{"id":1779,"date":"2023-05-29T19:17:28","date_gmt":"2023-05-29T19:17:28","guid":{"rendered":"https:\/\/leticialistening.com\/spaces-restorative-transitional-justice\/?p=1779"},"modified":"2023-05-29T19:20:41","modified_gmt":"2023-05-29T19:20:41","slug":"itinerant-museum-of-memory-and-identity-of-montes-de-maria-el-mochuelo","status":"publish","type":"post","link":"https:\/\/leticialistening.com\/spaces-restorative-transitional-justice\/fr\/itinerant-museum-of-memory-and-identity-of-montes-de-maria-el-mochuelo\/","title":{"rendered":"Itinerant Museum of Memory and Identity of Montes de Mar\u00eda \u201cEl Mochuelo\u201d"},"content":{"rendered":"
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\u00c9tudes de cas<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Itinerant Museum of Memory and Identity of Montes de Mar\u00eda \u201cEl Mochuelo\u201d<\/h1>\t\t\t\t<\/div>\n\t\t\t\t
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Justice r\u00e9paratrice<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\"1.
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1. Itinerant Museum of Memory, bird\u2019s-eye view<\/figcaption><\/figure><\/div>
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2. Itinerant Museum of Memory, sectional plan<\/figcaption><\/figure><\/div>
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3. Interior view of exhibit<\/figcaption><\/figure><\/div>
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4. Itinerant Museum of Memory, victims\u2019 ceremony<\/figcaption><\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
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* For image references, please scroll to the bottom of the page.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Author of case study:<\/b>\u00a0Greg Labrosse<\/p>

Geopolitical location of space:<\/b>
Montes de Mar\u00eda
Departments of Sucre and Bol\u00edvar<\/p>

Extant?<\/b>\u00a0Yes<\/p>

Architect:<\/b>
The design process was led by Centro \u00c1tico, a design studio at the Javeriana University in Bogot\u00e1, and Estudio Mapping, a multidisciplinary design studio also based in Bogot\u00e1.<\/p>

Timeframe of RJ\/TJ process in this space:<\/h2>

The actual design began in 2013 and lasted for five years. Activities are ongoing.<\/p>

Background information:<\/h2>

The idea for the museum started in 2011 as a collaborative research project between the\u00a0L\u00ednea 21<\/i>\u00a0Communications Collective of Montes de Mar\u00eda and the Narrators of Memory Collective, which included the participation of men, women and children from seven different municipalities of the region. The actual design began in 2013 and lasted for five years. The design process was led by the Centro \u00c1tico, a design studio at the Javeriana University in Bogot\u00e1, and was actively supported by several international organisations: the Spanish Agency for International Development Cooperation (AECID); the Catalan Agency of Cooperation to the Development (ACCD); the Movement for Peace (MPDL); and the Embassy of France.<\/p>

Is restorative justice actually taking place in this space?<\/h2>

The objective of the museum is to foster dialogue, reconciliation, non-repetition, and meaning-making within the communities of the Montes de Mar\u00eda region.<\/p>

Is this space designed\/arranged for safe listening?<\/h2>

It is designed as an exhibition and sharing\/dialogue\/learning space.<\/p>

Who is the audience\/the intended participants for this space?<\/h2>

Its activities are mostly directed to the communities of the Montes de Mar\u00eda region, but as a museum, it is open to all.<\/p>

How or to what extent is this space public?<\/h2>

The museum is public.<\/p>

What are the politics of this space, either in terms of its location, design, spatial, or visual aspects?<\/h2>

The Museum defines itself as a platform for symbolic reparation where the public and political voices of the communities affected by the armed conflict in the territory of Montes de Mar\u00eda are recovered. Montes de Mar\u00eda is a cultural and geographical subregion of the Caribbean coast of Colombia. It covers an area of 2,677 km2, encompassing fifteen municipalities of the departments of Sucre and Bol\u00edvar. The territory has been one of the most affected by Colombia\u2019s armed conflict. Between 1985 and 2017, a total of 3,197 selective murders, 117 massacres, and 234.098 forced displacements were registered there, as per data provided by the National Center of Historical Memory. The violence in the region stems primarily from the conflicting interests of different groups aiming to exploit the territory\u2019s environmental wealth and its strategic geographical position.<\/p>

Physical\/factual description of space:<\/h2>

The museum is itinerant and participatory. Its structure is made of wood, which makes it possible to disassemble and relocate. Since 2019, it has traveled to five different municipalities of the region. The total weight of the complete structure is 35 tons; it is 18 meters long, 12 meters wide and 5 meters in height. The physical structure houses the \u201ctree of life\u201d from which 700 leaves with the names of the victims hang; there are also testimonies of the conflict. The winged shape lateral roof emulates the flight of the\u00a0mochuelo<\/i>, an emblematic songbird of the region, with the purpose of giving prominence to the oral histories of the region\u2019s victims.<\/p>

Analytical description of space:<\/h2>

The museum was created to be itinerant because this enables an active participation of the communities in its activities. As such, it aims to foster social mobilisation, public formation and visibility throughout the Caribbean region as well as other areas of the country. Its mobility makes it easier for communities to generate articulating mechanisms of self-representation and symbolic reparation, central in the construction of dignifying life projects and autonomy in the territory.<\/p>

The Itinerant Museum of the Memory of Montes de Mar\u00eda is designed as a space composed of three dimensions that form a unified whole: Territory\u2014the particular characteristics of the geographical region; Memory\u2014the right of the citizens to participate in the telling of their own story as a necessity of non repetition; Communication\u2014the exercise of the right to advocate for the transformation of a territory forced to live with the burden of its tragic history. The museum, thus conceived, becomes a form of resistance to the erasing of memory, as well as a mechanism for non-repetition, by virtue of its pedagogical component, which promotes the community\u2019s social reconstitution.<\/p>

The museum\u2019s programming not only includes a tour of the different exhibition spaces, but also presentations from local artists, singers and community groups, who add their voices to the testimonies and artifacts on display. These activities are coordinated by a large number of volunteers, mostly high school and university students from the region who have been trained as guides. The majority of the museum visitors are local residents (of all ages), but despite its relatively small scale, national and international participants have also been involved in the museum\u2019s processes.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Bibliographic references:<\/strong><\/h5>