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'Culturecide' in war to be subject of London exhibition 'Culturecide' in war to be subject of London exhibition
(about 3 hours later)
From the German torching of Belgium’s famed Leuven library, to Islamic State’s destruction of ancient Palmyra, the weaponisation of cultural property in conflict, a so-called “culturecide”, has long existed in warfare.From the German torching of Belgium’s famed Leuven library, to Islamic State’s destruction of ancient Palmyra, the weaponisation of cultural property in conflict, a so-called “culturecide”, has long existed in warfare.
When future Roman emperor Titus sacked Jerusalem in 70 CE (AD) he appropriated the temple’s golden menorah as a trophy. The British seized Benin’s art treasures in a punitive 1897 expedition to crush the west African nation. The Taliban destroyed the Bamiyan Buddhas in 2001. When future Roman emperor Titus sacked Jerusalem in AD70 he appropriated the temple’s golden menorah as a trophy. The British seized Benin’s art treasures in a punitive 1897 expedition to crush the west African nation. The Taliban destroyed the Bamiyan Buddhas in 2001.
Now the exhibition “What Remains” is to examine culturecide as part of a “Culture Under Attack” series at the Imperial War Museum in London. Now the exhibition What Remains is to examine culturecide as part of a Culture Under Attack series at the Imperial War Museum in London.
One focus of the exhibition is how the the British military might prevent future losses, and the role of a new cultural property protection unit (CPPU), a deployable unit of 15 specialist army reservists, due to become operational in the autumn. These modern-day “Monuments Men” have the same mission as their forbears, whose efforts to save artistic treasures from the Nazis inspired the film of the same name starring George Clooney and Matt Damon.One focus of the exhibition is how the the British military might prevent future losses, and the role of a new cultural property protection unit (CPPU), a deployable unit of 15 specialist army reservists, due to become operational in the autumn. These modern-day “Monuments Men” have the same mission as their forbears, whose efforts to save artistic treasures from the Nazis inspired the film of the same name starring George Clooney and Matt Damon.
Through first world war army education posters and prints, second world war photographs and footage, and artefacts and images from more recent conflicts, the exhibition charts the powerful propaganda around cultural property destruction, and asks what motivates such desecration.Through first world war army education posters and prints, second world war photographs and footage, and artefacts and images from more recent conflicts, the exhibition charts the powerful propaganda around cultural property destruction, and asks what motivates such desecration.
Playing cards issued to soldiers, with images to alert and educate them, are among measures adopted by the UK and Nato to reduce cultural destruction. In one set, aimed at troops serving in Iraq, the queen of diamonds features a lamassu, the winged Assyrian bull, with the message that art such as this statue “be preserved in place for all humankind”.Playing cards issued to soldiers, with images to alert and educate them, are among measures adopted by the UK and Nato to reduce cultural destruction. In one set, aimed at troops serving in Iraq, the queen of diamonds features a lamassu, the winged Assyrian bull, with the message that art such as this statue “be preserved in place for all humankind”.
Another exhibit is a charred book, salvaged from the smouldering ruins of the university library of Leuven, Belgium, which was destroyed by the Germans in 1914 along with 230,000 volumes of books, medieval and Renaissance manuscripts and more than 1,000 pre-16th century incunabula. Another exhibit is a charred book, salvaged from the smouldering ruins of the university library of Leuven, Belgium, which was destroyed by the Germans in 1914 along with 230,000 volumes of books, medieval and Renaissance manuscripts and more than 1,000 pre-16th century printed works.
“The reason Leuven was burnt, the reasons that the Luftwaffe targeted Britain’s oldest cultural cities as part of the Baedeker raids, is that there is leverage you can attain if you destroy, or threaten to destroy, the things that have most meaning for people,” said the exhibition’s curator, Carl Warner, IWM’s head of cold war and late 20th century. “It is the most devastating thing you can do.” “The reason Leuven was burnt, the reasons that the Luftwaffe targeted Britain’s oldest cultural cities as part of the ‘Baedeker raids’, is that there is leverage you can attain if you destroy, or threaten to destroy, the things that have most meaning for people,” said the exhibition’s curator, Carl Warner, IWM’s head of cold war and late 20th century. “It is the most devastating thing you can do.”
Monumental loss: Azerbaijan and 'the worst cultural genocide of the 21st century'Monumental loss: Azerbaijan and 'the worst cultural genocide of the 21st century'
The exhibition is curated in partnership with Historic England and features Germany’s first world war destruction of cathedrals in France and Belgium, and recruitment posters urging men to join the fight against “the Hun”.The exhibition is curated in partnership with Historic England and features Germany’s first world war destruction of cathedrals in France and Belgium, and recruitment posters urging men to join the fight against “the Hun”.
The loss of precious structures can be devastating, as articulated by the Croatian author Slavenka Drakulić on the destruction in 1993 of the 16th-century Stari Most bridge in Mostar during the Croat-Bosniak war. Warner said: “We expect people to die. But she wrote: ‘A dead woman is one of us – but the bridge is all of us, forever.’ Because what you are losing is any anchor you have to some sense of permanence.”The loss of precious structures can be devastating, as articulated by the Croatian author Slavenka Drakulić on the destruction in 1993 of the 16th-century Stari Most bridge in Mostar during the Croat-Bosniak war. Warner said: “We expect people to die. But she wrote: ‘A dead woman is one of us – but the bridge is all of us, forever.’ Because what you are losing is any anchor you have to some sense of permanence.”
The CPPU’s formation follows desecration by Isis of the ancient sites in Palmyra in Syria and Nimrud in Iraq, and the formalisation of Britain’s 2017 ratification of the 1954 Hague convention on protecting cultural property during military conflict.The CPPU’s formation follows desecration by Isis of the ancient sites in Palmyra in Syria and Nimrud in Iraq, and the formalisation of Britain’s 2017 ratification of the 1954 Hague convention on protecting cultural property during military conflict.
Capt Mark Dunkley, the CPPU senior adviser and an army reservist, said: “Culturecide is being seen to be a parallel occupation with genocide, to deliberately destroy cultural identity,”, with the three motivating factors seen as ideology, display of power, and economic.Capt Mark Dunkley, the CPPU senior adviser and an army reservist, said: “Culturecide is being seen to be a parallel occupation with genocide, to deliberately destroy cultural identity,”, with the three motivating factors seen as ideology, display of power, and economic.
With Isis, the ideological motivation for the razing of ancient cities was to prevent “shirk” – the worship of anything other than the singular god – and went hand-in-hand with “Jahiliyyah”, anything built that pre-dated the advent of Islam, he said.With Isis, the ideological motivation for the razing of ancient cities was to prevent “shirk” – the worship of anything other than the singular god – and went hand-in-hand with “Jahiliyyah”, anything built that pre-dated the advent of Islam, he said.
Economic motivation leads to cultural artefacts being sold to generate money for weapons and ammunition. By tackling looting and trafficking of artefacts, the British army aims to reduce “threat finance”, the risk of artefacts funding enemy weaponry.Economic motivation leads to cultural artefacts being sold to generate money for weapons and ammunition. By tackling looting and trafficking of artefacts, the British army aims to reduce “threat finance”, the risk of artefacts funding enemy weaponry.
The UN recognises cultural heritage as a human rights issue. “It is recognised that atrocities to civilians and cultural property destruction often dovetails,” said Dunkley.The UN recognises cultural heritage as a human rights issue. “It is recognised that atrocities to civilians and cultural property destruction often dovetails,” said Dunkley.
Military missions – either humanitarian intervention or counter-insurgency – must take into account at pre-deployment operational mapping stages how to avoid attacks against cultural property, he said. “We are seeking to create a spirit of respect.”Military missions – either humanitarian intervention or counter-insurgency – must take into account at pre-deployment operational mapping stages how to avoid attacks against cultural property, he said. “We are seeking to create a spirit of respect.”
Avoiding destruction helps increase influence and ensures troops do not face negative accusations from local residents. It also helps facilitate a return to normalcy.Avoiding destruction helps increase influence and ensures troops do not face negative accusations from local residents. It also helps facilitate a return to normalcy.
It will be challenging, Dunkley admitted, not least because of the risk of overloading commanders whose primary objective is military success. But there will also be difficulties in identifying culturally important buildings or artefacts in the first place.It will be challenging, Dunkley admitted, not least because of the risk of overloading commanders whose primary objective is military success. But there will also be difficulties in identifying culturally important buildings or artefacts in the first place.
“How do we get that information? We can ask the host nations, but that may just be headline infrastructure such as world heritage sites, the national museums,” said Dunkley. “How do we take account of, say, a roadside shrine that is important to only a very small number of people? Or gendered cultural property? Are there sites specifically important to female populations, or to male populations? These are really big questions.”“How do we get that information? We can ask the host nations, but that may just be headline infrastructure such as world heritage sites, the national museums,” said Dunkley. “How do we take account of, say, a roadside shrine that is important to only a very small number of people? Or gendered cultural property? Are there sites specifically important to female populations, or to male populations? These are really big questions.”
What Remains, (5 July 2019 – 5 January 2020), at IWM London.What Remains, (5 July 2019 – 5 January 2020), at IWM London.
What Remains, (5 July 2019 – 5 January 2020), at IWM London.What Remains, (5 July 2019 – 5 January 2020), at IWM London.
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