Traces of trauma : Cambodian visual culture and national identity in the aftermath of genocide

How do the people of a morally shattered culture and nation find ways to go on living? Cambodians confronted this challenge following the collective disasters of the American bombing, the civil war, and the Khmer Rouge genocide. The magnitude of violence and human loss, the execution of artists and intellectuals, the erasure of individual and institutional cultural memory all caused great damage to Cambodian arts, culture, and society. Author Boreth Ly explores the “traces” of this haunting past in order to understand how Cambodians at home and in the diasporas deal with trauma on such a vast scale. Ly maintains that the production of visual culture by contemporary Cambodian artists and writers—photographers, filmmakers, court dancers, and poets—embodies traces of trauma, scars leaving an indelible mark on the body and the psyche. His book considers artists of different generations and family experiences: a Cambodian-American woman whose father sent her as a baby to the United States to be adopted; the Cambodian-French film-maker, Rithy Panh, himself a survivor of the Khmer Rouge, whose film __The Missing Picture__ was nominated for an Oscar in 2014; a young Cambodian artist born in 1988—part of the “post-memory” generation. The works discussed include a variety of materials and remnants from the historical past: the broken pieces of a shattered clay pot, the scarred landscape of bomb craters, the traditional symbolism of the checkered scarf called __krama,__ as well as the absence of a visual archive. Boreth Ly’s poignant book explores obdurate traces that are fragmented and partial, like the acts of remembering and forgetting. His interdisciplinary approach, combining art history, visual studies, psychoanalysis, cultural studies, religion, and philosophy, is particularly attuned to the diverse body of material discussed in his book, which includes photographs, video installations, performance art, poetry, and mixed media. By analyzing these works through the lens of trauma, he shows how expressions of a national trauma can contribute to healing and the reclamation of national identity.

Seventy years have passed since the end of the Asia-Pacific War, yet Japan remains embroiled in controversy with its neighbors over the war's commemoration. Among the many points of contention between Japan, China, and South Korea are interpretations of the Tokyo War Crimes Trial, apologies and compensation for foreign victims of Japanese aggression, prime ministerial visits to the Yasukuni Shrine, and the war’s portrayal in textbooks. Collectively, these controversies have come to be called the "history problem." But why has the problem become so intractable? Can it ever be resolved, and if so, how?

To answer these Hiro Saito mobilizes the sociology of collective memory and social movements, political theories of apology and reconciliation, psychological research on intergroup conflict, and philosophical reflections on memory and history. The history problem, he argues, is essentially a relational phenomenon caused when nations publicly showcase self-serving versions of the past at key ceremonies and events: Japan, South Korea, and China all focus on what happened to their own citizens with little regard for foreign others. Saito goes on to explore the emergence of a cosmopolitan form of commemoration taking humanity, rather than nationality, as its primary frame of reference, an approach increasingly used by a transnational network of advocacy NGOs, victims of Japan’s past wrongdoings, historians, and educators. When cosmopolitan commemoration is practiced as a collective endeavor by both perpetrators and victims, Saito argues, a resolution of the history problem will finally become possible.

The book examines a vast corpus of historical material in both English and Japanese, offering provocative findings that challenge orthodox explanations. Written in clear and accessible prose, this uniquely interdisciplinary book will appeal to sociologists, political scientists, and historians researching collective memory, nationalism and cosmopolitanism, and international relations - and to anyone interested in the commemoration of historical wrongs.

How do the people of a morally shattered culture and nation find ways to go on living? Cambodians confronted this challenge following the collective disasters of the American bombing, the civil war, and the Khmer Rouge genocide. The magnitude of violence and human loss, the execution of artists and intellectuals, the erasure of individual and institutional cultural memory all caused great damage to Cambodian arts, culture, and society. Author Boreth Ly explores the "traces" of this haunting past in order to understand how Cambodians at home and in the diasporas deal with trauma on such a vast scale. Ly maintains that the production of visual culture by contemporary Cambodian artists and writers—photographers, filmmakers, court dancers, and poets—embodies traces of trauma, scars leaving an indelible mark on the body and the psyche. Her book considers artists of different generations and family experiences: a Cambodian-American woman whose father sent her as a baby to the United States to be adopted; the Cambodian-French filmmaker, Rithy Panh, himself a survivor of the Khmer Rouge, whose film The Missing Picture was nominated for an Oscar in 2014; a young Cambodian artist born in 1988—part of the "post-memory" generation. The works discussed include a variety of materials and remnants from the historical past: the broken pieces of a shattered clay pot, the scarred landscape of bomb craters, the traditional symbolism of the checkered scarf called krama, as well as the absence of a visual archive. Boreth Ly's poignant book explores obdurate traces that are fragmented and partial, like the acts of remembering and forgetting. Her interdisciplinary approach, combining art history, visual studies, psychoanalysis, cultural studies, religion, and philosophy, is particularly attuned to the diverse body of material discussed, including photographs, video installations, performance art, poetry, and mixed media. By analyzing these works through the lens of trauma, she shows how expressions of a national trauma can contribute to healing and the reclamation of national identity. How do the people of a morally shattered culture and nation find ways to go on living? Cambodians confronted this challenge following the collective disasters of the American bombing, the civil war, and the Khmer Rouge genocide. The magnitude of violence and human loss, the execution of artists and intellectuals, the erasure of individual and institutional cultural memory all caused great damage to Cambodian arts, culture, and society. Author Boreth Ly explores the "traces" of this haunting past in order to understand how Cambodians at home and in the diasporas deal with trauma on such a vast scale.0Ly maintains that the production of visual culture by contemporary Cambodian artists and writers-photographers, filmmakers, court dancers, and poets-embodies traces of trauma, scars leaving an indelible mark on the body and the psyche. His book considers artists of different generations and family experiences: a Cambodian-American woman whose father sent her as a baby to the United States to be adopted; the Cambodian-French film-maker, Rithy Panh, himself a survivor of the Khmer Rouge, whose film The Missing Picture was nominated for an Oscar in 2014; a young Cambodian artist born in 1988-part of the "post-memory" generation. The works discussed include a variety of materials and remnants from the historical past: the broken pieces of a shattered clay pot, the scarred landscape of bomb craters, the traditional symbolism of the checkered scarf called krama, as well as the absence of a visual archive Contents Preface Acknowledgments Introduction 1. Broken Body: Situating Trauma in the Visual Cultures of Cambodia and Its Diaspora 2. Scarred Resilience: The Legacy of the United States’ Secret Bombing of Cambodia 3. Portraits of a Dictator: Khmer Rouge Ideology and the Politics of Aesthetics 4. Of Krama and Khmer Identity: The Land Where the Sugar Palm Trees Grow 5. Performing Khmer Cultural Identity: The Tale/Tail of the Serpent Princess Conclusion Notes Selected Bibliography Index