A/HRC/25/49 challenging authority, such as the authority of official history.38 In doing so, they contribute greatly to the promotion of critical thinking and civic engagement. 69. Interesting experiences include those of artists questioning public calls for memorials on specific events and the ideologies these carry, thereby opening space for public debate and empowering victims. For example, the Monument Group, led by artist Milica Tomić, initiated a public discussion after the city of Belgrade launched a competition in 2002 for a memorial to the fallen fighters and victims of the 1990–1999 wars in the territory of former Yugoslavia, which led to the City cancelling the competition. Continuing its discussions, the Group declared that each public event and discussion on past events was in itself a monument. Discussions involving artists, professional experts and students, but also victims and associations, succeeded in opening avenues for victims to express themselves and create their own performances and commemorations, for example in Omarska. Victims thus became the primary actors in constructing their own memorial. 70. Artists too have diverging perspectives of the past and may reinforce the dominance of one narrative, incessantly reiterated through theatre, poetry, film and painting. Such artistic creations can be used to support the belief systems of those who maintain the barriers of difference in societies emerging from conflict. This makes it vital for cultural workers to be engaged in critically analysing the information that exists and to develop meaningful collaborations and relationships with historians and academics so as to challenge and develop the story beyond the confines of a single narrative. 71. Interesting initiatives undertaken in this respect include, for example, a series of walks across the border between Northern Ireland and the Republic of Ireland, involving meetings among artists, schools and community groups, culminating with the artists inviting the public to rewrite the narrative and re-present this as publications, performances or exhibitions. Attention is focused on memorial sites and cultural venues, with a view to reclaiming them for pedagogical purposes – in essence a critical pedagogy of memorial and remembrance. Another initative is a plan to produce a major new mural in Belfast to commemorate the First World War, with a view to opening a critical dialogue with the past that will challenge existing positions and narratives. 72. For such initiatives to emerge, the right of each person to the freedom of artistic expression and creativity must be respected and protected, in accordance with international standards (A/HRC/23/34). With regard to displaying artistic expressions in the public space, the State has a specific role in ensuring that space is made available for a plurality of narratives and multiplying opportunities for such narratives to engage with each other. Promoting the notion that the public sphere has to be inclusive, egalitarian and guided by issues that revolve around the common good, rather than the promotion of particular interests, helps to identify the conditions necessary to ensure that a democratic debate takes place amongst citizens.39 73. While the commissioning of a monument implies a dialogue between politicians and artists, it is important to widen such a debate to include the communities concerned and society at large, including those living near monuments and memorials. The message conveyed by the artist should also be explained and introduced to the population. 38 39 Bickford, “Memoryworks/memory works”, pp. 499 and 500. Clara Ramírez-Barat, “Transitional justice and the public sphere”. 15