speak memory ii

8/4/2019 Speak Memory II

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Speak Memory II

War and War Crimes:

On Memorials and Documentaries: 1919 2011

How can you make peace when what you really want is revenge?

Memorials are visual structures set in public spaces to recall history and remember the dead.Documentaries can serve a similar purpose. But in contrast to the effect documentarieshave on us, how often do we walk by memorials without deeply acknowledging the sufferingand sacrifice they are intended to remind us of? And how little do we know of the eventsmemorialized in either case? For the most part, are we largely unaware, unmoved anddistanced from the history of war, even of recent paroxysms of organized human malice asconsidered in the Serbian and Congo cases in this essay. How often do we pass by suchmemorials or pass over showing such films in classes, the multitude of wars and war crimes,

rampant human rights violations ongoing, safely out of sight and out of mind?

To begin then, when I pass by memorial sculptures such as the one above (this photographhaving been taken at dusk in front of the United States Holocaust Museum in WashingtonD.C.) images of the Holocaust, history books, novels and documentaries capturing andcreating historical memory come constantly to my mind. Beyond the images seared into myconsciousness, I recall authors and books such as Elon Amos The Pity of It All (2003),Margaret McMillans Paris 1919(2003), Niall Fergusons 1914-1918(1998) and most recently


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Adam Hochschilds To End All Wars (2011) and Deborah Lipstadts reflections on HannahArendt in The Eichman Trail(2011) though the list is endless. These more recent works whichrevisit World War One and Two return us to immensely powerful films such as Captain Ryanand the magnificent novel by Sebastian Faulks Bird Song(1994), to recall earlier generation ofhistories and novels gathering dust on octogenarians book shelves such as the dark tome by

Herman Wouk for instance. These books and films keep alive our collective memory of thelate 19th and early 20th Century and the consequences.

So when last in Washington, DC I found myself by the memorial sculpture in front of theU.S. Holocaust Museum. But I just could not bring myself to go inside. The memories ofwhat I saw and felt in the Holocaust Memorial Museum Yad Vashem(The Hand of God) inIsrael remain forever, as vivid as if it was yesterday. I am still, after all these years, stillstanding in front of that map of Europe spreading forth across the darkened gallery floorwith everlasting candles burning in place of each population erased, still looking into the eyesof those being sent to the death camps and at the photographs of each stage of theirjourneys to ash, lampshades and fertilizer, the meticulous ledgers.

Paris 1919, Milosevic on Trial and One Womans Struggle to Heal

World War One and Two, the Serbian genocide, the First African World War, the currentuse of mass rape as a weapon of war in the Democratic Republic of Congo, these and thelitany of other past and ongoing crimes against humanity keep burning away or igniting andflaming something inside me. I often wish it was otherwise. With the Holocaust in mindthen, consider the three documentaries Paris 1919: Inside The Peace Talks That Changed TheWorld(2008),Milosevic on Trial(2007) and Lumo: One Womans Struggle to Heal in a Nation Besetby War(2006). I have reviewed them at greater length individually at Leonardo on-line (seeZilberg 2011 a and b, 2009) and looking back on them here I realize that most of thedocumentary films I have reviewed for Leonardo archive injustice of one sort or another

whether it be the story of Edward Said and Palestine, impossible love in Kabul or therampant murder of women in Guatemala. These films record the facts of wars and theirconsequences, the death and destruction incurred, the atrocities committed and typically thedenials of the accused, the strength and dignity of the victims recollections. They are aboutthree wars and their consequences.

Though each of these documentaries concern very different conflicts in different times andplaces, they are intensely relevant to each other. The films are especially relevant to post-conflict peace settlements, reparations, justice and the prosecution by the InternationalCriminal Court (henceforth ICC) at The Hague of individuals accused of war crimes. Finally,they are important perhaps for hope and healing. Each of these films speaks to two difficult

questions in particular. Can political settlements create sustainable peace after catastrophicconflict? Can even partial symbolic justice be achieved for the countless victims of crimesagainst humanity including genocide and rape as a weapon of war? Can either goal beachieved through symbolic trails of architects of death at the ICC while the countlessindividuals who actually committed the crimes enjoy complete impunity?

Without the scale and reach of war crimes trails, without public memorials, justice isperpetually deferred. This condition of impunity rules in Africa, Asia and Latin America


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where one must by and large suffice with the rare showcase trail for the sake of foreign aid. There war crimes, crimes against humanity and genocide are judged ultimately as theincidental and necessary price of nation building and dignified as forms of transitionaljustice. Imagine the waste, the pity of it all for the multitudes of children, men and womenwho probably never even dreamed of going to a library never mind the liberty of paging

through illustrated books and contemplating things like art history.

Memory, Archives and War Crimes Trials

Though it could be useful to begin in Plymouth and consider the long litany of war and war

crimes that followed in Drakes colonial Christian wake, it is more useful for the sake of what follows to begin by returning to the 1995 Oxford Amnesty Lectures. There theNigerian author Wole Soyinka, sought to bring attention to the trials going on at that time offormer President for life of Malawi Hastings Kamuzu Banda and Mariam Mengistu ofEthiopia. Soyinka, describing the latter as being of a dimension that is little short of that ofthe Nuremberg trials, writes thus:

These are trails that unborn children all over the world, and in the Africancontinent especially, should learn about, but we are more concerned aboutthe living, the tortured, and the dying, and the possible amelioration of theircondition, even their salvation, by placing such trials on the world stage, side

by side perhaps with that of the Serbian President Slobodan Milsoevic andhis agents, with General Leopoldo Galtieri of Argentina probably thrown infor geographic spread. . . . I cannot envisage the failure of the trial of MariamMengistu, at least, to rivet the attention of television addicts worldwide.

Instead of films such asMilosevic on Trial, what kind of trials does the average citizen watch?


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What indeed, is touted as the trial of the century, into which the entire world has beenassiduously programmed like docile drug addicts? Here is Soyinkas answer: The tawdry,commonplace pseudo-drama of a faded football hero called O. J. Simpson. . . . . WhileSoyinka was hoping for justice and calling attention to [T]he trials of the Century . . . takingplace right now in the heart of Africa . . . trials that serve as a moral and a warning both to

surviving dictators and their international props of the left and the right those trials havearguably achieved nothing in terms of justice, just as with the botched Simpson trail prior tothe civil case and his ultimate demise through his own stupidity and arrogance. But what domost of us remember if anything? Merely this: the slick legal mendacity: If the glove doesnot fit, you must acquit!

Paris 1919differs from Milosevic on Trialand Lumo in that it is a film which restages eventsand incorporates archival footage while the latter two are purely documentary films which will become archival material. With its narration and staged scenes, as fascinating andinformative as it is, and as beautifully produced as it is, it is not emotionally arresting. This isnot the case with the others.

In Milosevic on Trialthe cold blooded, utterly recalcitrant, Slobodon Milosevic makes amockery of his trial to the prosecutions frustration as Radec Mladic no doubt now will aswell. In the very different case of a documentary relating to war, Lumo is the story of a victimand survivor. Through her we learn something of the ongoing horror of mass rape as aweapon of war in the eastern DRC. As the DRC conflict is a continuation of both the FirstAfrican World War and the Berlin partition of 1878, and as the use of mass rape as a weaponwar was a key Serbian tactic, the three have certain congruencies and even links. The issuesof economic resources, international relations and human rights run through these rivers ofblood as currents in a stream.

Paris 1919portrays the immensely complicated process of drafting and signing the Treaty of

Versailles, the terms of the ending of The Great War. This was the peace conferencethrough which maps of the world were again re-drawn and through which Woodrow Wilsonsought in vain to create a League of Nations in order to prevent future such catastrophicconflicts. Only two decades later, the World was again at War and thereafter facing the samequestions as regards reparations, economic revival and prevention of future conflict - but with the additional issues of genocide and war crime tribunals at hand. Paris 1919 andMilosevic on Trialthus recalls the intervening Second World War and the Nuremberg trialsand the scale of violence and horror that trial sought to bring some sense of justice to.

In both trials, the purpose was to document the nature and scale of the crimes againsthumanity during these European conflicts. The aim was to hold the architects as a nation

and as an individual to account. In. Milosevics case, an unrepentant symbol of defiance, heportrays himself as an innocent victim who had merely acted in his own words according tothe wishes of his people. Yet from the peace talks in Paris in 1919 to the indictment ofMilosevic in 2002, from the First African World War and the Rwandan Genocide in 1994which led to Lumos plight, the larger issues of territorial competition over resources andhuman consequence remain. In Africa, despite the Lusaka Peace Accords which formallyended this war in the Eastern DRC the conflict continues unabated. In the same way theTreaty of Versailles and the end of World War Two merely laid the background context for


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innumerable other conflicts continuing to this day in different incarnations. In the case ofthe former Belgian Congo, where complete impunity and virtual certainty that no justice willever to be served except perhaps for the most exceptional instances, there is an uncheckedsituation of mass murder, rape and torture.

Lumos story will leave you as cold as the opening day of the Milsoevic trial and years laterthat bitter winter day when justice denied he returned a corpse to Belgrade as a muchbeloved hero as Mladec will replay in turn. Thus in maps drawn in 1887 and redrawn in 1919ending the 19th Century Age of Empire, issues raised then as regards Yugoslavia and theSerbs, the Kurds and the Zionist dream, Italy, Japan and Germany aligning, Chang Kai Shekand Emir Faisal, the African and Asian affairs, historys horror spread across the maps.When one watches the film of the map makers marking and remarking boundaries upon thetables in Paris, one cannot but help think of the carnage to follow across those spaces.

Take the un-prosecuted war crimes of Unit 731 in World War Two committed in China, theso called water born disease research, the heart wrenching memorial arts to that experimenton the logs, the vivisections in particular. The way in which the Japanese took Nazi

cruelty to levels of organization and extremity beyond that which you can imagine found mewaking in the middle of the night three nights in a row. I could not but help go outside andgently weep. Perhaps you think me over emotional, unstable even with this obsession withwar crimes and justice. But should you ever see that BBC documentary, Ill spare you thegory detail, you will I am sure forgive me the rage which drove me to write this essay. ForUnit 731, there were to be no war crimes trials. There was not even an official admission orapology thanks to the scientific value of their crimes despite the Nuremberg convention. The Americans had no interest in it. The research was too valuable. Instead the onlyJapanese professor who dares to lecture about Unit 731 in history classes lives in constantfear for his life.

As for the DRC, through the film Lumo we gain a small window into her world at war.There women and girls, babies and octogenarians, boys and men are as you read this beinggang raped, individually, in groups and en masse. In two recent cases under the nose of thelargest United Nations force in the world (MONUC), two singular incidents involved 300 victims and then 150 victims. The numbers and the nature of the crimes defy theimagination. Savaged with knives and sticks and bayonets, their vaginas and rectums tornapart in front of their families and fellow villagers, they sometimes beg to be killed duringthe ordeal. The guns exploding into their insides usually maim the victims but do not killthem, probably calculated not to kill however one dose such things. Victims recount thattheir tormentors laugh at them for the agony of their suffering and humiliation, at how theybeg to be put out of their misery. To kill them would defeat the point of the exercise. The

message exacted through this sexual terrorism and torture is that resistance is futile. That isthe goal. To watch films such as Lumo and the other films and plays emerging on the subjectis to enter in a small and safe way into this Heart of Darkness and its sordid trail in history.

So then: How can you make peace when all you really want is revenge? This is the firstsentence of the blurb on the back of the Milosevic DVD. It is a sentence that says it all. Itis as relevant to the pursuit of justice and peace in the DRC today as it is to any conflict pastand present. These three films will do much to introduce college and high school students


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to the history of war and jurisprudence relating to crimes against humanity. They appear tobe irresolvable problems imperfectly solved. They are all too rarely dealt with in courts oflaw. The rule rather than the exception is impunity. This is reality of the world in which the victims are condemned to live. And yet perhaps for victims such as Lumo and countlessothers revenge is not part of the question at all. I would not know. Perhaps all that they

care for is to be healed and to survive. Regardless, war crimes and crimes against humanityrequire redress if only by symbolic measure and for the historical record.

Towards that consider the filmMilosevic on Trial. Itconsists of seven parts: the indictmentitself, the defendants strategy, the field investigations to gather the evidence for prosecution,the choice of witnesses and the problems therein, the crimes of genocide themselves, andfinally, Milosevics response and his premature death in custody delivering him from justice.Unless you are a Serbian nationalist or a neo-Nazi, a Mengistu or Mugabe supporter, it isinfuriating to watch Milosevic making a mockery of the court, of each and every document,witness and charge, the failure to do any justice to 125 000 deaths and 3 million displaced.The way in which the Director Michael Christoffersen deftly uses the music and the pacingof the evidence intensifies the unfolding drama - the frozen winter opening day of the trial in

February 2002, the presiding Judge May dying, Milosevic sickening and refusing counsel,playing the victim to the end, his body heroically returned to Belgrade in 2006.

Yesterday, Today and Tomorrow:

Lumos Challenge

Today at The Hague, other war crimes trials are underway at the International CriminalCourt at The Hague, this time men chosen as having particular symbolic value. In the caseof the DRC conflict, Laurent Kabila is the dark star in the dock. Radik Mladic is next in line.With that in mind, the filmMilosevic on Trialcould inspire a series of such films in the future.

The list could be endless: Kabila on Trail or Duc on Trial. There could even be futuristicsadistic documentary thrillers like Mugabe on Trial: Hatred and Ruination in Zimbabwe. Morelikely there will soon be films like Mubarak on Trial: Murder in Fatahilla Squareand GaddafisLast Stand: The Green Book Testament. Imagine. This series is endless: Sudanic Nights: HowBashir Evaded the ICC;Nkunda: The Dark Trails of the Lords Resistance Army; Gbagbo: Je Refuse;Charles Taylor: Blood Diamonds Are a Mans Best Friend. As for Latin America, dont missPinochet: How to Dispose of Inconvenient Bodies and best of all Bush on Trial: Damn Saddam.More realistically there might one day quite soon be a Taliban archival production:The LastDays of Karzai in Kabul: Gods Justice in the Rose Garden

But seriously, returning to the issue in Paris 1919of how one conflict leads to another and of

how local conflicts become regional conflicts and even world wars, the film Lumo issobering. It is the story of the healing of one victim in the aftermath of the First African World War. To date the war has claimed approximately 6 million lives. It is theconsequence of the Rwandan genocide in 1994 after which the Hutu rebels, known as thegenocidaires,shifted their attention to rape, murder, pillage and slavery in the eastern DRC soas to profit from the blood minerals we need for our cell phones, computers and jet planes.Yes, we are all complicit in a sense in every sms and email we make, in every document we


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create. But our consciences can live as safely with that as one did with sugar and rum andslavery in Ruskins day.

As one might move effortlessly from one image to another on a panel in the WarburgMnemosyne Atlas, the academic context out of which this essay emerged, from the price of

international relations, money and power, on the currency exchange of sheer malice andhatred we can move seamlessly from World War One to World War Two and more recentlythe break up of Yugoslavia and on to the eastern DRC today. There Lumos story showshow one victims instance can be symbolic of all Slobodan Milosevics escape from justicespeaks to other impunities and failures of justice.

Globally, victims are forced to accept the complete refusal of the state to acknowledge past wrongs, the Rome Statute rejected. In instances they continue to struggle for the sake ofmemory, whether it be creating documentaries about the half a million murders and decadesof social death imposed of suspected communists in Indonesia or with largely isolated showcase trials such as that of Cambodias Duc finally sentenced in 2009. From Rwanda to theDRC and all across Africa, from Vietnam to Indonesia and all across Asia from Kandahar to

Shanghai, across Latin America from Guatemala to Brazil and Chile, these three films willinvoke countless other litanies in all those spaces in-between.

But Lumo is a documentary film above all about courage and hope. It is also about rape as aweapon of war and the surgical repair of resultant fistula, an account of the remarkable workbeing done at the Goma Hospital. It is an activist film project which introduced the conflictto the world community in 2006 in an effort to galvanize international attention. Relatingone victims account of healing to illustrate the plight of many, it will be especially useful forintroducing high school and college students to the ongoing nature and scale of the sexualviolence being perpetrated in the region. The brutality and scale of the situation defies theimagination. Five years later impunity continues to rule despite the best efforts of the ICC

and multiple UN Security Council Resolutions, conflict minerals acts and global campaigns.

While showcase war trials continue at The Hague, there is no end in sight of war crimesbeing committed every day in the DRC despite the largest UN militarized presence evermounted.In that unresolved and ever deteriorating context, Lumo will inspire awe as to howanyone can survive the physical and psychological trauma that the victims have endured.Besides being a testament to the power of goodness and hope it speaks on the other hand tothe very heart of human darkness itself. Ultimately it is an unusual documentary film inserving as a medium for recruiting people to donate funds to the Goma Hospital and tobecome politically engaged in the HEAL Africa campaign.

Justice was then and is now deferred in Africa. Mengistu serves as President RobertMugabes security advisor, his lovely daughters sipping Capuccinos in the Italian Bakery inHarare. Bashir of Sudan accused of genocide makes a far more effective and sophisticatedmockery of the ICC than Milosevic. All this speaks to the Serbian wall of silence, the tinklingof bells in the wind on crosses at JNA and Skorpion execution sites and mass graves, toMilan Babic the traitor swinging gently in his cell and Geoffrey Nices depressed lastwords while wanly packing up the trial documents: At this point the record is available to itis a satisfactory conclusion. Milosevic shamelessly abusing the ICC died triumphant in not


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being found guilty, buried as a national hero in frozen ground. And now, does Mladics loneand politically expedient trail offer much more?

And what hope does Lumo and all the other DRC victims really have with rape as a weaponof war as rampant as the impunity for the crime? From the wars and peace treaties to end all

wars which set the stage for political repression, unanswered for crimes against humanity,genocide and mass murder, war after war across Asia, Africa and the middle East,extraordinary impunity across the board, hypocrisy everywhere, these films are sadlyprescient and instructive. They simply must be watched. Evil can never be banal whateverthe celebrated and controversial philosophical musings of Hanna Arendt about Eichmann asan ordinary person just doing his job in extraordinary times.

ALeonardoChallenge

It is with all this in mind that I find reviewing documentary films for Leonardo such apersonally and professionally rewarding experience. It allows me the opportunity, as Soyinkawould, to bring attention to trials and the massive foreclosure of justice for war crimes, forcrimes against humanity and other ongoing injustices. At least it adds to the awareness andarchival record of it all.

So how then do archives and documentary films based on archival materials or witnessaccounts allow future generations to be able to distinguish fact and fiction in history? Doesmy work through using Leonardo as an on-line platform allow them to be better advertisedfor classroom use - to be more effectively used as sort of moral compass against denial andthe condition of impunity victims have to live with and perpetrators enjoy when peacedescends? Towards closure then, let us return to World War II, to the holocaust denials andthe virtually systematic global failure to bring justice to those who perpetrate human rightsabuse and war crimes.


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As the 1919 peace conference, the Milosevic trial and Lumos life variously show, the abovediscussed films constitute documentary records of humanity seeking peace and justiceagainst all odds. They will sadly perhaps be far less often seen than they deserve to be asAchebe would agree. And similarly they will probably achieve as little as the trial of Milosevicand Mengistu. But again as the prosecutor Geoffrey Nice relates - at least the trial accorded

the opportunity to record the facts for history. Each of these films do so for differentperiods of immense darkness and suffering over the last century.

By drawing attention to them in this context, butterfly-like by moving across space and timefrom one flowering of evil to another, I hope to have drawn attention to the power ofarchives, documentaries, memorials and ultimately art to consider and document war crimes.The suffering reaped upon the victims can never be requited. Art might not help the victimsin any of that I think but it helps to communicate their history to those who might care - andultimately for the sake of historical memory.

The quality of mercy might be strained, justice measured for a few figureheads, an occasionalunlucky stooge. Forgiveness is simply not something I can bring myself to understand, onlythe incandescent purity within my soul of an abiding and bitter hatred for those who sogladly torture and murder, a constant and seething desire for the most primitive revenge.That said, only love, only the uplifting beauty of the morning light on embankment tulipshelps me set it aside when overwhelmed. Art, books and natural beauty soothe this violentanger and bitter frustration at war crimes committed and justice denied. It reminds me of anold and faded blue copy of Volume One ofThe History of IdeasI once found in Harare andlost. There was an essay in there by Ian Crighton and his missive only connect. And so Ihave tried to do with you through word and image.


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Conclusion

These two essays, Speak Memory I and II came about through an engagement with theMnemosyne seminar on Aby Warburg in the Department of Trans-technology at theUniversity of Plymouth. The logic of all that and the details have not been included here,especially ramifications that it had for my appreciation of German Jewish history, but thelateral creative result of that work is at least immanent as explored above and as given in thebibliography. My research and reflection for that seminar caused me pause to realizesomething about my reviews of image based media for Leonardo. Reading back over them Irealize that what I am in part trying to achieve is to invoke the power of images through the

written word. There is a fetishistic element to that creative aesthetic process. The purpose isto attempt to memorialize the dead and the suffering inflicted upon them and the survivorsthrough art. As for forgiveness and the epigraph of this paper - forgiveness is a concept thatI abjure. I cannot understand how people can forgive war crimes and crimes againsthumanity. It simply makes no sense to me. Perhaps in time I will learn how to do so.


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