highlights the political contribution of artistic expression, not as engaged art, which Roland Bleiker argues is just another means of delivering a political message, but where artists "challenge, in a more fundamental way, how we think about and represent the political [… which has] the potential to engender reflection that could open up to political and ethical insights" (Bleiker, 2009: 8). This brings us back to Jacques Rancière, who argued that the aesthetic becomes political when it calls into question the common norms of discourse and of thought (Rancière, 2000).The second current of analysis emerged from the sociology of social movements. Without necessarily making the aforementioned epistemological role the heart of artistic political intervention, a whole field of research has developed over the past twenty years concerning the place of art, and music in particular, in protest (Eyerman and Jamison, 1998;Danaher, 2010;Gromis and Roy, 2013). As Balasinski and Mathieu observed in 2006, how these links interweave within social movements has remained under-researched, and they open up new lines of research in their book Art et contestation (Art and Protest) (2006). Since then, various studies on artistic activism, particularly

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confidence: 99%

Introduction: Repertoires of Engagement in Motion

Larzillière¹

2022

The Global Politics of Artistic Engagement

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Whose and what aid securitisation? An analysis of EU aid narratives and flows

Pérez

2021

Third World Quarterly

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There is a growing perception that arguments favouring security are gaining ground in the aid narrative and that aid allocation is changing accordingly. This work explores the extent and features of such shifts in the particular case of the EU.We observe the evolution of development paradigms (social development, sustainable development, and security) and aid motives (solidarity, common interests, and self-interest) in the aid discourse. This is done by means of content analysis of strategic aid documents of a selection of European donors (the EU institutions, the Netherlands, the UK, Germany, France, Sweden and Spain). We then explore the eventual shift in the aid budgets of those same donors.In line with previous work on EU aid securitization, we find evidence of securitization in both narratives and aid flows. However, such trend is far from homogeneous, showing the complexity and diversity within the Union. There is practically no evidence of securitization in the EU institutions, Spain and Sweden. We find mixed evidence for the Netherlands, Germany and France (where narratives and flow changes towards securitization do not necessarily match) and, finally, a significant shift in the UK, where aid narratives and aid flows have been significantly securitized.

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Présentation du dossier – Politique de l’engagement artistique Répertoires en mouvement dans les globalisations

Larzillière

2023

Revue Internationale De Politique Comparée

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The discourse of security in development policies: A genealogical approach to “Security Sector Reform”

Cited by 3 publications

References 35 publications

Introduction: Repertoires of Engagement in Motion

Introduction: Repertoires of Engagement in Motion

Whose and what aid securitisation? An analysis of EU aid narratives and flows

Présentation du dossier – Politique de l’engagement artistique Répertoires en mouvement dans les globalisations

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