A/HRC/28/36 genocide; common manipulation of history for narrow political purposes; obstacles to the work of artists, academics and historians, including for gaining access to archives; limitations of freedoms of expression and association; limited financial investment in education in comparison with other sectors, such as the military; constraints on access to the media; memorialization and education policies designed without adequate consultation of stakeholders; and selective attention to certain topics to the detriment of others. He stressed that these malpractices were regrettably more common than the expressions of support for memorialization and history teaching. IV. Video projection on the role of theatre artists in building peace 29. At the end of the first round of the interactive discussion, a ten-minute video1 was projected, containing excerpts from a documentary film by Cynthia Cohen and Allison Lund entitled “Acting together on the world stage: performance and the creative transformation of conflict”. The documentary was the result of a collaboration between the programme on peacebuilding and the arts at Brandeis University, United States of America, and the organization Theatre Without Borders, and was screened by courtesy of the authors. 30. The video included stories about and scenes from performances that had changed communities in conflict, and presented diverse views about the role of theatre artists in building peace. It contained interviews with a number of theatre artists, professionals and academics across the world on the capacity of theatre to open spaces for voicing stories, bridging differences, dignifying memories and forging new paths to peace, providing a context for conversation and dialogue. The video underscored the power of theatre to put to the stage issues and questions that were taboo and to create a thought-provoking process in the spectator’s mind, encouraging critical analysis of a certain situation. Not only did theatre provide for an alternative means of expressing narratives in imaginative ways, it also had proved to be a manner in which survivors of human rights violations could exteriorize the pain that they had perhaps failed to express in an official, political context. Theatre therefore had the potential to influence social transformation by providing grounds for victims to reconstruct their lives. One of the theatre groups stressed the role of theatre as a non-violent form of opposition to violence itself. V. Summary of the interactive discussion 31. During the interactive discussion, representatives of the following States and organizations took the floor: Algeria, Argentina, Armenia, Austria, Brazil, China, Colombia, Cuba, Estonia, Ethiopia,France, Indonesia, Ireland, Israel, Italy, Lithuania, Morocco, Pakistan, Romania, the Russian Federation, Rwanda, Serbia, Sierra Leone, South Africa, Turkey, the United States, Uruguay, Viet Nam, the African Group (represented by Ethiopia) and the European Union. Statements by the following delegations were not delivered owing to lack of time: the Plurinational State of Bolivia, Malaysia, the United Arab Emirates and the Bolivarian Republic of Venezuela. 32. Representatives of the following non-governmental organizations also spoke: Amnesty International, Baha’i International Community, Hope International, Human Rights Now, International Youth and Student Movement for the United Nations and Verein Südwind Entwicklungspolitik. 1 8 Available from www.youtube.com/watch?v=gHl156AmfCo.