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The Untold Stories
The Oral History, Memory, and Displacement Archive in Post-ISIS conflicts Areas in Iraq
It has been nine years since the operations against ISIS in Iraq began, during which three key cities: Saladin, Mosul, and Anbar were liberated in 2017. The occupation of these cities resulted in the displacement of thousands of families, the destruction of their homes, confiscation of their property, while many lives were lost. People in and outside these cities are still experiencing the suffrage in the aftermath of the war, while many remain displaced outside and inside Iraq. The harm has not only been inflicted on the inhabitant of these cities but stretched to include many cities in the south for losing family members, homes, livelihoods, culture and history, and more importantly, places of memory.
Each of these families carries an untold life story(ies) as a result of the ISIS-led occupation and displacement, yet these stories remain hidden from, and not shared with the public. Furthermore, heard stories are thus far limited to the areas where destruction and displacement took place, and many times mis-conveyed in mainstream news outlets. A human-focused and community-focused narrative of this extremely difficult period remains without reach to the larger international community. Therefore, we see the importance and urgency is documenting these narratives directly from the immediate sources; people's stories who experienced this war, violence, and displacement, alongside ones who were indirectly affected.
As time passes, and the first generation that experienced the conflict is ageing, it is thus paramount that a personal record of how these communities suffered, and how they were able to overcome is documented. Considering memory of events only fade away with time, it is thus timely that personal, familial, and community-based accounts are documented. While such accounts can be difficult to narrate, they are nonetheless crucial archives for future generations of these communities, as well as the whole of humanity to be able to understand why and how conflicts happen, as well as, how communities across backgrounds, geographies and cultures come together in times of crisis to rebuild lives and livelihoods. Thus, we propose to document the experiences of inflicted violence and displacement from a communal perspective. We intentionally choose the scale of community to avoid inflicting unintended harm on recounting personal stories of individuals, unless those individuals feel empowered and choose to share those personal level stories, or if they emerge naturally. Yet, the overarching concept is to create a personal account of these events on a communal, or collective scale. This will allow us to build a narrative that includes all of Iraq’s community, rather than a few individuals.
So the aim of this project is to have people from these cities share their stories through recounting memory of communal life before and after, and contribute to recording their history, while there are still people who can remember them. More importantly, this project will contribute to the safeguarding of these histories for the future generations who will seek to discover their roots, and who might not be able to meet their ancestry that lived through this period, either because their previous ancestry passed away, or because those future generations will be born in the diaspora. Thus, this archive will serve as a historical, cultural and heritage piece, as well as a form of reconnecting individuals and communities with their heritage. It is also a way to maintain the continuation and transfer of customs and practices specific to groups of certain ethno-religious backgrounds, many dating back to ancient histories, and which Iraq is a host of many of these traditions. These communities offer us a valuable insight into historic material practices and customs that play a vital part in humanity’s evolution and progress. Thus, it is crucial that we document these practices –through stories—and pass them on to the future generations. Our interviews and performances will ensure these ‘practice-based’ heritage is transmitted.
To do this, we will opt to use forms of story-telling, utilizing interviews, oral accounts, photography and recordings to then translate into artistic forms, such as theatre, short films, and animated stories. We purposefully choose story-telling as a form of archiving considering it has been proven to offer ways of therapy and wellbeing for individuals recounting difficult memories (Bergner, 2007). This arts-based forms will also enable us to share the archive --through story-telling-- across Iraq and the globe.
The importance of this project lies in artistically generating and preserving original stories of historical importance from the main sources who experienced, saw, heard, and remembered. We aim to create an archive for this crucial period in the history of Iraq and the human globe, and which remains to be underrepresented. Such stories will also be of great value to actors, decision-makers in the government, the international community, and researchers by offering them a better, deeper understanding of the challenges faced by the displaced, and the impact this had on Iraqi cities.
This project is funded by Imagining Futures
THE UNTOLD STORIES was designed to create an oral and written archive of the stories of displaced people and those who are directly affected in the war-torn areas in Iraq. The project aimed to create the first archive of this sort that focuses on an important period of Iraq’s recent history, with the intent of strengthening the social fabric of Iraqi society through enabling those communities to communicate and preserve their stories, identities, as well as create a place for people of different cities to share their collective history. The importance of this project lied in the generation and preservation of original stories of historical importance from the accounts of the affected people. This was implemented by creating textual-graphical archive (translated from aural archival input) for this important period in the history of Iraq. The overriding objective of this project was to address “who has the power to decide what history to remember in the future and how?” To achieve this objective, the outputs focused on highlighting events and stories that were unknown at the time of the war against ISIS and neither were adequately covered by local and international media outlets. Doing so would give voice to those who are still unheard of in order to challenge the existing discourse that was dominant then. Alongside this, this project will give a clear picture of the people's perception and what they think of what happened as well as help raise awareness, build community peace, and challenge the prevailing discourse that appeared on (social) media then. The project does so through presenting the varied perceptions which emerge of such events of trauma and displacement. This type of stories will also be of value to actors, decision-makers in the government, the international community or researchers by providing them with a better understanding of the issues and challenges faced by the displaced and those who are directly affected and people in other Iraqi cities.
The outlined objectives were achieved, and an innovative form of communicating severe hardship was produced intersecting history, facts, lived experience and art. This approach was key in enabling us to achieve our objectives and further generated new inner insights into the details of how people felt and managed the everyday of living under ISIS control during those difficult years. It also shed light on what people value in times of extreme violence and threat to life, such as finding people support and solidarity and offering it as well for a shared survival. It also highlighted the marginality of materiality in those times of crisis whereby the people connection and care becomes more vital for survival than any material value. The project in many ways, empowered these communities to tell their stories themselves, in their own ways, and in the descriptions they choose to provide.
1. Mesopotamian Phoenix Festival
The Mesopotamian Phoenix Festival symbolizes the resilience and enduring spirit of the Iraqi people, much like the mythical phoenix rising from the ashes. This significant event brought together a diverse group of Iraqi academics, artists, students, and professionals from various fields to participate in this grand carnival.
Embracing a spectrum of artistic expressions, our festival is a testament to the resilience of the Iraqi spirit. Through a curated collection of visual and auditory masterpieces, we aim to shed light on the resilience of the Iraqi people, providing a beacon of hope for generations to come. This cultural celebration is a harmonious convergence of values, customs, and shared history, fostering unity among the diverse components of the Iraqi populace.
Beyond its artistic dimensions, the festival serves as a crucial platform to expose and condemn the atrocities committed by Daesh, bringing to the forefront the harrowing tales of massacres and displacement. Additionally, the event accentuates narratives of heroism, social cohesion, and shared destiny among the various factions of the Iraqi people, employing theatrical, artistic, and sculptural mediums to weave a rich tapestry of unity.
Our mission is to provide an artistic platform that not only commemorates the resilience of the Iraqi identity but also contributes to a brighter and optimistic vision for its future. Join us in this transcendent journey through time and art, as we collectively envision a promising horizon for the cultural tapestry of Iraq.
I found myself immersed in an artistic saga that profoundly stirred the emotions of the attendees. The festival had a profound impact, serving as a poignant remembrance of the images that portrayed the unity among Iraqis in the aftermath of those hardships, much like the rebirth of the phoenix.
Dr. Amer Al-Shibeeb
a. The Art Exhibition
The art exhibition displayed a wide array of artworks that captured the themes of resilience, hope, and the collective struggle of the people. The primary objective of the art exhibition, from the moment the call for participation was made, was to foster awareness and encourage engagement with the profound challenges faced by the Iraqi people during the dark period of occupation. Invitations were distributed across universities and among professionals, aiming to create a collaborative space where diverse perspectives could be shared and where the collective trauma and resilience of the population could be explored and expressed.
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This art exhibition stood out for its remarkable array of contributions from artists across different regions and academic institutions. Each artist brought their unique vision and artistic interpretation to the table, offering rich experiences and emotions. The artworks not only depicted the harsh realities of the past but also reflected the enduring hope and strength of the community.
Participants in the exhibition aimed to engage the audience, encouraging them to visualize and empathize with the suffering endured by the people. The exhibition served as a conduit for sharing stories, fostering dialogue, and building a sense of solidarity among attendees. It was more than just a showcase of artistic talent; it was a powerful act of collective storytelling and a means of processing shared pain and hope.
Book of Stories
The book of stories is a textual-graphic collection of descriptive moments and experiences obtained directly from the people who lived through and survived the violent period of ISIS existence in Iraq. It’s a textual and visual archive which evokes the emotional and personal narratives, ones that shed light on the social atmosphere and the collective history albeit a difficult one, the Iraqi people share due to this difficult period.
The process of collecting the stories (through field interviews) and producing the graphical book of stories produced several positive impacts, including:
> Training of local researchers on how to conduct interviews and obtain descriptive narratives while adhering to ethical and confidential considerations. This was done through a workshop on "How to conduct qualitative interviews-ethics & strategies" on guidelines for how to conduct interviews as well as, strategies for Qualitative Interviews (while emphasizing that the point of a qualitative interview is to let the respondent tell their own story on their own terms),
> Many of the local researchers who conducted the interviews are themselves survivors from the ISIS period, thus, it was conveyed that their engagement and sharing of stories felt reciprocal and provided a space to reconfirm the collective history and identity.
> As part of the interviews, the correspondents were asked to imagine the future Iraq, which provided a sense of hope.
> The artistic nature of the output provided a space for the stories to be evocative and descriptive.
In the News
The resplendent " Mesopotamian Phoenix Festival " garnered extensive coverage from prominent TV stations such as Al-Iraqiya, Karbala TV and UTV . Its impact transcended television screens, weaving through online media. Dynamic engagement on social media platforms further amplified the event's reach. Notably, the University of Kufa and other pages played a pivotal role in effectively conveying the essence of the event. This comprehensive coverage mirrors the profound influence and captivating allure of the " Mesopotamian Phoenix " across local and digital media landscapes.
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