Responsibility to Remember Injustice

Walker, Margaret Urban

doi:10.1007/978-3-319-50359-2_11

Cited by 4 publications

(4 citation statements)

References 16 publications

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“…A more plausible reading of the results is that genuine collective‐self forgiveness is associated with the wish to obtain closure on past wrongdoings as a means of facilitating a forward‐looking dialogue informed by a definitive shared understanding of the past. Still, even such a view could be challenged as closing off the past, which disposes of a ‘responsibility to remember injustice’ (Walker, 2017) and neglects the restorative value of remembrance (Blustein, 2014). From the present study we cannot be sure how participants understood the idea of truth telling as drawing a line and, more broadly, what psychological closure means to individuals.…”

Section: Discussionmentioning

confidence: 99%

Tensions between collective‐self forgiveness and political repair

Wenzel,

Quinney,

Wohl

et al. 2023

Euro J Social Psych

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Faced with collective guilt, perpetrator groups may seek collective‐self forgiveness. However, does this diminish their support for political repair? Advancing the concept of collective‐self forgiveness, we distinguish between end‐state collective‐self forgiveness as restored moral identity and two processes: pseudo collective‐self forgiveness as defensive downplaying and genuine collective‐self forgiveness as ‘working through’ the ingroup's guilt. In three studies, non‐Indigenous Australians (N = 369, 800 and 785) were surveyed about currently debated constitutional changes for the recognition and empowerment of Indigenous Australians. Pseudo and genuine collective‐self forgiveness were positively related to end‐state collective‐self forgiveness. Pseudo and end‐state were negative, but genuine collective‐self forgiveness positively, related to support for repair and truth telling. Participants identifying with both Australians and Indigenous Australians more strongly endorsed genuine collective‐self forgiveness. The results suggest a pathway for perpetrator group members to balance identity needs with commitment to repair, but highlight drawbacks of seeing collective‐self forgiveness as an end‐state objective.

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Section: Discussionmentioning

confidence: 99%

Tensions between collective‐self forgiveness and political repair

Wenzel,

Quinney,

Wohl

et al. 2023

Euro J Social Psych

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“…Bangsokol was not simply a Cambodian Buddhist ritual put on stage. As librettist Walker (2017) wrote in the production notes, it was also: a specific response to the immeasurable loss of life and dignity under the Khmer Rouge (1975–1979) and an artistic monument to the memory and memorializing of Cambodians mourning these losses since 1979 (unpublished).…”

Section: Rest and Ritualmentioning

confidence: 99%

“…In the performance, this arc begins with an appeal to the gods, before invoking a countryside funeral that extends into a remembrance of the specific horrors of the Khmer Rouge period. In the third movement, the acceptance of impermanence and the path to peace emerges from metta (loving kindness), as the Bangsokol ceremony gives solace to the dead and helps the living to heal (Walker, 2017: unpublished). The performance closes with a celebratory and inclusive drumming dance performance known as chayam .…”

Section: Rest and Ritualmentioning

confidence: 99%

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The Bangsokol Requiem, affective intensification, and memory activation

Hughes

2024

Memory Studies

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This article examines how a recent multi-media requiem sought rest for Khmer Rouge victims and connected audiences in the Cambodian post-conflict diaspora. Composed by Him Sophy, the requiem takes its name from a funeral ritual that assists re-birth: Bangsokol. Performed in various international cities throughout the years 2017–2019, Bangsokol, with a libretto by researcher Trent Walker, combined chanting and singing in Khmer and Pali with the music of a traditional Cambodian orchestra blended with that of a Western chamber orchestra. The performance was backlit by projected film images by Cambodian filmmaker Rithy Panh, and accompanied by stage performance elements such as procession, drumming, and dance. I draw on interviews with the key creatives involved in the Bangsokol Requiem, visual documentation of the Requiem in development, and experiences of its premiere performances at the Melbourne Festival in October 2017. I follow Elizabeth Grosz on art to consider the Requiem in terms of its capacity for ‘activation’ and trace three of its micropolitical alter-accomplishments. I argue that the performances deterritorialised existing memorial refrains and reconnected diasporic and wider audiences through an experience of affective intensification.

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Just and Unjust Memory? The Moral Obligation to Remember All Victims of Wars and Totalitarian Regimes

Kobyliński

2020

Journal of Military Ethics

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Responsibility to Remember Injustice

Cited by 4 publications

References 16 publications

Tensions between collective‐self forgiveness and political repair

Tensions between collective‐self forgiveness and political repair

The Bangsokol Requiem, affective intensification, and memory activation

Just and Unjust Memory? The Moral Obligation to Remember All Victims of Wars and Totalitarian Regimes

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