the designer’s role in telling the ‘difficult’ stories of genocide
PICTURING MORAL COURAGE
THE RESCUERS
Josephine Dusabimana Photo: Riccardo Gangale
Khon Ang Photo: Neang Sokchea
Truss Menger Photo: Sonia Folkmann
Zoran Mandlebaum Photo: Paul Lowe
PHOTO: ERNST J
Context The Rescuers exhibition is quite a unique project, in that it provides visitors with both a local and global context when learning about genocide and rescuer behaviour. In post-conflict regions, such as Bosnia and Herzegovina and Cambodia, this can help expand the dialogue about genocide, and highlights rescuer behaviour as a universal trait found across the globe. Within the design process, however, this can complicate the interpretive process, because we are effectively representing multiple cultural contexts of conflict.
• They’re challenging emotionally and intellectually for visitors; • They’re increasingly being created, travelled and used as mechanisms for educating people about histories of trauma; • Because REPRESENTATION MATTERS.
‘Difficult Knowledge’ “The Rescuers” belongs to a category of exhibitions that contain ‘difficult knowledge’. Pitt and Britzman (2003) define difficult knowledge as being that which signifies both representations of social traumas in curriculum and the individuals’ encounter with them in pedagogy.
PITT & BRITZMAN USE THESE PSYCHOANALYTIC TERMS
{
» Deferred action; » Transference; and » Symbolisation.
in the museum context ‘Difficult Knowledge’ within the museum (and also broader exhibiting) context acts as a reflection of society’s changing views of itself, from the triumphant, heroic narratives that dominated much of past exhibiting culture, to include the darker, more troubling moments of history both ancient and living. (Bonnell & Simon 2007)
(Simon 2011)
WARNING: This website contains confronting and disturbing content, and names and images of deceased people. It may not be suitable for children under 15 years. Many of the historical images show an official, sanitised view which did not reflect reality. The faces of some adolescents have been blurred to protect privacy. – National Museum of Australia 2011
…between one in three and one in ten Indigenous children were forcibly removed from their families and communities…In that time not one Indigenous family has escaped the effects of forcible removal – Department of the Prime Minister and Cabinet, Australian Government 2015
SOURCE: THE GUARDIAN: “Written comments on a 1934 newspaper clipping: “I like the little girl in centre of group, but if taken by anyone else, any of the others would do, as long as they are strong”. Photograph: Corbis”
SOURCE: https://www.humanrights.gov.au/sites/default/files/content/social_justice/bth_report/report/images/8_ch11.JPG
THE CHaSSMM MODEL OF ANALYSIS Critical Hermeneutic and Social Semiotic, Multimodal Model of Analysis
Roberge (2011) provides an outline of three theories that are useful to the critical hermeneutic framework of interpretation: • a theory of meaning; • a theory of action; and • a theory of experience.
The theory of meaning relates to ideology, which, Roberge argues, can never be partial or secondary, but is meaning-full. It can also be understood as a text, a semiotic network of things that place themselves in opposition to one another.
OTHERNESS
The theory of action helps us to understand the ways in which ideology is performed in the world. Critical hermeneutics is particularly concerned with examining power structures, social movements and counter movements, and how, through action or performance, ideologies become legitimized or undermined.
PERFORMANCE
BUT IN PRACTICE? This three-pronged approach to critical hermeneutic inquiry encourages us to ask three fundamental questions in order to frame our initial design research: • What are the ideologies of the organisation/s who are creating or invested in the exhibition? • What is being employed by as representations of that ideology? • What is expected in terms of audience response?
The theory of experience examines the way we come to understand ideology’s effect on us through meaning-making processes.
READER/TEXT RELATIONSHIP
Social Semiotics & Multimodality Semiotic resources & meaning potential
semiotic resources refers to all of those things we employ to make meaning
meaning potential recognises that the meaning of a semiotic resource can shift & change
a “social semiotic approach to the question of truth” van Leeuwen (2005: 160)
MEMO: TO: All Staff neral e G l a u n n A 's This year eld in the h e b l il w ) M Meeting (AG Square, on t n e g e R , t t a y Park H r 2015. e b m e c e D 1 1 the epartment d f o s d a e h , f All staf required to e r a t n e m e g and mana attend. ion will be t a m r o f in d e More detail xt month. e n u o y o t t n se LOVE, Cathie in HR.
MEMORA
TO: All Sta ff 9 JULY 201 5
MNDUM
This year’s Annual Ge neral Meeti held in the ng (AGM) Park Hyatt will be , Regent Sq 11 Decemb u a re, on the er 2015. All staff, he ads of depa rtment and required to manageme attend. nt are
More detail ed informa tion will be month. sent to Sincerely, Catherine T attersall Director Human Re sources
you next
“It is true cowardice to not do anything for someone dying right in your sight“
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Photo: Sonia Folkmann Photo: Paul Lowe
Jusovi HASAN
gallen ANDREE
“I could not understand why [the Germans] would go after children. I was living in a boarding school, a very well regarded and expensive boarding school, here in Brussels. The principal of the school had accepted to harbor 12 Jewish children, they all lived with us, among the other children. One night, because they were tipped off to our doings, the Gestapo came and took those children, who never came back. I was talking to the German, since I could speak the language very well, I was translating the situation to the principal. At one point I was so mad, I told the Gestapo soldiers: ‘Aren’t you ashamed to be at war against children? They were the adults afterall!’ He answered back: ‘If you did not want to be taken over by roaches when they reach adulthood, you need to crush them while they are still small’. I’ll never forget that. We were divided in 3 groups: one group’s job was to find boarding places, another group, that I was part of, went to visit the families, and then there was an office that kept the records. Why? Because when we got the children, we had to save the real family name, give them a fake ID, know the
parents’ or grand-parents’ addresses. Everything had to be recorded in notebooks. The most astonishing thing from what I remember was that the children never cried. The parents cried when I came to get the children, the mothers, cried. I picked up 2 weeks old babies, and the mothers cried, but the children never cried. I would tell them we were going on vacation, we’re going to the countryside, you’ll eat omelets with bacon, and that would make the parents happy. A good omelet, with kosher bacon. I was never scared for myself. The only time I’d be afraid was when I had the children with me. Throughout the whole trip, when we had to take the train, because the hiding places where not close to Brussels, so we’d take the train for days, I would be afraid for the children, not for myself. When you are in your twenties, you’re not afraid; I was 21 and I was not afraid.
“The most astonishing thing from what I remember was that the children never cried. The parents cried when I came to get the children, the mothers, cried. I picked up 2 weeks old babies, and the mothers cried, but the children never cried.”
“I saw that a huge group of JNA soldiers and officers were arrested from their headquarters. I had some wish to see who was arrested because I knew a huge number of people from those headquarters. In a group of arrested soldiers I noticed one soldier who was in the same headquarters as I. He was a driver who was drafted while I was working as a civilian professional driver. Sometimes he was a substitute for me if, for example, we needed to go to some places where I didn’t go, so in that case he would drive instead of me. It was very hard for me. I didn’t know how to help him. And I wished from my whole heart to help him. So I came very close to him and I was afraid that someone would notice that I have something with him. I kicked him a little bit with my leg and said, ‘Don’t worry I am here. Just don’t say anything.’ The column [of arrested soldiers] was moving through Latinska Cuprija and then through the street Branioci Sarajevo. I was staying a little bit behind. I watched other people. They watched me.
We came to the Fis building where all arrested soldiers were sitting in the Sports Hall. I was there. I saw some Bosniak commanders. I didn’t know them. Then I saw the main commander whom I knew. I came close to him and asked him, ‘Can I take one soldier from this group? Can he go with me? He helped me a lot when I was trying to escape from JNA.’ The commander looked at me and asked the soldier, ‘Would you like to go with Hasan?’ He answered, ‘Yes.’ He stood up. I realized that he was quite happy. He had a huge trust in me. When we went out from that Sports Hall, I went across the street and I knocked on the door of one private building. I asked the lady who opened the door, ‘Can you please give me some clothes? Anything?’ [She gave us] some tee-shirts and pants, because he had on a military uniform that was very specific for the special units. Then I said to him, ‘From now on your name is Mirsad. And you are my cousin.’”
“Rescuing is some kind of talent – something which you are born with, because not everyone can be a helper. I think that has to be from birth – that someone has a sense to help another and not leave him when he needs someone. Even that he put his own life at risk.”
LEONARD
rurangirwa “I took the Inkotanyi’s side by my own decision. Neither Inkotanyi nor someone else chose for me what to do. At the beginning, Tutsi hiding in the forest took refuge at my home but were afraid because they thought that I was a killer too. But when they reached my home and found other Tutsis there, they felt secure and decided stay with me. Then there ended up being a big crowd at my home. It was difficult to protect them. Partly because there was an Interahamwe called Emmy, who assaulted people several times. So we decide to dispatch the group of Tutsi to different groups and give each group to a family. We did our best to ensure that they got food at home. We talked to them only in the night time because during the day we were waiting for assaults from different parts of the region. When killers came, we organized ourselves to hide. Then they came in big numbers and killed seven of our people. To help the refugees I used to move them from one place to another, hiding them in abandoned houses and banana trees. It was a big problem to find enough food to feed them because there were so many. They ate once in the night. A group of seven ate at home, another three at my mom’s house and so on. Some people had shops so they sometimes gave us rice.”
“I was only 18 years old.” Photos: Riccardo Gangale
the rescuers picturing moral courage
O fotografima
Holokaust
Nicolas Axelrod živi u jugoistočnoj Aziji od 2008. godine. Australijanac, koji se preselio u Kambodžu nakon života u Pertu, u zapadnoj Australiji, i angažmana kao samostalni fotograf, te kao fotograf za komercijalnu fotografsku agenciju smještenu u Pertu. Sada živi u Phnom Penhu, gdje radi kao samostalni fotograf. Radio je također za različite nevladine organizacije, lokalne i međunarodne časopise, kao i privatne klijente u Kambodži.
1939.–1945. Nacistički režim ubio je: » 6 miliona Jevreja; » najmanje 200 000 Roma.
Riccardo Gangale rođen je u Rimu 1975. Nakon završetka znanstvenih studija i dvije godine političkih znanosti, upisao se na magistarski kolegij za profesionalnu fotografiju u Rimu. 2002. godine, dok je još studirao, Riccardo je otputovao u Etiopiju da radi za Program FAO pod nazivom “Hrana za gradove”. U jesen 2002. radio je u Južnoj Africi na projektu koji je obuhvatao osobe koje ne posjeduju zemlju, kao i za World Summit na održivom razvoju. Od septembra 2003. Riccardo radi za Associated Press kao dopisnik iz regije Great Lakes, i od tada živi u Kigaliu u Ruandi. The New York Times, Time Magazine, The Times, The Guardian i The Gardian Weekly, Liberation, Der Spiegel, Le Monde, The Washington Post i drugi su objavljivali neke od njegovih radova.
Kambodža 1975.–1979.
» Tokom genocida u Kambodži, režim Pol Pota ubio je oko 1.7 miliona osoba (21% ukupne populacije zemlje); » Crveni Kmeri Pol Potovog režima vodili su 158 zatvora; » 309 masovnih grobnica sa, prema procjeni, ukupno 19 000 grobnih jama.
Paul Lowe je viši predvač fotografije na Univerzitetu za umjetnost u Londonu, i nagrađivani fotograf koji živi i radi na relaciji između Sarajeva i Londona. Njegov rad predstavlja se u okviru agencije Panos Pictures, a pojavljivao se između ostalog i u Time-u, Newsweek-u, Life-u, magazinima The Sunday Times, The Observer, i The Independent. Pokrivao je vijesti iz cijelog svijeta, uključujući pad Berlinskog zida, oslobađanje Nelson Mandele, sukob u bivšoj Jugoslaviji i razaranje Groznog. Od 2004. godine Paul vodio kolegij na magistraskom programu iz fotožurnalizma i dokumentarne fotografije na londonskom koledžu za komunikacije. Njegova knjiga, Bosnians (Bosanci), koja je dokumentirala 10 godina ratne i postratne situacije u Bosni, objavljena je u aprilu 2005. Sonia Folkmann rođena je u Poljskoj 1975. godine, a sa 13 godina se preselila s obitelji u Düsseldorf, u Njemačkoj. Nakon što je završila jednogodišnji internship u fotografskom studiju, toliko se zaljubila u umjetnost fotografije da je odlučila steći stručno obrazovanje iz fotografije. Nakon sticanja diplome na umjetničkoj školi kao najbolji student, radila je nekoliko godina s raznim fotografima širom svijeta. Od 2006. godine Sonia radi kao samostalni fotograf i vodi vlastite projekte koji uključuju emisije o likovnoj umjetnosti, reportaže i knjige o dizajnu. 2009. i 2010. godine osvojila je Red Dot Design Award u suradnji sa New Cat Orange Agency u kategoriji Best of the Best (Najbolji od najboljih). Njena ljubav prema fotografiji omogućava joj da živi svoj san.
Bosna i Hercegovina
1992.–1995. » Više od 2 miliona izbjeglica i raseljenih osoba, uglavnom bosanskih Muslimana (Bošnjaka); » 200 000 poginulih; » 20 000 silovanih žena i djevojčica.
Ruanda
4. april – sredina jula, 1994 » 800 000 osoba, većinom etničkih Tutsija i umjerenih Hutua ubijeno je prije svega mačetama u stotinu dana; » 2 miliona Hutua je iz zemlje zbog straha od odmazde i većina je nastavila živjeti u Burundiu, Tanzaniji, Ugandi, Kongu; » 57 000 izbjeglica iz Ruande još uvijk žive u raznim afričkim državama.
Andree Gellan holokaust
“Priključila sam se Pokretu otpora kada sam primijetila da nestaju djeca. Pitala sam ljude, prvo članove porodica, a onda prijatelje da li su dali utočište nekoj djeci. Počela sam sama da sakrivam djecu. A onda sam jednog dana upoznala nekog iz Otpora ko me pitao da se pridružim jer su im trebali ljudi popout mene. Meni je bilo veoma lako
kretati se po gradu, s mojim plavim očima i plavom kosom. Gestapo me nikad ništa nije pitao. Jednog dana, išla sam pokupiti djevojčicu koja se već krila u kafeu. Primila sam poruku u kojoj se tražilo da pokupim dijete u Place Barat, jer je tamo postajalo sve opasnije. To je bio jedini put da sam vidjela Jacquesa koji je došao s dva Gestapo
oficira. Jacques je bio poznati potkazivač. U tom kafeu bila je stražnja soba i Jevreji koji su živjeli u tom području krili su se tu kada se dešavala ‘lutrija’. Jacques je čuo za to i došao je da to provjeri. Kada me ugledao, rekao je: ‘Znaš, u ovom kafeu, vlasnik krije Jevreje.’ Odgovorila sam: ‘Dolša sam na piće. Nemam pojma ni o čemu,’ a u isto to vrijeme
djevojčica je silazila niz stepenice sa svojim koferom. Brzo su je vratili gore dok su oni ulazili u kafe. Dva Gestapo oficira ispitivala su me cijeli sat kako bi saznali da li znam neke Jevreje. Ispitivali su me sat vremena! Djevojčica se bezbijedno izvukla.” Foto: Sonia Folkmann
with designers The Design Brief
THE DESIGN BRIEF IS THE KICK OFF POINT OF ANY PROJECT. FOR DIFFICULT EXHIBITIONS, THE DESIGN BRIEF CAN BE A DETAILED AND COMPLEX DOCUMENT THAT A DESIGNER CAN USE TO GATHER IMPORTANT INFORMATION ABOUT THE PROJECT.
know what to tell There are different levels of information you need to provide a designer when working with them on a project, and these should be included within a design brief. A design brief can come from you or the designer can work with you to produce one. For difficult exhibitions, it works much better if the curator and designer work together on the brief, so that as much information as possible can be gathered BEFORE the interpretive stage of design begins.
A designer might start by asking basic questions like: What is the budget? What materials will it be printed on? Who is printing it? Who are the main contacts? More complex information could include: What is the purpose of the exhibit? Is there historical background information? Why it is being produced now? Who are the stakeholders? Who is being represented? What will the content include?
A curator might start by explaining: Ideas they have for visualising their information; What their institution is all about; Who is being represented (and why); Cultural considerations about the project. More basic information could include: The project’s budget, including production costs; Time line of content creation, design, editing and production/delivery/set up; People who the designer will be working closely with and reporting to.
Resources Adami, Elisabetta. 2016. “Multimodaility.” In Oxford Handbook of Language and Society. Oxford: Oxford University Press. Bonnell, Jennifer, and Roger I. Simon. 2007. “‘Difficult’ Exhibitions and Intimate Encounters.” Museum and Society 5 (2): 65–85. Department of the Prime Minister and Cabinet, Australian Government. 2015. “Sorry Day and the Stolen Generations.” Accessed November 25. http://www.australia.gov.au/about-australia/ australian-story/sorry-day-stolen-generations. Lord, Barry, and Maria Piacente. 2014. Manual of Museum Exhibitions. 2nd ed. Maryland: Rowland and Littlefield. National Museum of Australia. 2011. “INSIDE: Life in Children’s Homes.” Blog. Inside: Life in Children’s Homes. http://nma.gov.au/blogs/inside/.———. 2015. “First Australians - Lower Gallery.” Accessed November 17. http://www.nma.gov.au/exhibitions/first_australians/upper_gallery_stories_slideshow/ lower_gallery_stories. Pitt, Alice, and Deborah Britzman. 2003. “Speculations on Qualities of Difficult Knowledge in Teaching and Learning: An Experiment in Psychoanalytic Research.” International Journal of Qualitative Studies in Education 16 (6): 755– 76. doi:10.1080/09518390310001632135. Roberge, J. 2011. “What Is Critical Hermeneutics?” Thesis Eleven 106 (1): 5–22. doi:10.1177/0725513611411682. Simon, Roger I. 2011. “A Shock to Thought: Curatorial Judgment and the Public Exhibition of ‘Difficult Knowledge.’” Memory Studies 4 (4): 432–49. doi:10.1177/1750698011398170. Trofanenko, Brenda M. 2011. “On Difficult History Displayed: The Pedagogical Challenges of Interminable Learning.” Museum Management and Curatorship 26 (5): 481–95. doi:10.1080/09647775.2011.621733. van Leeuwen, Theo. 2005. Introducing Social Semiotics. Oxon, U.K and New York: Routledge. Other Resources: Solomon, Andrew. 2014. “The stolen generations: an unending disaster for Australia”, The Guardian, Friday 23 May. Online: http://www.theguardian.com/books/australia-culture-blog/2014/may/23/the-stolen-generations-an-unendingdisaster-for-australia, accessed 29 November 2015.