Bilquis Ghani is Lecturer at the School of Arts and Communication of the University of Canberra, Australia. Interested in art's public pedagogy potential, she focuses in her research on the mobilisation of the creative process through periods of social and cultural rupture. Drawing on her lived experience as an Afghan living in diaspora and her family lineage in the arts, Bilquis takes a decolonial approach in her research on arts movements in conflict spaces. She founded and has chaired the Hunar Symposia to decolonise the arts, which explores the intersections of art and conflict and creates opportunities for discourse between academics, arts practitioners and collectives.

• Chapter 1: Introduction.- PART ONE: Enchantment and Encounter.- Chapter 2: Why Art?.- Chapter 3: Art as Counter-narrative.- PART TWO: Contextualising Gender.- Chapter 4: Feminism as Praxis.- Chapter 5: Complex Masculinity, Postcolonial Masculinity.- PART THREE: People and Place.- Chapter 6: From the Same Blue Planet.- Chapter 7: Kabul - A Tale of Two Cities.- PART FOUR: Thresholds of Violence.- Chapter 8: Praxis and Displacement.- Chapter 9: Conclusion.

Bilquis Ghani is Lecturer at the School of Arts and Communication of the University of Canberra, Australia. Interested in art's public pedagogy potential, she focuses in her research on the mobilisation of the creative process through periods of social and cultural rupture. Drawing on her lived experience as an Afghan living in diaspora and her family lineage in the arts, Bilquis takes a decolonial approach in her research on arts movements in conflict spaces. She founded and has chaired the Hunar Symposia to decolonise the arts, which explores the intersections of art and conflict and creates opportunities for discourse between academics, arts practitioners and collectives.

• Chapter 1: Introduction.- PART ONE: Enchantment and Encounter.- Chapter 2: Why Art?.- Chapter 3: Art as Counter-narrative.- PART TWO: Contextualising Gender.- Chapter 4: Feminism as Praxis.- Chapter 5: Complex Masculinity, Postcolonial Masculinity.- PART THREE: People and Place.- Chapter 6: From the Same Blue Planet.- Chapter 7: Kabul - A Tale of Two Cities.- PART FOUR: Thresholds of Violence.- Chapter 8: Praxis and Displacement.- Chapter 9: Conclusion.

Bilquis Ghani is Lecturer at the School of Arts and Communication of the University of Canberra, Australia. Interested in art's public pedagogy potential, she focuses in her research on the mobilisation of the creative process through periods of social and cultural rupture. Drawing on her lived experience as an Afghan living in diaspora and her family lineage in the arts, Bilquis takes a decolonial approach in her research on arts movements in conflict spaces. She founded and has chaired the Hunar Symposia to decolonise the arts, which explores the intersections of art and conflict and creates opportunities for discourse between academics, arts practitioners and collectives.

• Chapter 1: Introduction.- PART ONE: Enchantment and Encounter.- Chapter 2: Why Art?.- Chapter 3: Art as Counter-narrative.- PART TWO: Contextualising Gender.- Chapter 4: Feminism as Praxis.- Chapter 5: Complex Masculinity, Postcolonial Masculinity.- PART THREE: People and Place.- Chapter 6: From the Same Blue Planet.- Chapter 7: Kabul - A Tale of Two Cities.- PART FOUR: Thresholds of Violence.- Chapter 8: Praxis and Displacement.- Chapter 9: Conclusion.