The Art of Forgetting Foreword Background

ta hfacilitatione art guofide forgetting Lisa Kois 03 FLICT Foreword 04 FLICT Background 05 About the Film 05 About the Film Maker 05 Intended Audience 05 Approaches to Facilitating Dialogue c o n t e n t s 05 Technical Requirements 06 Scene Descriptions 06 Pre-Title Sequence 07 Journeys 07 The Road is Just a Road 08 Legacies of Absence 10 Challenges to Facilitation Before Screening the Film Pre-screening Exercises 12 Exercise 1: Everybody Please Stand Up 12 Exercise 2: Watching for Connections 13 After Screening the Film 13 Post-Screening Exercises 13 Exercise 1: Identifying Connections 13 Exercise 2: Working with Emotions 15 Exercise 3: Ways of Knowing 16 Exercise 4: Remembering 19 Exercise 5: Representing Violence 20 Exercise 6: Women and Armed Conflict 22 Timeline 24 Additional Reading Appendix

layout design Praboda Abayawardana stills Ranesh Nanayakkara contact [email protected]

the art of forgetting Foreword Background

Creative and performing arts inspire us, help The film “the art of Forgetting” is an effort at The project Facilitating Local Initiatives for I. Transforming cultural identities towards an us be self critical, and also enable us look at addressing some of these painful issues that Conflict Transformation (FLICT) aims to inclusive society: A society based on plural problems in new ways. It is a powerful we need to examine closely. The producer has strengthen the capacity of Sri Lankan civil values requires working towards attitudinal medium of communication, often subtle but sensitively crafted the film. It does not claim to society to contribute towards conflict changes at individual level to tackle long very effective in assisting us to start a process be a historical, exhaustive documentation of transformation, particularly at the local level. held stereotypes of the “other” and deeply of internal transformation. FLICT has all what happened. It captures the voices and The overall goal is to strengthen - on a ingrained attitudes of society. The outcome promoted the use of art forms to help people faces from across the country, where pain has countrywide approach initiatives for conflict of long-term work in this focus area would be the acknowledgement and celebration of understand each other, particularly those who been intense for all and the losses equally transformation in Sri Lanka, by supporting civil the diversity of Sri Lanka and developing are insular within their narrow community unbearable. society to play a more effective and influential space for alternative forms of culture and identity as Sinhalese, Tamil, Muslim, Burgher, role in contributing towards a lasting and identity. Malay, up-country, low country, Christian, The richness of learning by seeing films is positive peace. FLICT expects to achieve this enhanced if it is followed at some point by a Hindu, or Buddhist. In strengthening a by supporting local initiatives in the II.Inter-ethnic and inter-religious linkages for discussion that is moderated and facilitated to common inclusive Sri Lankan identity, we implementation of projects and by providing conflict transformation: Regions where enable dialogue, introspection and thinking. need to recognise our diversity. Joyful services to reflect on their work and develop different ethnic groups interact are often The manual that has been supported by FLICT celebration of this diversity while all being Sri their organisational capacities further. sites of tension and violence. This is mainly is an attempt at this activity. This is the first Lankan requires the ability to empathise, due to rivalries among identity groups manual that FLICT is helping develop in appreciate and provide space for affirmation Our vision of conflict transformation in Sri concerning resources and the constant relation to an artistic product and we hope that Lanka is “a peaceful and pluralistic society tussle for power and influence. It is also the of each others cultures. Art forms that are it will be used well. Learning is a two way and that encompasses the needs and rights of all very multi-ethnic nature of these areas that shared with a broad spectrum of the people a long term process. We would like to know people in the country and is able to resolve its provides opportunities for establishing help to bridge the cultural divide. how this manual and its use could be improved conflicts non-violently”. bodies that cut across ethnic / religious so that similar efforts could be made more Sri Lanka has gone through several decades of barriers and help build positive useful. Our objective is to support civil society violent strife in the North as well as in the relationships. The outcome of long-term organizations so that they can, South. As we struggle along a path trying to work in this focus area would be sustainable find a peaceful lasting solution, all people will networks of solidarity among different  contribute significantly towards the ethnic and religious groups that help to have to deal with the painful past - a past that acceptance of democratic pluralistic has been the cause of the pain of the present values, prevent violent conflicts in their and the future. In this “past”, we may have to  take an active role in establishing communities. look for the root causes to which we as mechanisms for civic non-violent conflict individuals directly or indirectly have resolution, and III.Civic participation for democratic and plural contributed. Our contributions may be known  work in cooperation with each other in forms of governance: Sri Lanka needs to or unknown, it may also be by not being conflict transformation activities. develop an institutional value system that actively engaged as citizens looking critically incorporates the principles of inclusion, In order to achieve the above objectives, and into the affairs of the state or our own pluralism and democracy to ensure that the in keeping with our vision, we have identified communities and organizations. needs of all people are met. This must three focus areas to support civil society reflect in the opportunities provided for the Dr. Wijaya Jayatilaka organizations in their work. participation of all people in governance National Coordinator mechanisms while continuing to be accountable and efficient. Dr. Stephanie Schell-Faucon Senior Advisor

the art of forgetting 02 a facilitation guide - Lisa Kois the art of forgetting 03 a facilitation guide - Lisa Kois Foreword Background

the art of forgetting 02 a facilitation guide - Lisa Kois the art of forgetting 03 a facilitation guide - Lisa Kois screening is recommended. A facilitation plan might include the following:

1. What materials will be circulated prior to screening the film; 2. How the discussion will be structured; 3. How the film will be introduced and what exercises will be done before watching it; 4. What exercises or questions will be used as the focus of the discussion after the film; 5. How much time will be allotted for About the Film each exercise, as well as the entire discussion; and The art of forgetting uses the power of The art of forgetting challenges those who 6. How the discussion will be concluded. memory to break through the silence and advocate amnesia: those who say the past is statistical anonymity that characterizes better left in the past. The film embodies what If the group is larger than 20 people, smaller dominant discourses of war. Filmed in Sri we know as truth - the past is the present. It is discussion groups should be formed. This Lanka between 2002 and 2005, the film should be planned in advance so that there are the here and now. One needs only to read the highlights the personal stories of people facilitators ready for each group. All whose lives have been altered by war and headlines to know… or to speak to the newly facilitators should have the chance to watch political violence. widowed, the daily orphaned. It is this Intended Audience the film prior to facilitating a discussion and moment and the next, reinvented again and should know the facilitation plan and their role The art of forgetting grew out of a three-year again. It is the legacy we leave our children. This guide is intended to assist facilitators in plan. c o l l a b o r a t i v e d o c u m e n t a t i o n a n d If we keep the past buried it will only rot and who are using the art of forgetting with documentary film project that documented fester further. To reveal it, to give it light and groups working on issues of peace, conflict Make photocopies of page 4, about the film and explored the ways we remember the air to breath, to expose it to the elements - the transformation or reconciliation in Sri Lanka. and filmmaker, and have the group read it prior violence of war. The project and resulting film wind and the rain - is to free ourselves from its to watching the film. has created space for people to tell their The film is about political violence and is stranglehold. stories: space that has been fundamentally intended for mature audiences. It is not missing in Sri Lanka. Through largely recommended for viewers below the age of unstructured interviews, in which we invited 12. Screenings for youth between the ages Technical Requirements people to tell their stories, and ongoing About the Film Maker of 12 and 16 should be accompanied by pre The film's duration is 56 minutes. In order to dialogues, the project engages in "the and post screening discussions developed have a screening and meaningful discussion, it intentional act of remembering.”* Both the Lisa Kois is a human rights lawyer, writer, and specifically for youth. The guide includes is recommended that a minimum of two hours process of documentation and the film, itself, film maker. Originally from the United States, exercises and questions for discussion, as be allotted. The film could also serve as the open space to remember - space within the she has been living and working in Sri Lanka well as ideas about answers to those basis of an extended dialogue. public discourse… within peace processes, since 1996. The art of forgetting grew out of questions. policy debates, and negotiations… within our her work on issues of human rights and The film should be played on a DVD player collective conscious… within our hearts and accountability, and her personal experience rather than a computer. The DVD is more our minds. grappling with political violence and memory. Approaches likely to skip, get stuck or freeze when played She has been affiliated with the International on a computer. The full film should be tested

The film is not intended to analyze, explain or Centre for Ethnic Studies (Colombo), the to Facilitating Dialogue on whatever system it will be played on prior provide a comprehensive history of Sri Neelan Tiruchelvam Trust, Young Asia to the screening. Lanka's recent past. Very simply, the art of Television, the UN Office of the High The responsibility of the facilitator is to create a safe and respectful environment conducive forgetting is meant to serve as a vehicle to Commissioner for Human Rights and the UN The audio and music are important to the free and open exchange of feelings and carry and convey ordinary people's stories to a Development Fund for Women. components of the film. Thus, the use of ideas. broader audience. It is an invitation to speakers or a sound system is strongly remember… to feel… to reflect… to discuss. Facilitators should be familiar with the content recommended. It is not an answer; it is a question. of the film. All facilitators should watch the The film should be played in a dark space. *As termed by Alex Boraine, Deputy Chair of the South Africa Truth and Reconciliation Commission and Founding Director of the film prior to the screening and read this guide. International Centre for Transitional Justice. Developing a facilitation plan prior to the

the art of forgetting 04 a facilitation guide - Lisa Kois the art of forgetting 05 a facilitation guide - Lisa Kois screening is recommended. A facilitation plan might include the following:

the art of forgetting 04 a facilitation guide - Lisa Kois the art of forgetting 05 a facilitation guide - Lisa Kois (2) Journeys: The Group of Girls tells the story of the Jaffna exodus of 1995 and Rifaz tells the story of the This chapter serves as the beginning of the expulsion of the Jaffna Muslims in 1990. narrative structure of the film, introduces the These two stories are placed side by side to film's subject matter, and establishes suggest a similarity in experience, while recurring themes that will assist viewers in simultaneously highlighting the distinct following the story and understanding the experiences conveyed through the personal content of the film. The road and travel motif stories. The chapter ends with a comment by is introduced through opening images of the Rifaz. road painting movement, roads, and a map of Sri Lanka. The road and travel motif and the “These people say they are governing and those map are used throughout the film to connect people say they are governing. So who is really chapters, themes, and stories. ruling here?” Like Mr. Jayabalasingam, Rifaz emphasizes “Journeys” explores issues of displacement, how civilians are trapped between the two home and return. The film is placed in context parties, even during the ceasefire. of the 2002 ceasefire agreement and ensuing peace process. Voices reminiscing about the moment of departure and the possibility of return lead the viewer toward the point of (3) The Road is Just a Road: return and raise questions about to what, exactly, people have to return. The film moves south, out of Jaffna and into “I remember I had to just close the front door and the LTTE-controlled Wanni. This chapter is go… And, as I closed the door, I remember just framed in context of the A9 road and the thinking whether we would ever come back.” devastating battles for the road. During the war, the A9 road - the only road linking the The Stories north and south of the country - became known as one of Sri Lanka's deadliest Scene Descriptions Mr. Jayabalasingham's story highlights the battlegrounds. In March 2002, after the trauma of displacement and return, as he signing of the ceasefire agreement, the two The film is divided into four sections: a pre-title The combination of words and images walks us through his partially destroyed parties agreed to open the road to civilian sequence and three chapters-journeys, the suggests a reality that is as specific as it is home. He tells the story of his, and his traffic. road is just a road, and legacies of absence. general. The moments that are referred to are family's, displacement from Chavakachcheri Below, you will find a brief description of each abstract; the images are concrete. The in 2000 during a battle between government section. contrast of words and images - of abstract and forces and the LTTE, which trapped civilians concrete - is used to suggest the general between the two warring parties. (political violence and suffering) contained “When this man stops, the other man starts. In (1) Pre-Title Sequence: within the particular (the assassination of every way, the civilians only get hurt. Not them.” Neelan Tiruchelvam). The pre-title sequence is as an introduction to the thematic content of the film. The film The pre-title sequence is the only time a opens with the filmmaker's voice, a series of narrator's voice is used in the film. The voice written plates, and a series of visual stills is that of the filmmaker and is used to suggest depicting the aftermath of a suicide bombing the filmmaker's subjective position in relation in Colombo. to the subject matter; a moment for the filmmaker like those moments referred to in “There are moments in life that shatter time and the narration. The images are of the scene of “Suddenly, the road was just a road again.” space… Moments that stop time while Neelan Tiruchelvam's assassination July 29th simultaneously propelling it wildly fast forward… 1999. The images end with the memorial to Moments that leave you in the fissure between then Neelan Tiruchelvam and the road on which he and now… July 29th 1999 was one of those was killed, which has been painted by the moments.” Road Painting Movement.

the art of forgetting 06 a facilitation guide - Lisa Kois the art of forgetting 07 a facilitation guide - Lisa Kois (2) Journeys: The Group of Girls tells the story of the Jaffna exodus of 1995 and Rifaz tells the story of the This chapter serves as the beginning of the expulsion of the Jaffna Muslims in 1990. narrative structure of the film, introduces the These two stories are placed side by side to film's subject matter, and establishes suggest a similarity in experience, while recurring themes that will assist viewers in simultaneously highlighting the distinct following the story and understanding the experiences conveyed through the personal content of the film. The road and travel motif stories. The chapter ends with a comment by is introduced through opening images of the Rifaz. road painting movement, roads, and a map of Sri Lanka. The road and travel motif and the “These people say they are governing and those map are used throughout the film to connect people say they are governing. So who is really chapters, themes, and stories. ruling here?” Like Mr. Jayabalasingam, Rifaz emphasizes “Journeys” explores issues of displacement, how civilians are trapped between the two home and return. The film is placed in context parties, even during the ceasefire. of the 2002 ceasefire agreement and ensuing peace process. Voices reminiscing about the moment of departure and the possibility of return lead the viewer toward the point of (3) The Road is Just a Road: return and raise questions about to what, exactly, people have to return. The film moves south, out of Jaffna and into “I remember I had to just close the front door and the LTTE-controlled Wanni. This chapter is go… And, as I closed the door, I remember just framed in context of the A9 road and the thinking whether we would ever come back.” devastating battles for the road. During the war, the A9 road - the only road linking the The Stories north and south of the country - became known as one of Sri Lanka's deadliest Scene Descriptions Mr. Jayabalasingham's story highlights the battlegrounds. In March 2002, after the trauma of displacement and return, as he signing of the ceasefire agreement, the two The film is divided into four sections: a pre-title The combination of words and images walks us through his partially destroyed parties agreed to open the road to civilian sequence and three chapters-journeys, the suggests a reality that is as specific as it is home. He tells the story of his, and his traffic. road is just a road, and legacies of absence. general. The moments that are referred to are family's, displacement from Chavakachcheri Below, you will find a brief description of each abstract; the images are concrete. The in 2000 during a battle between government section. contrast of words and images - of abstract and forces and the LTTE, which trapped civilians concrete - is used to suggest the general between the two warring parties. (political violence and suffering) contained “When this man stops, the other man starts. In (1) Pre-Title Sequence: within the particular (the assassination of every way, the civilians only get hurt. Not them.” Neelan Tiruchelvam). The pre-title sequence is as an introduction to the thematic content of the film. The film The pre-title sequence is the only time a opens with the filmmaker's voice, a series of narrator's voice is used in the film. The voice written plates, and a series of visual stills is that of the filmmaker and is used to suggest depicting the aftermath of a suicide bombing the filmmaker's subjective position in relation in Colombo. to the subject matter; a moment for the filmmaker like those moments referred to in “There are moments in life that shatter time and the narration. The images are of the scene of “Suddenly, the road was just a road again.” space… Moments that stop time while Neelan Tiruchelvam's assassination July 29th simultaneously propelling it wildly fast forward… 1999. The images end with the memorial to Moments that leave you in the fissure between then Neelan Tiruchelvam and the road on which he and now… July 29th 1999 was one of those was killed, which has been painted by the moments.” Road Painting Movement.

the art of forgetting 06 a facilitation guide - Lisa Kois the art of forgetting 07 a facilitation guide - Lisa Kois This chapter attempts to shatter the Saraswathi's is a mother's tale. After two of The Stories anonymity of mainstream war reporting while, her children are martyred fighting for the Premasiri was a monk when he was abducted at the same time, exposing the futility and LTTE, Saraswathi struggles with her grief and during the Reign of Terror by unknown men horror of war. It begins by juxtaposing written pride. Although she begins her story stoically, linked to the government. In vivid detail - as if text of the numbers of dead and kilometers her sorrow and regret are revealed as her story recounting events that had occurred weeks or gained or lost in A9 battles with blurred unfolds. Saraswathi's story speaks to the months, rather than years, before - Premasiri footage of combatants killed in battle. complexity of the experience of loss. While tells the story of his abduction, detention, and nationalist rituals celebrating fallen heroes torture at the hands of state actors. The journey moves down the battle-scarred may help a parent or loved one cope with the A9, navigating through abandoned mine loss publicly, there remains a private grief that Kusuma's is a mother's story. During the fields, destroyed buildings, and other survivors carry with them. Reign of Terror, her son was arrested by the remnants of war, and pausing occasionally to police and detained. Kusuma tells how she hear the stories of those who live along the visited her son regularly, bringing him clothes A9. The stories contained within the A9 terms of the geographic and political context and bandages for the injuries he sustained in further challenge the anonymity of war in which they were originally uttered. The custody, as he pleaded with her to secure his reporting. These are the faces behind the voices culminate in Colombo - the center of release. Eventually, after being transferred anonymous numbers. political and economic power and the meeting from his original place of detention, Kusuma's point of these two realities. son disappears. She searches for him at every The Stories army camp on the island, but he is not to be “He is still missing…” “I know it was the ones found, until neighbors come to tell her that his Rasammani & Keerthiraja tell the story of life from the army camp who abducted my body has been found burning on the side of the on a former battleground, and the danger of husband…” “I still see the one with the road. return. Their land is littered with unexploded covered face…” ordinance. Although there is laughing and Nilmini was a university student at the joking as Keerthiraja shows off for the camera This chapter looks at the forgotten past and University of Colombo during the Reign of Saratha's story is particularly strong in helping and picks up a shell, there is a simultaneous raises questions about the nature of the state Terror. She was active in politics and in love viewers identify with others across ethnic seriousness and horror to the scene, as it cuts and its use of violence to counter challenges to with another activist. Still suffering pain from lines. In a hushed voice filled with emotion, back and forth to visuals of children, who are political power. The stories in this chapter are the violence she experienced, Nilmini wrestles Saratha, a Tamil woman, tells the story of “two also watching. The tenor of the interaction the most graphic, detailed and complete with her emotions as she tells the story of her small army boys” who appear at her door in the changes dramatically when Rasammani tells stories of violence. Unlike the stories from the boyfriend's murder at the hands of the JVP. the story of her son's death. Caught on the midst of a battle. They are wounded and North - which were more fragmented in the looking for shelter. She takes them in and front lines during the war between the telling - the stories from the South are more In order to highlight the cyclic nature of offers them a place to sleep. During the night, Government troops and the LTTE - and forced complete and coherent. By looking back at the political violence in Sri Lanka, the scene both young men die. to cater to both sides - her son was killed by Reign of Terror and then directly linking those moves from Nilmini to images of the the Tigers for alleged collaboration. stories with a story of disappearances from Monument to the Disappeared in Seeduwa, Jaffna 10 years after that period - the chapter (4) Legacies of Absence: with the words - Disappearance is a Crime is intended to raise questions of accountability against Humanity, Let us not allow it to This chapter raises questions about the Sri for past violence. The chapter also raises the happen again - etched in stone, back to Jaffna, Lankan state and the way in which violence gender dimension of the violence. where, more than 10 years after the Reign of has been used for the perpetuation of power. Terror, disappearances become commonplace Like the structure of the film, this chapter is against. The Group of Girls introduced in circular in nature, moving from North to South “Journeys” reappears to share their to North again raising questions of recollections of their friend, Krishanthy accountability and the cyclical pattern of Kumaraswamy, and the story of her violations that go unaddressed. disappearance by members of the government forces in 1996. The chapter begins with a series of voices leading us through the transition from North to South - from the war between the Government and the LTTE in the North to the Reign of Terror in the South. These voices are as distinct as they are indistinguishable in

the art of forgetting 08 a facilitation guide - Lisa Kois the art of forgetting 09 a facilitation guide - Lisa Kois This chapter attempts to shatter the Saraswathi's is a mother's tale. After two of The Stories anonymity of mainstream war reporting while, her children are martyred fighting for the Premasiri was a monk when he was abducted at the same time, exposing the futility and LTTE, Saraswathi struggles with her grief and during the Reign of Terror by unknown men horror of war. It begins by juxtaposing written pride. Although she begins her story stoically, linked to the government. In vivid detail - as if text of the numbers of dead and kilometers her sorrow and regret are revealed as her story recounting events that had occurred weeks or gained or lost in A9 battles with blurred unfolds. Saraswathi's story speaks to the months, rather than years, before - Premasiri footage of combatants killed in battle. complexity of the experience of loss. While tells the story of his abduction, detention, and nationalist rituals celebrating fallen heroes torture at the hands of state actors. The journey moves down the battle-scarred may help a parent or loved one cope with the A9, navigating through abandoned mine loss publicly, there remains a private grief that Kusuma's is a mother's story. During the fields, destroyed buildings, and other survivors carry with them. Reign of Terror, her son was arrested by the remnants of war, and pausing occasionally to police and detained. Kusuma tells how she hear the stories of those who live along the visited her son regularly, bringing him clothes A9. The stories contained within the A9 terms of the geographic and political context and bandages for the injuries he sustained in further challenge the anonymity of war in which they were originally uttered. The custody, as he pleaded with her to secure his reporting. These are the faces behind the voices culminate in Colombo - the center of release. Eventually, after being transferred anonymous numbers. political and economic power and the meeting from his original place of detention, Kusuma's point of these two realities. son disappears. She searches for him at every The Stories army camp on the island, but he is not to be “He is still missing…” “I know it was the ones found, until neighbors come to tell her that his Rasammani & Keerthiraja tell the story of life from the army camp who abducted my body has been found burning on the side of the on a former battleground, and the danger of husband…” “I still see the one with the road. return. Their land is littered with unexploded covered face…” ordinance. Although there is laughing and Nilmini was a university student at the joking as Keerthiraja shows off for the camera This chapter looks at the forgotten past and University of Colombo during the Reign of Saratha's story is particularly strong in helping and picks up a shell, there is a simultaneous raises questions about the nature of the state Terror. She was active in politics and in love viewers identify with others across ethnic seriousness and horror to the scene, as it cuts and its use of violence to counter challenges to with another activist. Still suffering pain from lines. In a hushed voice filled with emotion, back and forth to visuals of children, who are political power. The stories in this chapter are the violence she experienced, Nilmini wrestles Saratha, a Tamil woman, tells the story of “two also watching. The tenor of the interaction the most graphic, detailed and complete with her emotions as she tells the story of her small army boys” who appear at her door in the changes dramatically when Rasammani tells stories of violence. Unlike the stories from the boyfriend's murder at the hands of the JVP. the story of her son's death. Caught on the midst of a battle. They are wounded and North - which were more fragmented in the looking for shelter. She takes them in and front lines during the war between the telling - the stories from the South are more In order to highlight the cyclic nature of offers them a place to sleep. During the night, Government troops and the LTTE - and forced complete and coherent. By looking back at the political violence in Sri Lanka, the scene both young men die. to cater to both sides - her son was killed by Reign of Terror and then directly linking those moves from Nilmini to images of the the Tigers for alleged collaboration. stories with a story of disappearances from Monument to the Disappeared in Seeduwa, Jaffna 10 years after that period - the chapter (4) Legacies of Absence: with the words - Disappearance is a Crime is intended to raise questions of accountability against Humanity, Let us not allow it to This chapter raises questions about the Sri for past violence. The chapter also raises the happen again - etched in stone, back to Jaffna, Lankan state and the way in which violence gender dimension of the violence. where, more than 10 years after the Reign of has been used for the perpetuation of power. Terror, disappearances become commonplace Like the structure of the film, this chapter is against. The Group of Girls introduced in circular in nature, moving from North to South “Journeys” reappears to share their to North again raising questions of recollections of their friend, Krishanthy accountability and the cyclical pattern of Kumaraswamy, and the story of her violations that go unaddressed. disappearance by members of the government forces in 1996. The chapter begins with a series of voices leading us through the transition from North to South - from the war between the Government and the LTTE in the North to the Reign of Terror in the South. These voices are as distinct as they are indistinguishable in

the art of forgetting 08 a facilitation guide - Lisa Kois the art of forgetting 09 a facilitation guide - Lisa Kois Should questions about omissions persist, the How to Respond: The facilitator should be facilitator might ask the following: careful not to let claims of bias, or questions about which side was more or What is it about your example that might be less favored, sidetrack the discussion. The unique or that you feel is not reflected in the facilitator may wish to probe why the stories that are told in the film? viewer believes one party is more or less Challenges to Facilitation favored. The facilitator might also wish to respond with one or more of the following For some, the art of forgetting may stimulate Listen carefully to the example. It may be questions. intense emotional responses and/or evoke important to validate the importance of the emotionally charged memories of violence or incident of violence raised as an example How does this label (or these labels) pro- loss. Those experiencing such a response may while simultaneously trying to guide the LTTE, anti-LTTE,-pro-Government, or anti- find it difficult to discuss the film immediately viewer and the group to the broader reality Government- help you to understand the film? after viewing. that violence is suffered by all communities and to the stories contained within the film. Such labels tend to limit the openness of the For others, the film's emotional content may viewer to truly see the film. Instead, the lead to a detached and, in some cases, For example, “Your right, the violence experience of viewers who seek to label distancing response. This may mean that the suffered by border villages is horrendous, as and/or ascribe a political agenda to the film viewer seeks to undermine the dialogue or was the violence perpetrated against the tends to be clouded by their need to find discredit the film or responses to the film. Tamils in 1983, neither of which has been addressed in the film. Can you (or anyone in “proof” of such an agenda. Thus, they see what they are looking for and miss the rest. Such responses present challenges for the the group) draw any parallels between a These labels are also part of the process of facilitator, who must ensure that a safe and story from the border villages and the marginalization and dehumanization of respectful environment is maintained and that stories in the film?” people and groups that fuels division, there is room for both emotional responses conflict and violence. and more detached analytic responses. An 2.The film is pro/anti Government and/or introduction and discussion prior to the film LTTE. The film has been labeled pro How have labels been used by different (see section, Before Screening the Film, page Government, anti Government, pro LTTE Common questions and critiques groups-the government, the LTTE, the JVP- to 12) will help create this atmosphere. One and anti LTTE. promote and justify violence against particular aspect of the preview discussion may be to 1.Why isn't the story of… included? Background: The film is anti violence and individuals or groups? clearly establish, or with the group agree to, a Exclusions that have been highlighted anti war. It has attempted to be as neutral set of rules or guidelines for the discussion. include massacres in border villages, the as possible. Perceptions of bias arise in part For example, the LTTE uses the term IPKF, suicide bombings in Colombo, the from the different ways in which stories are “traitor” to marginalize individuals and the Muslims of Puttalam, the East, 1983, etc. Addressing questions of bias told. For example, the stories about LTTE Government uses the term “terrorist” for violence tend not to be explicit due to the the same purpose. These are subjective Background: The film does not seek to One way in which the later, more detached, prevailing climate of control and fear categories that are used to demonize and provide a historical overview of Sri Lanka's reaction to the film may manifest is through maintained by the LTTE, whereas stories dehumanize individuals or groups. Once a recent past. Rather, personal stories about raising questions of bias in the film. about government violence tend to be more person or a group is demonized it becomes particular moments of violence have been explicit, particularly in the South where easier to justify violence against them. pieced together through a journey that runs Although the art of forgetting is intended to there is more freedom of expression than in through the heart of Sri Lanka, on roads that move beyond divisions by focusing on our conflict areas. common humanity and shared suffering, the link people and places, in order to convey a film's subject matter - political violence - is reality that is as general as it is specific. inherently sensitive for many people and linked to their core identity. The way one sees How to Respond: The facilitator should be or understands the film will be influenced by careful not to let such questions sidetrack the way one sees the world and, more the discussion. Pre-screening exercises that precisely, the way one understands Sri Lanka, encourage viewers to look for connections its history and its current context. For and commonalities (see page 12 ) will help example, at different times, with different focus the viewers prior to watching the film. audiences, the film has been labeled pro The first post-screening exercise (see page Government, anti Government, pro LTTE and 13) also helps focus the group on anti LTTE. commonalities rather than differences.

the art of forgetting 10 a facilitation guide - Lisa Kois the art of forgetting 11 a facilitation guide - Lisa Kois Should questions about omissions persist, the How to Respond: The facilitator should be facilitator might ask the following: careful not to let claims of bias, or questions about which side was more or What is it about your example that might be less favored, sidetrack the discussion. The unique or that you feel is not reflected in the facilitator may wish to probe why the stories that are told in the film? viewer believes one party is more or less Challenges to Facilitation favored. The facilitator might also wish to respond with one or more of the following For some, the art of forgetting may stimulate Listen carefully to the example. It may be questions. intense emotional responses and/or evoke important to validate the importance of the emotionally charged memories of violence or incident of violence raised as an example How does this label (or these labels) pro- loss. Those experiencing such a response may while simultaneously trying to guide the LTTE, anti-LTTE,-pro-Government, or anti- find it difficult to discuss the film immediately viewer and the group to the broader reality Government- help you to understand the film? after viewing. that violence is suffered by all communities and to the stories contained within the film. Such labels tend to limit the openness of the For others, the film's emotional content may viewer to truly see the film. Instead, the lead to a detached and, in some cases, For example, “Your right, the violence experience of viewers who seek to label distancing response. This may mean that the suffered by border villages is horrendous, as and/or ascribe a political agenda to the film viewer seeks to undermine the dialogue or was the violence perpetrated against the tends to be clouded by their need to find discredit the film or responses to the film. Tamils in 1983, neither of which has been addressed in the film. Can you (or anyone in “proof” of such an agenda. Thus, they see what they are looking for and miss the rest. Such responses present challenges for the the group) draw any parallels between a These labels are also part of the process of facilitator, who must ensure that a safe and story from the border villages and the marginalization and dehumanization of respectful environment is maintained and that stories in the film?” people and groups that fuels division, there is room for both emotional responses conflict and violence. and more detached analytic responses. An 2.The film is pro/anti Government and/or introduction and discussion prior to the film LTTE. The film has been labeled pro How have labels been used by different (see section, Before Screening the Film, page Government, anti Government, pro LTTE Common questions and critiques groups-the government, the LTTE, the JVP- to 12) will help create this atmosphere. One and anti LTTE. promote and justify violence against particular aspect of the preview discussion may be to 1.Why isn't the story of… included? Background: The film is anti violence and individuals or groups? clearly establish, or with the group agree to, a Exclusions that have been highlighted anti war. It has attempted to be as neutral set of rules or guidelines for the discussion. include massacres in border villages, the as possible. Perceptions of bias arise in part For example, the LTTE uses the term IPKF, suicide bombings in Colombo, the from the different ways in which stories are “traitor” to marginalize individuals and the Muslims of Puttalam, the East, 1983, etc. Addressing questions of bias told. For example, the stories about LTTE Government uses the term “terrorist” for violence tend not to be explicit due to the the same purpose. These are subjective Background: The film does not seek to One way in which the later, more detached, prevailing climate of control and fear categories that are used to demonize and provide a historical overview of Sri Lanka's reaction to the film may manifest is through maintained by the LTTE, whereas stories dehumanize individuals or groups. Once a recent past. Rather, personal stories about raising questions of bias in the film. about government violence tend to be more person or a group is demonized it becomes particular moments of violence have been explicit, particularly in the South where easier to justify violence against them. pieced together through a journey that runs Although the art of forgetting is intended to there is more freedom of expression than in through the heart of Sri Lanka, on roads that move beyond divisions by focusing on our conflict areas. common humanity and shared suffering, the link people and places, in order to convey a film's subject matter - political violence - is reality that is as general as it is specific. inherently sensitive for many people and linked to their core identity. The way one sees How to Respond: The facilitator should be or understands the film will be influenced by careful not to let such questions sidetrack the way one sees the world and, more the discussion. Pre-screening exercises that precisely, the way one understands Sri Lanka, encourage viewers to look for connections its history and its current context. For and commonalities (see page 12 ) will help example, at different times, with different focus the viewers prior to watching the film. audiences, the film has been labeled pro The first post-screening exercise (see page Government, anti Government, pro LTTE and 13) also helps focus the group on anti LTTE. commonalities rather than differences.

the art of forgetting 10 a facilitation guide - Lisa Kois the art of forgetting 11 a facilitation guide - Lisa Kois Before After Screening the Film Screening the Film

The art of forgetting uses an unconventional By the end, everybody should be standing. It is important to avoid rushing the transition discussion focused on the film. It is ok to documentary form. It does not tell viewers Invite the group to take a moment to think from the film to the dialogue. Time should be gently and respectfully encourage a speaker to what to think and provides few “facts” or about what this means for the group, for the provided at the close of the film so that those summarize their story and focus their details of the events remembered by those in country, for the work that they do - that who have an emotional reaction to the film do comments. A response may go something like the film. As a tool to promote dialogue, the art everybody (or at least most people) has been not feel the need to switch off their emotions. this. of forgetting raises more questions than it affected in some way by war or political The emotional response (viewers may feel “May I interrupt you for a moment? It sounds answers. As such, a brief introduction to the violence. sad, shocked, touched, angry, disturbed, etc.) like you had a pretty intense / horrible film and a short discussion prior to the is an important one and should be /frightening experience and we do want to screening may help focus the discussion that Exercise 2: Watching for acknowledged and received with compassion. will follow. hear about it. Right now what I'm going to ask Connections For many people, emotions are difficult to you to do is to think for a moment about how discuss. The facilitator may start by your experience specifically relates to the film. Pre-screening Exercises Make copies of the appendix and instruct expressing how he or she feels. What the Can you continue your story helping us all viewers to use the diagram to make notes and facilitator says immediately after the film is understand those links? Because of our time constraints, I'm going to give you about two When watching the film, some people focus keep track of the stories so that they can essential for creating the right environment for minutes to do this. Do you think you can focus on what is not there. Others look for biases in discuss them. dialogue. on the essential elements and links in that the film. These exercises are intended to help time?” viewers watch for connections and Instruct the participants as follows. commonalities. While watching the film, look for the ways in Post-Screening Exercises Exercise 2: Working with Emotions Exercise 1: Everybody Please Stand which you connect to people and their stories. Pay attention to the moments in the film that Up In a group setting, expressions of emotion impact you most and the stories that you Exercise 1: Identifying Connections may make some people uncomfortable and identify with or that move you. Observe your may silence others. However, emotions are Instruct the participants as follows. emotional responses. These observations will After the credits finish, invite the group to revisit the film in their minds, paying attention essential to peace building. Healing, peace be used as the beginning of the post screening and reconciliation all have emotional (1) If you have been directly affected by to the ways in which they connected to people discussion. Make copies of the appendix and components and, thus, the challenge is to war or political violence, please stand and their stories; the moments in the film that instruct viewers to use the diagram to make create an environment in which emotions can up. impacted them most; and their emotional notes and keep track of the stories so that be a part of the dialogue. It is important for the responses. In so doing, encourage participants (2) If someone close to you has been they can discuss them. facilitator to structure the dialogue in a way to think about where those emotions come directly affected by war or political that helps participants move from a purely from and how these emotions may contribute violence, please stand up. emotional response to a response that to understanding and healing. Open the floor acknowledges those emotions in context of a (3) If you or someone you know have been up to comments or reactions from the group. indirectly affected by war or political dialogue designed to encourage deeper engagement and understanding. violence, please stand up. This may lead viewers to tell their own stories. Sometimes, anecdotes and personal stories are difficult to tell and thus may lack apparent focus or coherence to listeners. The facilitator may wish to help a speaker keep the

the art of forgetting 12 a facilitation guide - Lisa Kois the art of forgetting 13 a facilitation guide - Lisa Kois Before After Screening the Film Screening the Film

the art of forgetting 12 a facilitation guide - Lisa Kois the art of forgetting 13 a facilitation guide - Lisa Kois Examine specific interviews and discuss the In the work that you do, when and how do ways in which emotions are reflected in the people express their emotions? interviews. Also, think about the emotions There are a variety of ways of expressing involved in the work that you do - yours and emotions, in both direct and indirect ways. others - and how you create space for Many people find it difficult to talk about emotions to be talked about or addressed. their feelings, and so the emotions come out in different ways. Fear may be expressed Saratha (00:27:20) as suspicion or scapegoating. Sadness may In this story, Saratha tells how two be expressed as guilt or through government soldiers, both of whom had been psychosomatic illnesses. Anger may be shot in an ongoing battle, came to her home in expressed through name-calling, Krishanthy Kumaraswamy's Friends Exercise 3: Ways of Knowing stereotyping, or silence. Because emotions search of water and shelter. She takes them (00:47:37) in. In the morning, she finds that they have make some people uncomfortable, they Ways of seeing, understanding and knowing died. Saratha relates the story with empathy may joke, laugh or smile to hide whatever it The final story in the film is told by a group of are informed by our individual and collective for these “two small army boys”. is they are feeling. young girls. They are recalling a school friend, experiences, perspectives and beliefs. Krishanthy Kumaraswamy, who was Identity categories, such as ethnicity, religion, How have you addressed such emotions when abducted and killed by the Sri Lankan military. Questions: gender, etc., further influence the ways in they arise in your work? The atmosphere seems to be jovial which we see and interpret the world around How does this story challenge conventional It is not always easy to address other throughout. us. In fact, it is sometimes difficult to truly see ways of understanding the conflict between peoples' emotions. Many people feel or gain insight into an issue or problem the government and the LTTE? uncomfortable when another person shows How does the way in which the girls tell their because our vision is clouded by preconceived feelings of sadness, grief or anger. Often a story and talk about Krishanthy differ from notions arising out of prior experience and The assumption often is that Tamils identify person will change the subject, make a joke, typical stories of suffering and loss portrayed stagnant notions of identity. with the LTTE and Sinhalese identify with or use other avoiding techniques. This may in mainstream media? the government. As Saratha reveals, the make the person who is experiencing the Often survivors of violence, including The film does not rely on traditional categories reality is not that simple, particularly when painful emotions feel like they cannot talk families and friends of victims, are depicted of understanding, such as Sinhala and Tamil we allow ourselves to see each other, first about what they are feeling. It helps to let in ways that emphasize their victimhood. and, thus, is intended to challenge dominant and foremost, as humans. those who are suffering know that it is ok to They are shown solely as one-dimensional ways of seeing and understanding. Those talk about what they are feeling. For characters defined exclusively by their that it does rely on, like North and South, are Nilmini (00:41:24) example, “I don't want to pry, but I want suffering. Krishanthy's friends are challenged in the narration text. Nilmini tells the story of her boyfriend's killing you to know that it's ok for you to talk about recounting their memories of Krishanthy. during the Bheeshenaya. The close up what you're going through.” Or “Would Although there are moments when sadness Some people say there are two stories in camera angle captures the subtle shifts in you mind if I ask you how you feel about and regret cloud their faces, they also share Sri Lanka… The story of the North and the emotions reflected in her face. At times, what happened?” the happy memories. story of the South.” Nilmini seems to be smiling as she depicts Once you open space for emotional painful memories. At other times, she seems conversations, you must be ready for other Would you classify these girls as victims or Questions: to be upset. Explore how emotion is expressions of emotion such as crying. survivors? Why? conveyed in the story. What parts of your identity do you rely on for Remain empathetic. You do not need to say The terms victim and survivor are two help in understanding what is happening in Sri anything to make things “better”. Just Questions: distinct categories. The individual or Lanka? sitting with a person who is in pain, listening community as victim is defined exclusively Why does Nilmini smile sometimes as she and letting him or her know that you are in terms of the violation or violence For example, language, ethnicity, religion, recalls the tragedy? there may be enough. If you don't know committed against them. The victim is gender, political affiliation, etc. how to respond, it's perfectly appropriate to For most people, expressing or showing solely the consequence of what has say so. For example, “I'm glad you feel you emotion is not easy, particularly when the happened. The term, survivor, however, can cry. I'm sorry you are feeling so sad. Is emotion is sorrow of a very personal nature. a c k n o w l e d g e s t h e h a r m w h i l e there anything I can do that might help you Smiles or laughter may be a result of simultaneously acknowledging the person's feel better?” discomfort or nervousness. They may be agency to move beyond it. These girls used intentionally or unintentionally to mask would definitely fall into the category of the emotions that are being felt. survivors.

the art of forgetting 14 a facilitation guide - Lisa Kois the art of forgetting 15 a facilitation guide - Lisa Kois Examine specific interviews and discuss the In the work that you do, when and how do ways in which emotions are reflected in the people express their emotions? interviews. Also, think about the emotions There are a variety of ways of expressing involved in the work that you do - yours and emotions, in both direct and indirect ways. others - and how you create space for Many people find it difficult to talk about emotions to be talked about or addressed. their feelings, and so the emotions come out in different ways. Fear may be expressed Saratha (00:27:20) as suspicion or scapegoating. Sadness may In this story, Saratha tells how two be expressed as guilt or through government soldiers, both of whom had been psychosomatic illnesses. Anger may be shot in an ongoing battle, came to her home in expressed through name-calling, Krishanthy Kumaraswamy's Friends Exercise 3: Ways of Knowing stereotyping, or silence. Because emotions search of water and shelter. She takes them (00:47:37) in. In the morning, she finds that they have make some people uncomfortable, they Ways of seeing, understanding and knowing died. Saratha relates the story with empathy may joke, laugh or smile to hide whatever it The final story in the film is told by a group of are informed by our individual and collective for these “two small army boys”. is they are feeling. young girls. They are recalling a school friend, experiences, perspectives and beliefs. Krishanthy Kumaraswamy, who was Identity categories, such as ethnicity, religion, How have you addressed such emotions when abducted and killed by the Sri Lankan military. Questions: gender, etc., further influence the ways in they arise in your work? The atmosphere seems to be jovial which we see and interpret the world around How does this story challenge conventional It is not always easy to address other throughout. us. In fact, it is sometimes difficult to truly see ways of understanding the conflict between peoples' emotions. Many people feel or gain insight into an issue or problem the government and the LTTE? uncomfortable when another person shows How does the way in which the girls tell their because our vision is clouded by preconceived feelings of sadness, grief or anger. Often a story and talk about Krishanthy differ from notions arising out of prior experience and The assumption often is that Tamils identify person will change the subject, make a joke, typical stories of suffering and loss portrayed stagnant notions of identity. with the LTTE and Sinhalese identify with or use other avoiding techniques. This may in mainstream media? the government. As Saratha reveals, the make the person who is experiencing the Often survivors of violence, including The film does not rely on traditional categories reality is not that simple, particularly when painful emotions feel like they cannot talk families and friends of victims, are depicted of understanding, such as Sinhala and Tamil we allow ourselves to see each other, first about what they are feeling. It helps to let in ways that emphasize their victimhood. and, thus, is intended to challenge dominant and foremost, as humans. those who are suffering know that it is ok to They are shown solely as one-dimensional ways of seeing and understanding. Those talk about what they are feeling. For characters defined exclusively by their that it does rely on, like North and South, are Nilmini (00:41:24) example, “I don't want to pry, but I want suffering. Krishanthy's friends are challenged in the narration text. Nilmini tells the story of her boyfriend's killing you to know that it's ok for you to talk about recounting their memories of Krishanthy. during the Bheeshenaya. The close up what you're going through.” Or “Would Although there are moments when sadness Some people say there are two stories in camera angle captures the subtle shifts in you mind if I ask you how you feel about and regret cloud their faces, they also share Sri Lanka… The story of the North and the emotions reflected in her face. At times, what happened?” the happy memories. story of the South.” Nilmini seems to be smiling as she depicts Once you open space for emotional painful memories. At other times, she seems conversations, you must be ready for other Would you classify these girls as victims or Questions: to be upset. Explore how emotion is expressions of emotion such as crying. survivors? Why? conveyed in the story. What parts of your identity do you rely on for Remain empathetic. You do not need to say The terms victim and survivor are two help in understanding what is happening in Sri anything to make things “better”. Just Questions: distinct categories. The individual or Lanka? sitting with a person who is in pain, listening community as victim is defined exclusively Why does Nilmini smile sometimes as she and letting him or her know that you are in terms of the violation or violence For example, language, ethnicity, religion, recalls the tragedy? there may be enough. If you don't know committed against them. The victim is gender, political affiliation, etc. how to respond, it's perfectly appropriate to For most people, expressing or showing solely the consequence of what has say so. For example, “I'm glad you feel you emotion is not easy, particularly when the happened. The term, survivor, however, can cry. I'm sorry you are feeling so sad. Is emotion is sorrow of a very personal nature. a c k n o w l e d g e s t h e h a r m w h i l e there anything I can do that might help you Smiles or laughter may be a result of simultaneously acknowledging the person's feel better?” discomfort or nervousness. They may be agency to move beyond it. These girls used intentionally or unintentionally to mask would definitely fall into the category of the emotions that are being felt. survivors.

the art of forgetting 14 a facilitation guide - Lisa Kois the art of forgetting 15 a facilitation guide - Lisa Kois “Some people say there are two stories in Sri Lanka… The story of the North and the story of the South.”

How do these parts of your identity inform What would happen if you didn't rely on these There are many ways to address issues of past Are there particular events or rituals that are your understanding and your ability to connect parts of your identity? violence and repression. Alex Boraine, former used within your community to deal with or empathize with others? Deputy Chair of the South African Truth and memories or the past? How might these be Working to acknowledge and overcome Reconciliation Commission and founder of the used to promote peace or reconciliation? Some identities help us connect with others biases may be both a disruptive and a International Centre for Transitional Justice, and others may impede our ability to liberating experience. It can be disturbing uses the term “intentional act of For example, memorials, days of connect with others. because, suddenly, the world is a more remembering” to describe the way in which remembrance, naming of lanes or streets, or complex place. There is no longer black memory and acknowledgement can be used to culturally specific rituals. The road painting Sometimes, certain shared identities help us and white, good and bad, Tamils and promote healing. Those affected by violence movement, which was started as a connect with others. For example, as a Sinhalese, Buddhists and Hindus, North and do not forget. The challenge is to find ways to response to a specific event of violence - the mother, I may identify with another mother South, etc. We are forced to rethink promote a non-vindictive, healing memory; to assassination of Neelan Tiruchelvam - has or I may be more empathetic to stories told everything and this can be a very difficult remember the past in order to move beyond it. been used to promote healing and send a by mothers about the loss of their children. process. But to rethink and to seek to There are many ways in which this can be message of peace. Twice a year on Neelan's Or, as a torture survivor, I may identify with understand a situation from a position of done; through official and unofficial birthday and death anniversary - the road is another person who has suffered torture. empathy may also be a liberating mechanisms, at the national, regional or local repainted. Road painting has been used experience. It opens an individual up to the levels; through rituals, the arts, throughout Colombo to mark and transform Due to the biases we each have, which are a possibility of peace. memorialization, truth commissions, sites of violence. The message -“secure the consequence of living in a divided society, ceremonies, days of remembrance, oral sanctity of life” - is always the same, as are certain identities (like one's ethnicity or history projects, and trials, to name a few. symbols of peace. one's politics) may predetermine what we Exercise 4: Remembering see and how we interpret events. They may It is important to remember that rituals or Invite the participants to take a few moments symbols of memory or the past are not always make it more difficult for some to see In countries emerging from situations of to think about the memories of past political compatible with peaceful objectives. In some linkages or may undermine one's ability to internal armed conflict, war or repression, violence that their communities or individuals cases, memory is used to fuel conflict. Be empathize with others outside of one's choices must be made about whether and/or within those communities carry with them. aware and listen carefully to the responses social group. For example, if I see myself how to confront past violence and injustice. and encourage the group to think about the primarily as a member of a group of victims, In many cases the choice is made when the Questions: many ways expressions of memory might be I may seek out information that conforms to state fails to take any proactive measures to experienced and used. Such expressions may this perception of myself. It may be difficult address the past. However, there is an How has your community dealt with violence mean different things to different people and for me to identify with the suffering of increasing consensus emerging that there and loss associated with the war or the reign may have both positive and negative another if I do not see it linked to my own must be space within conflict transformation of terror? associations. Some of the bus stands in the suffering. I may only be interested in stories processes to expose and acknowledge the south that have been erected to remember that validate my own suffering. past in some way. For many of those who Viewers may need some help or prompting military and police personnel killed in the war have been harmed by war and political through follow-up questions, such as: Do may be examples of expressions of memory, violence, acknowledgement is an important people talk about what happened? Have about which some may have mixed or part of healing and may be a necessary there been any public acknowledgements? negative feelings. In particular, bus stands precondition for reconciliation. Have support groups of survivors been that use symbols of militarism and the state formed formally or informally? may evoke both reactions.

the art of forgetting 16 a facilitation guide - Lisa Kois the art of forgetting 17 a facilitation guide - Lisa Kois “Some people say there are two stories in Sri Lanka… The story of the North and the story of the South.”

the art of forgetting 16 a facilitation guide - Lisa Kois the art of forgetting 17 a facilitation guide - Lisa Kois

How has memory been used to fuel conflict Exercise 5: Representing Violence How might you be able to influence media in between political parties or groups? your community or as a part of your work? Representations of violence in the local media How can media be more effectively used to Memorials and rituals that honor “heroes” have been characterized overwhelmingly by promote healing and peace? are used by all parties to promote their insensitivity, exploitation, and sensationalism. nationalist agendas. The LTTE, with its cult Photographs explicitly depicting the aftermath There are numerous ways to work with of martyrdom, uses memory and ritual to of violence are commonly found on the front media. Invite media to your organizations' promote its struggle and appeal to the page. Images or graphic descriptions of events. Send educational press releases. emotions of Tamils in general, and young violence are typical. Violent images are used Respond to offensive portrayals of violence Tamils in particular. The annual hero's day on extremist websites that seek to incite with letters or phone calls. Get to know ceremonies are examples of this, as are the division and hatred. Further, media your local stringer, so that you have direct martyr cemeteries maintained by the LTTE. representations of people affected by violence access to him or her when news happens. The government has erected large often focus on their victimization and Suggest stories to him or her. These are memorials for government forces killed in victimhood. just a few examples. Brainstorm with the the war at the Saliyapura Camp outside group and see what kind of interesting Anuradhapura and in Kandy. Like the LTTE, Questions: ideas are suggested. the military has ceremonies recognizing Are the people in the film victims or survivors? “heroes” and the mothers or family Can you think of examples of both sensitive members of fallen “heroes”. Celebrations and insensitive portrayals of violence in the Survivors. The stories have been chosen, in of martyrdom fuel nationalist agendas and media? part, because they convey the complexity help maintain a steady supply of new of the survivor story. Breaking the silence Graphic images of the dead or of body parts recruits. surrounding political violence and sharing are the most common and persistent one's story is a political act. The examples of insensitive portrayals of willingness of people to share their stories What challenges are posed to peace building violence. Sensitive portrayals focus more and speak on camera indicates that they by the use or manipulation of the past for on survivors than on victims. They may have agency. partisan political purposes and how can those show survivors in positive roles - such as challenges be overcome? working to rebuild their lives - and do not exploit their suffering. Some images, Because certain episodes of violence themselves, may be relatively neutral. become linked to one particular group as However, they may be used in such a way perpetrator, it becomes difficult to raise Those working for peace can counter such as to render them sensitive or insensitive. issues of past political violence in a neutral campaigns and work against the cooptation of way. Memory is co-opted for partisan memory by providing alternatives; by How do you think such portrayals help or political gains and, thus, becomes mired in consistently working with survivors to find hinder empathy, healing and/or reconciliation? the politics of name-calling and finger- ways of remembering through rituals. pointing. Serious independent discussions When we are exposed to insensitive images become difficult for fear of being identified of violence that dehumanize people or with one particular group or of fueling To whom is the “you” referring in the film's groups, we are less likely to be able to another group's political project. title sequence “but you did everything you identify with those people. Also, when we could to be ill informed?” are exposed to numerous images of graphic In the south, memories of the Reign of violence, we become desensitized to Terror have been evoked during political You, the viewer, as part of a broader Sri violence generally. Such images slowly campaigns. Hence, that period has been Lankan population.… political leaders… the numb us to the reality and horror of the associated overwhelmingly with partisan world. violence and its consequences. politics. For example, the People's Alliance produced a series of posters “Don't ever What does the art of forgetting mean? forget 17 years of rule by the UNP.” These The term, the art of forgetting, is used posters graphically depicted images of ironically. This is a film about memory. terror. This is an example of vindictive Some people believe the past is better left in memory; memory used for petty partisan the past and that it should not be discussed. gains. The question of remembering versus forgetting and the implications of both is an interesting topic for discussion.

the art of forgetting 18 a facilitation guide - Lisa Kois the art of forgetting 19 a facilitation guide - Lisa Kois

the art of forgetting 18 a facilitation guide - Lisa Kois the art of forgetting 19 a facilitation guide - Lisa Kois What role can or should survivors play in Exercise 6: Women and Armed Women experience political violence and war What does this suggest about how men and in their many different roles; as political women have been differently affected by conflict transformation and how might you or Conflict your group help facilitate such a process? actors, combatants, mothers, wives and political violence and war? daughters. They may be targeted because of As discussed above, women and men One of the issues raised in the final chapter, their political work or because of their There is no easy answer to this question. experience war differently. More men serve legacies of absence, is the issue of gender. relationships with male political actors, such There is likely to be differing opinions. Like as decision-makers and combatants. More Although it is not explicitly addressed, the as their husbands. There are particular forms any other group of people, those affected by women are left behind to tend to the family stories suggest that there are different ways in of violence that are gendered i.e. gender conflict have divergent opinions about what and the home. These different roles impact which women and men are impacted by war based violence such as rape and sexual should be done. For example, those the way men and women experience war and political violence. harassment. Sexual violence is used affected by political violence are not and political violence. necessarily pro-peace. Nonetheless, there disproportionately against women, further “Later I got a message saying my son was impacting the distinct nature of women's are particular needs that arise for the How might women's unique experiences killed and burnt. Because I was a woman the experience in war and armed conflict. affected and, thus, processes of conflict impact on conflict transformation or peace transformation must seek to address these villagers wouldn't let me go to see his body…” - Kusuma processes? needs. In order to understand the Questions complexity of these needs, those affected Women's distinct experiences in war and “I was attacked even though I was a woman.” periods of political violence impact their by political violence and war should play a Why do you think there are so many women in - Nilmini needs during conflict transformation and role in planning and implementation the film? processes. Discuss what some of these peace. The harms and injustices suffered by women must be addressed specifically needs may be and how to integrate affected There may be many reasons for this. populations into planning and/or War and political violence are gendered, which and appropriately. Thus, conflict means that the experiences of men and transformation processes or peace implementation processes. In many families and communities, it is the women during war and episodes of political processes must specifically consider women who are the storytellers. They violence are different and, in part, determined women's needs and must plan ways to carry the history of the family with them by their gender. Although individual address these needs. Women should play and pass on that history to others. experiences vary, there are certain an integral role in developing such experiences of war and political violence that processes. are shared by women, not only in Sri Lanka, Generally, women are more present in the but also the world over. In some cases, this home. It may be that more women were may mean that women are subjected to less met by virtue of the approach of the physical violence. For example, women in the filmmakers, who approached and met military may not be assigned to combat people randomly on their travels. positions. In other cases it may mean that the kinds of physical violence they experience are Sri Lanka's armed conflicts have claimed distinct, such as sexual violence. the lives of more men than women. Thus, in some areas (particularly the North and East), the ratio of men to women is skewed. There are less men than women because so many have been lost to the war.

the art of forgetting 20 a facilitation guide - Lisa Kois the art of forgetting 21 a facilitation guide - Lisa Kois What role can or should survivors play in Exercise 6: Women and Armed Women experience political violence and war What does this suggest about how men and in their many different roles; as political women have been differently affected by conflict transformation and how might you or Conflict your group help facilitate such a process? actors, combatants, mothers, wives and political violence and war? daughters. They may be targeted because of As discussed above, women and men One of the issues raised in the final chapter, their political work or because of their There is no easy answer to this question. experience war differently. More men serve legacies of absence, is the issue of gender. relationships with male political actors, such There is likely to be differing opinions. Like as decision-makers and combatants. More Although it is not explicitly addressed, the as their husbands. There are particular forms any other group of people, those affected by women are left behind to tend to the family stories suggest that there are different ways in of violence that are gendered i.e. gender conflict have divergent opinions about what and the home. These different roles impact which women and men are impacted by war based violence such as rape and sexual should be done. For example, those the way men and women experience war and political violence. harassment. Sexual violence is used affected by political violence are not and political violence. necessarily pro-peace. Nonetheless, there disproportionately against women, further “Later I got a message saying my son was impacting the distinct nature of women's are particular needs that arise for the How might women's unique experiences killed and burnt. Because I was a woman the experience in war and armed conflict. affected and, thus, processes of conflict impact on conflict transformation or peace transformation must seek to address these villagers wouldn't let me go to see his body…” - Kusuma processes? needs. In order to understand the Questions complexity of these needs, those affected Women's distinct experiences in war and “I was attacked even though I was a woman.” periods of political violence impact their by political violence and war should play a Why do you think there are so many women in - Nilmini needs during conflict transformation and role in planning and implementation the film? processes. Discuss what some of these peace. The harms and injustices suffered by women must be addressed specifically needs may be and how to integrate affected There may be many reasons for this. populations into planning and/or War and political violence are gendered, which and appropriately. Thus, conflict means that the experiences of men and transformation processes or peace implementation processes. In many families and communities, it is the women during war and episodes of political processes must specifically consider women who are the storytellers. They violence are different and, in part, determined women's needs and must plan ways to carry the history of the family with them by their gender. Although individual address these needs. Women should play and pass on that history to others. experiences vary, there are certain an integral role in developing such experiences of war and political violence that processes. are shared by women, not only in Sri Lanka, Generally, women are more present in the but also the world over. In some cases, this home. It may be that more women were may mean that women are subjected to less met by virtue of the approach of the physical violence. For example, women in the filmmakers, who approached and met military may not be assigned to combat people randomly on their travels. positions. In other cases it may mean that the kinds of physical violence they experience are Sri Lanka's armed conflicts have claimed distinct, such as sexual violence. the lives of more men than women. Thus, in some areas (particularly the North and East), the ratio of men to women is skewed. There are less men than women because so many have been lost to the war.

the art of forgetting 20 a facilitation guide - Lisa Kois the art of forgetting 21 a facilitation guide - Lisa Kois October 31 1990 Jaffna's Muslim community was July 29 1999 Neelan Tiruchelvam - constitutional given two hours to leave Jaffna by scholar, lawyer, member of the LTTE, who was in control of parliament, moderate Tamil politician - Jaffna at the time. was assassinated by a suicide bomber on his way to office.

October 31 1995 With a government take-over imminent, Jaffna's entire population August 29 1999 The Road Painting Movement was was forced to leave by the LTTE, who started when four young women who was in control of Jaffna at the time. worked with Neelan Tiruchelvam painted the road where Neelan was killed with images of peace and the September 7 1996 1 8 - y e a r - o l d K r i s h a n t h y message, “secure the sanctity of life.” Kumaraswamy disappeared at The group grew to include activists, Chemmani Checkpoint in Jaffna. Her artists, students and other peace- mother, brother and a neighbor, who loving people and went on to paint went in search of Krishanthy, also about 20 sites of violence in and disappeared. The disappearances of around Colombo. the family sparked national and international outrage and led to the time formation of the Krishanthy Coalition line (later the Vigil Coalition), a Colombo- February 20 2002 A Ceasefire Agreement between the based civil society initiative that held Government of Sri Lanka and the LTTE weekly protests calling for was signed, paving the way for peace accountability for the perpetrators of talks between the two parties. Talks the crimes against Krishanthy and her continued through six rounds until, on family, as well as other violations of April 20 2003, the LTTE suspended women's human rights. The participation in the talks. Kumaratunga Government initiated an investigation that led to prosecutions of military and police personnel for abduction, rape and April 8 2002 The two parties opened the A9 road to murder and those found guilty by the civilian traffic for the first time in 12 court were sentenced to death. The years, allowing civilians to travel case was heralded as a victory for between the north and the south with human rights protection in Sri Lanka relative ease. despite serious flaws in the administration of justice.

June 2006 The Ceasefire Agreement continues May 13 1997 The Government launched Operation to hold in name only, with systematic Jayasikuru (Victory Assured) to political killings, aerial bombing, and capture the A9 road and open a land increasing violence leading to a return route to the government-controlled to war. Jaffna peninsula. The longest and most costly military offensive in Sri L a n k a ' s h i s t o r y , O p e r a t i o n Jayasikuru ended in failure for the Government after the LTTE retook the three most significant camps in the Wanni: Mullaitivu, Kilinochchi and Elephant Pass.

the art of forgetting 2222 a facilitation guide - Lisa Kois the art of forgetting 23 a facilitation guide - Lisa Kois October 31 1990 Jaffna's Muslim community was July 29 1999 Neelan Tiruchelvam - constitutional given two hours to leave Jaffna by scholar, lawyer, member of the LTTE, who was in control of parliament, moderate Tamil politician - Jaffna at the time. was assassinated by a suicide bomber on his way to office.

the art of forgetting 2222 a facilitation guide - Lisa Kois the art of forgetting 23 a facilitation guide - Lisa Kois

d e h c t a w

Additional Reading o y

s a

Non-Fiction l e e f

Chandraprema, C.A., The Years of Terror: The JVP Insurrection 1987- 1989. u o ? y

Colombo: Lake House, 1991. y r d i o t d

De Silva, K.M., A History of Sri Lanka. New Delhi: Oxford University Press, 1981. s i o h H t Gunaratna, Rohan, Sri Lanka A Lost Revolution: The Inside Story of the JVP.

Colombo: Institute of Fundamental Studies, 1990. ? d e t a

Hasbullah, S.H., Muslim Refugees: The Forgotten People in Sri Lanka's Ethnic c i l

Conflict. Colombo: Research and Action Forum for Social Devlopment, 2001. p m i

Hoole, Rajan, Sri Lanka: The Arrogance of Power Myths, Decadence and Murder. a w

Colombo: University Teachers for Human Rights (Jaffna), 2001. s / p u

Hoole, Rajan, Daya Somasundaram, K. Sritharan, Rajani Thiranagama, The Broken o r x g i

Palmyra, The Tamil Crisis in Sri Lanka An Inside Account. California: The l a Sri Lanka Studies Institute, 1990. d c i t n i l e o

Kois, Lisa ed., Transcending the Bitter Legacy: Selected Parliamentary Speeches by p

Neelan Tiruchelvam. Colombo: International Centre for Ethnic Studies, Sri Lanka) 2000. h p c i h A Somasundaram. Daya, Scarred Minds: The Psychological Impact of War on Sri W Lankan Tamils. New Delhi: Sage Publications, 1998.

Subramanian, Nirupama, Sri Lanka: Voices from a War Zone. New Delhi: Penguin, u o

2005. y

p l e ? t Neelan Tiruchelvam, Selected Writings: Human Rights, Constitutionalism, Diversity h

u o o

and Pluralism. Colombo: International Centre for Ethnic Studies, 2000. t

b s a

d r y r o o t w

Fiction y e e h

k t )

. r s Ondaatje,Michael. Anil's Ghost. New York: Alfred A. Knopf, 2000. w e a e f b

a m t

e t Selvadurai, Shyam. Funny Boy. New Delhi: Penguin India, 1998. a s h m i e L W ( r Sivanandan, A. when Memory Dies. London: Arcadia Books, 1997.

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