Symbols of belonging

“It belongs to the people later.” (Participant, UNM Participant Discussion, 2019)

"Our Sisters" 
When the exhibit launched in Uganda, the audience discussed how "it belongs to the people" and "tells the story […] to the generations to come." In the Ugandan context, the exhibit encourages reflection on those caught up in the conflict and those who felt distant from it. In those dialogues, nation and kin are central to questions about overcoming hardship and trauma.

In Uganda, some audience members referred to Acan and Amony as "our sisters." Such comments reflect the importance of belonging and kinship in the exhibit's Ugandan reception.  

“I was interested in the skirt. [...] [I]t tells the story [...] to the generations to come [...]  in the next fifty, hundred years. [...] [I]s that same skirt [going] to come back [to Uganda]?” (Participant, UNM Participant Discussion, 2019)

Artefacts
Questions about artefacts featured in the exhibit, and whether they would return to Uganda, also demonstrate how the exhibit spoke to the political and social climate in Uganda. The political will to address survivors' needs has waxed and waned over time. Yet reparations are urgently needed. The audience in Uganda pointed to artefacts, such as Amony’s green skirt and the grinding stone, as national symbols of survival and hardship in war.

These responses to the artefacts, their meaning, and Acan's and Amony's stories, led to reflections about representation, belonging, and the need to support other survivors' storytelling. 

“It belongs to the people later.” (Participant, UNM Participant Discussion, 2019)

"Our Sisters" 
When the exhibit launched in Uganda, the audience discussed how "it belongs to the people" and "tells the story […] to the generations to come." In the Ugandan context, the exhibit encouraged reflection on those caught up in the conflict and those who felt distant from it. In those dialogues, nation and kin were central to queries about overcoming hardship and trauma.

The language used in these dialogues show how kinship and sharing stories, through drawings, artefacts, and oral testimony, were an important part of the responses to the exhibit – for example, as participants referred to Acan and Amony as "our sisters" in the Ugandan National Museum participant discussion. 

“I was interested in the skirt. [...] [I]t tells the story [...] to the generations to come [...]  in the next fifty, hundred years. [...] [I]s that same skirt [going] to come back [to Uganda]?” (Participant, UNM Participant Discussion, 2019)

Artefacts
Questions about artefacts featured in the exhibit, and whether they would return to Uganda, also demonstrate how the exhibit spoke to the political and social climate in Uganda. The political will to address survivors' needs has waxed and waned over time. The current political and social climate, and the traveling exhibit, facilitate timely and urgent dialogues on transitional justice for girls, women, survivors of conjugal slavery, and survivors returning to their communities. The audience in Uganda pointed to artefacts, such as Amony’s green skirt and the grinding stone, as national symbols of survival and of overcoming hardship.

These responses to the artefacts, their meaning, and Acan's and Amony's stories, led to reflections about representation, belonging, and the need to support other survivors' storytelling. 

“It belongs to the people later.” (Participant, UNM Participant Discussion, 2019)

"Our Sisters" 
When the exhibit launched in Uganda, the audience discussed how "it belongs to the people" and "tells the story […] to the generations to come." In the Ugandan context, the exhibit encouraged reflection on those caught up in the conflict and those who felt distant from it. In those dialogues, nation and kin were central to queries about overcoming hardship and trauma.

The language used in these dialogues show how kinship and sharing stories, through drawings, artefacts, and oral testimony, were an important part of the responses to the exhibit – for example, as participants referred to Acan and Amony as "our sisters" in the Ugandan National Museum participant discussion. 

“I was interested in the skirt. And, it tells the story, to me, to, to the generations to come (…) In the next fifty, hundred years, something which, which I was trying to reflect it, is it going to be, um that same skirt to come back again?”(Participant, UNM Participant Discussion, 2019)

Artefacts
Questions about artefacts featured in the exhibit, and whether they would return to Uganda, also demonstrate how the exhibit spoke to the political and social climate in Uganda. The political will to address survivors' needs has waxed and waned over time. The current political and social climate and the traveling exhibit facilitate timely and urgent dialogues on transitional justice for girls, women, survivors of conjugal slavery, and those returning to their communities. The audience in Uganda pointed to artefacts, such as Amony’s green skirt and the grinding stone, as national symbols of survival and of overcoming hardship.

These responses to the artefacts, their meaning, and Acan's and Amony's stories, led to reflections about representation, belonging, and the need to support other survivors' storytelling. 

“It belongs to the people later.” (Participant, UNM Participant Discussion, 2019)

"Our Sisters" 
When the exhibit launched in Uganda, the audience discussed how "it belongs to the people" and "tells the story […] to the generations to come." In the Ugandan context, the exhibit encouraged reflection on those caught up in the conflict and those who felt distant from it. In those dialogues, nation and kin were central to queries about overcoming hardship and trauma.

The language used in these dialogues show how kinship and sharing stories, through drawings, artefacts, and oral testimony, were an important part of the responses to the exhibit – for example, as participants referred to Acan and Amony as "our sisters" in the Ugandan National Museum participant discussion. 

“I was interested in the skirt. And, it tells the story, to me, to, to the generations to come (…) In the next fifty, hundred years, something which, which I was trying to reflect it, is it going to be, um that same skirt to come back again?”(Participant, UNM Participant Discussion, 2019)

Artefacts
Questions about artefacts featured in the exhibit, and whether they would return to Uganda, also demonstrate how the exhibit spoke to the political and social climate in Uganda. The political will to address survivors' needs has waxed and waned over time. The current political and social climate and the traveling exhibit facilitate timely and urgent dialogues on transitional justice for girls, women, survivors of conjugal slavery, and those returning to their communities. The audience in Uganda pointed to artefacts, such as Amony’s green skirt and the grinding stone, as national symbols of survival and of overcoming hardship.

These responses to the artefacts, their meaning, and Acan's and Amony's stories, led to reflections about representation, belonging, and the need to support other survivors' storytelling. 

“It belongs to the people later.” (Participant, UNM Participant Discussion, 2019)

 When the exhibit launched in Uganda, the audience discussed how "it belongs to the people" and "tells the story […] to the generations to come." In the Ugandan context, the exhibit encouraged reflection on those caught up in the conflict and those who felt distant from it. In those dialogues, nation and kin were central to queries about overcoming hardship and trauma.

The language used in these dialogues show how kinship and sharing stories, through drawings, artefacts, and oral testimony, were an important part of the responses to the exhibit – for example, as participants referred to Acan and Amony as "our sisters" in the Ugandan National Museum participant discussion. 

“I was interested in the skirt. And, it tells the story, to me, to, to the generations to come (…) In the next fifty, hundred years, something which, which I was trying to reflect it, is it going to be, um that same skirt to come back again?”(Participant, UNM Participant Discussion, 2019)

Questions about artefacts featured in the exhibit, and whether they would return to Uganda, also demonstrate how the exhibit spoke to the political and social climate in Uganda. The political will to address survivors' needs has waved and waned over time. The current political and social climate and the traveling exhibit facilitate timely and urgent dialogues on transitional justice for girls, women, survivors of conjugal slavery, and those returning to their communities. The audience in Uganda pointed to artefacts, such as Amony’s green skirt and the grinding stone, as national symbols of survival and of overcoming hardship.

These responses to the artefacts, their meaning, and Acan's and Amony's stories, led to reflections about representation, belonging, and the need to support other survivors' storytelling. 

“It belongs to the people later.” (Participant, UNM Participant Discussion, 2019)

Questions and discussions raised from participants in the panels showcased how these stories impacted affected communities, and how stories such as Acan’s and Amony’s can speak to the experiences of other survivors. Participants’ discussion on how ‘it [the exhibit] belongs to the people’ and ‘tells the story (…) to the generations to come’, signals how the exhibit encourages a reflection on the shared lived experiences of survivors and a discussion of how notions of kinship play a role in overcoming hardship and trauma.

Likewise, the language used in these questions show how notions of kinship and of sharing stories, through drawings and artefacts, were an important part of the responses to the exhibit – for example, as participants referred to Acan and Amony as ‘our sisters’ in the Ugandan National Museum participant discussion. 

“I was interested in the skirt. And, it tells the story, to me, to, to the generations to come (…) In the next fifty, hundred years, something which, which I was trying to reflect it, is it going to be, um that same skirt to come back again?”(Participant, UNM Participant Discussion, 2019)

Questions from participants on the artefacts used in the exhibit, and whether they would return to Uganda also demonstrate how the exhibit spoke to the political and social climate in Uganda that allowed for dialogues to be raised on transitional justice for girls, women, survivors of conjugal slavery, and those returning to their communities. Artefacts, such as Amony’s green skirt and the grinding stones, represent symbols of survival and of overcoming hardship, as interpreted from participants’ questions and responses to the exhibit.

Interpreting participants responses to the artefacts, and their meaning, also showcases how participants and audiences felt represented by these stories or encouraged to open up to share their own stories. 

“It belongs to the people later.” (Participant, UNM Participant Discussion, 2019)

Questions and discussions raised from participants in the panels showcased how these stories impacted affected communities, and how stories such as Acan’s and Amony’s can speak to the experiences of other survivors. Participants’ discussion on how ‘it [the exhibit] belongs to the people’ and ‘tells the story (…) to the generations to come’, signals how the exhibit encourages a reflection on the shared lived experiences of survivors and a discussion of how notions of kinship play a role in overcoming hardship and trauma.

 Likewise, the language used in these questions show how notions of kinship and of sharing stories, through drawings and artefacts, were an important part of the responses to the exhibit – for example, as participants referred to Acan and Amony as ‘our sisters’ in the Ugandan National Museum participant discussion. 

“I was interested in the skirt. And, it tells the story, to me, to, to the generations to come (…) In the next fifty, hundred years, something which, which I was trying to reflect it, is it going to be, um that same skirt to come back again?”(Participant, UNM Participant Discussion, 2019)

Questions from participants on the artefacts used in the exhibit, and whether they would return to Uganda also demonstrate how the exhibit spoke to the political and social climate in Uganda that allowed for dialogues to be raised on transitional justice for girls, women, survivors of conjugal slavery, and those returning to their communities. Artefacts, such as Amony’s green skirt and the grinding stones, represent symbols of survival and of overcoming hardship, as interpreted from participants’ questions and responses to the exhibit.

Interpreting participants responses to the artefacts, and their meaning, also showcases how participants and audiences felt represented by these stories or encouraged to open up to share their own stories. 

“It belongs to the people later.” (Participant, 2019, UNM Participant Discussion)

Questions and discussions raised from participants in the panels showcased how these stories impacted affected communities, and how stories such as Acan’s and Amony’s can speak to the experiences of other survivors. Participants’ discussion on how ‘it [the exhibit] belongs to the people’ and ‘tells the story (…) to the generations to come’, signals how the exhibit encourages a reflection on the shared lived experiences of survivors and a discussion of how notions of kinship play a role in overcoming hardship and trauma.

 Likewise, the language used in these questions show how notions of kinship and of sharing stories, through drawings and artefacts, were an important part of the responses to the exhibit – for example, as participants referred to Acan and Amony as ‘our sisters’ in the Ugandan National Museum participant discussion. 

“I was interested in the skirt. And, it tells the story, to me, to, to the generations to come (…) In the next fifty, hundred years, something which, which I was trying to reflect it, is it going to be, um that same skirt to come back again?”(Participant, 2019, UNM Participant Discussion)

Questions from participants on the artefacts used in the exhibit, and whether they would return to Uganda also demonstrate how the exhibit spoke to the political and social climate in Uganda that allowed for dialogues to be raised on transitional justice for girls, women, survivors of conjugal slavery, and those returning to their communities. Artefacts, such as Amony’s green skirt and the grinding stones, represent symbols of survival and of overcoming hardship, as interpreted from participants’ questions and responses to the exhibit.

Interpreting participants responses to the artefacts, and their meaning, also showcases how participants and audiences felt represented by these stories or encouraged to open up to share their own stories.