Overview of the tactic

In areas of Iraq emerging from conflict, years of violence, displacement, and the presence of armed groups have left deep social divisions within communities. In many camps and liberated villages, families of violence victims live alongside families of individuals accused of joining extremist groups. This situation has created ongoing tension and a lack of trust.

These divisions are made worse by harmful practices affecting girls, such as child marriage or using marriage as a way to settle disputes, including the exchange of girls between families. In such cases, girls are treated as tools to protect male relatives or to “end” conflicts.

Traditional human rights interventions, such as women’s rights trainings and awareness workshops, have often faced resistance or obstruction. These activities are sometimes seen as outside interference. In addition, discussions about women’s rights can carry social stigma or even security risks, making it difficult to address sensitive issues openly and safely.

The Organization

Women and Youth for Peace Teams is a community-based initiative established in 2020 with support from the United Nations Development Programme (UNDP). It operates in conflict-affected Iraqi governorates, including Kirkuk, Ninewa, Diyala, Anbar, and Salah al-Din.

The initiative works to promote peace and social cohesion by empowering women and youth and implementing locally responsive initiatives. Creative tools, including art, are a core part of its approach to addressing sensitive community issues in safe and non-confrontational ways.

How the Tactic Works

This tactic uses silent theatre (mime) as a creative and non-confrontational tool to open community discussions about conflict, power, and the impact of community decisions on girls’ lives.

Instead of using direct rights-based language, local male and female performers present short, wordless scenes that reflect familiar daily situations. These may include poor conflict management, decisions that sacrifice girls’ well-being for temporary “peace,” or unequal power dynamics within families or tribes.

The absence of dialogue and direct messaging allows the audience to interpret the scenes on their own. Community members connect the performances to their personal experiences and reflect together on possible alternatives, without feeling accused or judged.

Women and Youth for Peace Teams form local performance groups made up of volunteers from within the community. Priority is given to individuals who are socially accepted and trusted. Participants receive training in body expression, basic acting skills, and collective scene development based on real community conflicts, rather than using scripted texts.

Scenes are carefully developed to reflect sensitive issues—such as conflict escalation, prioritizing male interests or “family reputation” over girls’ safety, and unequal power structures—without naming specific individuals or practices. This approach allows audiences to project their own realities onto the performance.

The performances are presented as cultural or community events rather than awareness sessions. They take place in accessible and familiar spaces such as camps, villages, schools, or community halls, even if temporary or damaged. After each performance, facilitators guide informal discussions that encourage participants to reflect on what they saw, connect it to their daily lives, and explore different ways to manage conflict—without imposing fixed conclusions.

Results

This tactic has produced several positive community-level outcomes. It has increased engagement and participation compared to traditional awareness activities and created safe spaces for discussing conflict and its impact on girls without triggering social resistance.

Community members have developed a stronger understanding of conflict dynamics and alternative solutions. Local leaders who previously avoided rights-related activities have also begun participating in discussions.

In addition, the tactic has supported the emergence of women-led performance teams and increased acceptance of women’s and girls’ participation in public spaces. It has strengthened trust in art as an effective tool for addressing sensitive issues and promoting local peacebuilding.

Challenges and How They Were Addressed

Security Risks

In some areas, activities require informal approvals or may face disruption.
Response: Organizers coordinate through trusted local leaders and enter communities as invited guests.

Resistance to Women’s Participation

There may be initial resistance to women performing or organizing activities.
Response: Teams may begin as mixed or male-majority groups and gradually expand women’s roles as trust builds.

Volunteer Selection

Some participants may lack commitment or social acceptance.
Response: Clear selection criteria are established, ongoing mentoring is provided, and replacements are made when necessary.