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"Sodaro, Amy"
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Exhibiting atrocity : memorial museums and the politics of past violence
\"Today, nearly any group or nation with violence in its past has constructed or is planning a memorial museum as a mechanism for confronting past trauma, often together with truth commissions, trials, and/or other symbolic or material reparations. Exhibiting Atrocity documents the emergence of the memorial museum as a new cultural form of commemoration, and analyzes its use in efforts to come to terms with past political violence and to promote democracy and human rights. Through a global comparative approach, Amy Sodaro uses in-depth case studies of five exemplary memorial museums that commemorate a range of violent pasts and allow for a chronological and global examination of the trend: the US Holocaust Memorial Museum in Washington, DC; the House of Terror in Budapest; the Kigali Genocide Memorial Centre in Rwanda; the Museum of Memory and Human Rights in Santiago, Chile; and the National September 11 Memorial Museum in New York. Together, these case studies illustrate the historical emergence and global spread of the memorial museum and show how this new cultural form of commemoration is intended to be used in contemporary societies around the world\"-- Provided by publisher.
Book
Exhibiting Atrocity
Through a global comparative approach, Amy Sodaro uses in-depth case studies of five exemplary memorial museums that commemorate a range of violent pasts and allow for a chronological and global examination of the form: the US Holocaust Memorial Museum in Washington, DC; the House of Terror in Budapest; the Kigali Genocide Memorial Centre in Rwanda; the Museum of Memory and Human Rights in Santiago, Chile; and the National September 11 Memorial Museum in New York. Together, these case studies illustrate the historical emergence and global spread of the memorial museum and show how this new cultural form of commemoration is intended to be used in contemporary societies around the world emerging from widely divergent forms of political violence.
eBook
Museums and sites of persuasion : politics, memory and human rights
'Museums and Sites of Persuasion' examines the concept of museums and memory sites as locations that attempt to promote human rights, democracy and peace. Demonstrating that such sites have the potential to act as powerful spaces of persuasion or contestation, the book also shows that there are perils in the selective memory and history that they present. Examining a range of museums, memorials and exhibits in places as varied as Burundi, Denmark, Georgia, Kosovo, Mexico, Peru, Vietnam, and the US, this volume demonstrates how they represent and try to come to terms with difficult histories.
Book
Affect, Performativity and Politics in the 9/11 Museum
According to director Alice Greenwald, \"Witnesses are the way into the museum\" (Kuang 2014). The museum represents and performs -on endless loop -the images of destruction that give such force to terrorism as a political, public act, reinforcing the fear the attacks stoked as visitors become witness over and over again to the attacks. [...]while witnessing in the museum is meant to be an ethical duty in the promotion of democracy and peace, it is channeled through the fear that an act of terrorism is intended to produce. In this way the museum amplifies the violent voices of the terrorists, granting them, day in and day out, the infamy and immortality that they sought. [...]while the museum's creators intended to \"democratize\" memory in the hope of avoiding the creation of a single, hegemonic narrative and history of 9/11 and to disperse that memory and its concomitant responsibility, they have actually done quite the opposite. After \"consuming\" 9/11 in a way that the museum implies elicits thorough understanding, the tourist leaves the museum with a limited understanding of the causes and consequences of terrorism, but an acute impression of the fear, trauma and terror the attacks created. Because the cultural forms we use shape how events enter into our collective memory (e.g. Sodaro 2018), we have good reason to be wary of what collective memory is being performed and crystallized by the National September 11 Memorial Museum.
Journal Article
Memory, History, and Nostalgia in Berlin's Jewish Museum
The Jewish Museum in Berlin is devoted to telling the 2,000-year history of Jews in Germany in a stunning building designed by Daniel Libeskind. It is Germany's premier museum devoted to Jewish history and memory, but it is expressly not a Holocaust museum and most reference to the Holocaust is architectural. In its interactive and sophisticated exhibitions, the Jewish Museum represents contemporary international trends in museology and in many ways resembles the many Holocaust and other memorial museums around the world, one of the most prominent and striking international museological trends. However, in rejecting the categorization as a memorial museum and in focusing on a celebration of German-Jewish culture and history rather than the tragedy of the Holocaust, the Jewish Museum is what we might call a countermemorial museum. As such, it challenges the new norms around the creation of memorial museums and other sites of memory to be self-reflexive meditations on the negative past and its trauma. If memorial museums emerge from a particular orientation toward the past that Jeffrey Olick calls the \"politics of regret\" and claims is a major characteristic of our age, then the Jewish Museum might represent a parallel trend that we can call a \"politics of nostalgia.\" The museum serves, in many ways, as a screen upon which present-day Germany can project an idealized image of its past, masking some of the present tensions around German national identity and ideas of German multiculturalism. At the same time, the museum often seems to be in conflict with Libeskind's building, which is infused with Holocaust symbolism and meaning.
Journal Article
MEMORIAL MUSEUMS
In Ggolo, Uganda, ground has been broken for a new memorial museum focused on the 1994 genocide in neighboring Rwanda (Muramira 2016). Though Rwanda has an active program of genocide memorialization, including the national memorial museum discussed in chapter 4, the Ugandan museum will be the first of its kind outside of Rwanda and reflects the desire for memory and education about the genocide to extend beyond national borders, much like how the bodies of genocide victims that were tossed into Rwanda’s rivers and ended up on the shores of Uganda’s Lake Victoria had crossed national borders. Across the globe,
Book Chapter
THE UNITED STATES HOLOCAUST MEMORIAL MUSEUM
The US Holocaust Memorial Museum (USHMM) was dedicated by President Clinton in 1993 as a new kind of museum and memorial—one that would go beyond preserving the past and remembering the victims, instead working as a “living memorial” intended to “stimulate leaders and citizens to confront hatred, prevent genocide, promote human dignity, and strengthen democracy” (Clinton 1993). Clinton spoke of it as “an enduring tribute to democracy,” from which we could “learn the lessons [of the Holocaust] and transmit those lessons from generation to generation,” by seeking to “find in our diversity our common humanity” (1993). Harvey Meyerhoff, chairman
Book Chapter
MEMORIAL MUSEUMS
Memorial museums are intended to be about both memory and thinking in the form of historical understanding; they are also aimed at inspiring emotional, affective responses and empathy. This is a broad mandate for any cultural institution; add to this their focus on the most sensitive of subject matter and memorial museums emerge as very complex institutions. In this final chapter, I would like to suggest a few broad conclusions about the form that can be drawn from these five case studies and reflected in dozens of other memorial museums around the world.
Through these case studies, I have endeavored
Book Chapter