Active History

Gilbert Nuwagira

Growing up in south western Uganda, I would hear whispers of stories told in hushed tones; stories of what the River Kagera had brought in 1994 and of the then on-going Lord’s Resistance Army (LRA) insurgency in Northern Uganda. The latter stories were relayed to us by people who had not been in northern Uganda. Going through school in the early 2000s, the curriculum was silent on the ongoing conflicts at the time. Although we learned of the rebellions leading to independent East Africa, I can see in hindsight that there was a notable silence on how the aftermath of those rebellions was handled. My young self was thus unaware of and removed from the multiple gross human rights violations that were happening in my country.

That stories need to be told is an understatement. Stories break the shackles of ignorance and tear down barriers as people gain a more nuanced understanding of their past and how it is actively shaping their future. Untold stories are like ulcers that continue to feed on the fabric of society even after the “guns go silent.” Failure to create spaces to share untold stories become active forms of silencing and a recipe for future conflict. The disruptions caused by conflict often remain unknown, which makes for an even stronger case for stories to be told. Communities need to reckon with their shared past and different experiences without negating other people’s accounts. Telling stories is a way of giving space to persons who have lived through tumultuous times and to acknowledge diverse histories whose trajectories are often otherwise erased. Acknowledging lesser-known parts of our history (whether they damn us or glorify us) is important for all generations, especially when this knowledge can inform policies, laws, practices, and frameworks that avoid repeating past wrongs.

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Annie Bunting with Patricia Trudel

We often think of academic research as backward-looking. It documents the past, collecting data on lived experiences. While working with the Canadian Museum for Human Rights (CMHR), our SSHRC-funded (Social Sciences and Humanities Research Council) partnership—Conjugal Slavery in War: Partnerships for the study of enslavement, marriage and masculinities (CSiW)—disseminated research in creative ways. Mobilizing this research and lived experiences as “active history” is forward-looking. It brings the data to life and reaches new, diverse audiences.

The “Ododo Wa: Stories of Girls in War” temporary exhibit curated by Isabelle Masson of the CMHR and the travelling version of the exhibit are grounded in the experiences of Grace Acan and Evelyn Amony. Acan and Amony both survived abduction by the Lord’s Resistance Army (LRA) in Uganda in the 1990s. They are now researchers and activists in northern Uganda, who collaborated closely with CSiW and the CMHR on “Ododo Wa.” The exhibit brings to life their experience of captivity and forced conjugal unions in a manner that informs visitors and transforms their understandings of women in war. The effective development of an exhibit of this nature necessitates mindful choices of focus, narratives, artefacts, images, and videos; the building of meaningful relationships of trust among all involved and the planning of nuanced communication methods in diverse sites is also vital.

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This week, we are honoured to share a series of posts reflecting on the development of the Canadian Museum for Human Rights’ exhibit, “Ododo Wa: Stories of Girls in War.” Today, you will read about Isabelle Masson’s curation of the exhibit. Tomorrow, professor Annie Bunting and Masters student Patricia Trudel discuss the role of York University’s Conjugal Slavery in War: Partnerships for the study of enslavement, marriage, and masculinities in the exhibit. Later in the week, you will read stories from Grace Acan and Evelyn Amony; the exhibit is largely based on the experiences of both of these women. Lastly, you will read a post by Gilbert Nuwagira outling the exhibit’s travel from Winnipeg, Manitoba to Kampala, Uganda and beyond. Together, this series of posts outlines a unique approach to the curation of human rights stories that serve as an example for collaborative and thoughtful museum work. – Carly Ciufo

Isabelle Masson

The exhibit “Ododo Wa: Stories of Girls in War” launched at the Canadian Museum for Human Rights (CMHR) on October 23, 2019. Located in the heart of the Rights Today gallery, the exhibit combines images, artefacts, and films presenting the stories of Grace Acan and Evelyn Amony. Both Acan and Amony were abducted by the Lord’s Resistance Army (LRA) in northern Uganda. They were forced into conjugal slavery during years of captivity.

My curatorial approach seeks to amplify women’s voices and foreground their agency by focussing on their experiences before, during, and after armed conflict. Spanning three years, the process of exhibit development was one of critical engagement in the (un)making of cultural representations of the experiences of girls and women in war. Curatorial decisions were taken in close collaboration with Acan and Amony as well as with our exhibit partner, Conjugal Slavery in War: Partnerships for the study of enslavement, marriage, and masculinities (CSiW). CSiW is a SSHRC-funded (Social Sciences and Humanities Research Council) research project and international partnership of organizations working with war-affected communities on the issue of sexual violence. It is directed by York University Professor Annie Bunting and coordinated by Véronique Bourget.

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