148 Artwork in Albania: The process of transformation from propaganda tool before the 90s to JT tool after the 90s The second way that I identify is intuitive: art elicits dialogue. Following Arendt’s understanding of politics and action, I suggest that action made into works of art initiates space for more action, for politics. These two strands that I identify are interconnected and mutually reinforcing.8 With regard to how these artworks can influence society, Golebiewski, specifically claims that the arts transform individual stories in two ways: - First, the arts not only tell individual stories but also tell the stories of others as a group. As a result, the arts blend the differences that exist among conflicting parties, religions, classes, and generations and make them irrelevant. - And second, the arts give a decisive role to the audience-the creators of the art leave room for the audience to reinterpret the piece, which sparks new emotion, new healing, and forgiveness.9 Artists have a particular privilege, a license of sorts, of autonomy and independence during ongoing processes of transitional justice because they do not share the same objectives as the state. 10 The contribution to their society in this field is offering information and getting people’s attention in a large range and time frame. According to other post-conflict counties cases, the role of art is considered to be a distillation of why storytelling and cultural expression (including oral, written, visual and performative practices) in ongoing and post-conflict settings are crucial. Opportunities for portraying the truth about war and war-related experiences are not only important for individual healing, but they can also serve an important function in restoring collective memory and repairing the social fabric in which individuals are embedded.11 1.2. Memorialization of memory Memorialization is also an important reparation mechanism that can provide survivors with some solace in the transitional justice period. Reparations to survivors can be material or symbolic and individual or collective. Referring to the United Nation Secretary-General’s report on transitional justice it defines it this way: “For the United Nations, transitional justice is the full range of processes and mechanisms associated with a society’s attempt to come to terms with a legacy of large-scale past abuses, in order to ensure accountability, serve justice and achieve reconciliation. Transitional justice processes and mechanisms are a critical component of the United Nations framework for strengthening the rule of law.”12 Also according to the UN, reparations can include restitution, physical and mental rehabilitation, economic compensation, guarantees of non-repetition and a wide range of satisfaction including the recovery and reburial of remains, commemoration and memorialization.13 8. Anson Ching, Transitional justice and transformative possibilities in memory as art, (Vancouver, Canada, University of British Columbia 2018),7. http://hdl.handle.net/2429/65202 9. Daniel Golebiewski, The Arts as Healing Power in Transitional Justice, E-International Relations, (2014), 2. Available at SSRN: https://ssrn.com/abstract=2399850 10. Erin Mosley, “‘Visualizing’ Apartheid: Contemporary Art and Collective Memory During South Africa’s Transition to Democracy,” Antipoda, no. 5 (2007), 106. 11. Nadia Siddiqui, Hadi Marifat and Sari Kouvo, Culture, Theatre and Justice: Examples from Afghanistan, In P. D. Rush, & O. Simic (Eds.), The arts of transitional justice: Culture, activism, and memory after atrocity (New York: Springer, 2014), 113. 12. GUIDANCE NOTE OF THE SECRETARY-GENERAL, United Nations Approach to Transitional Justice (2010) https://www.un.org/ruleoflaw/files/TJ_Guidance_Note_March_2010FINAL.pdf 13. RULE-OF-LAW TOOLS FOR the POST-CONFLICT STATES, Reparations programs, United Nation (2008) https://www.ohchr. org/Documents/Publications/ReparationsProgrammes.pdf