Search

The Arabic word “Zyara” means “visit” in English. The Zyara documentary series takes an innovative, deeply personal approach to storytelling with a view to nurturing collective social and emotional healing. Through candid encounters, it paints poetic portraits of four Yemenis refugees living in Oman, including a human rights lawyer and activist, a restaurant worker, a martial arts champion, and a businessman. By telling their stories and celebrating the resilient spirit of the Yemeni people, the Zyara project seeks to raise awareness and preserve truth and memory. 

The photography exhibition “All Our Tears” weaves together the stories of victims from the wars in the Western Balkan region in the 1990s. It consists of 34 original photographs, taken by four photographers in various locations in Kosovo, North Macedonia, and Serbia. The photographs feature artifacts such as family photos of missing persons as well as sites of atrocities, mass graves, and memorials, bringing into sharp focus the tragedy of war and its devastating consequences on the lives of victims. The exhibition had its final opening at the gallery in the Council of Europe’s Palais de l’Europe, in Strasbourg, France, in June 2023. In 2022, it traveled through the region, with openings in Belgrade, Serbia; Prishtina, Kosovo; and Skopje, Macedonia. The exhibition was part of “Strengthening Inclusive Victim Voices, Transforming Narratives,” a three-year project funded by the European Union (EU) that brought together civil society organizations and victims’ groups in Kosovo, North Macedonia, and Serbia, along with the international organizations ICTJ and PAX to develop meaningful, victim-led peacebuilding and reconciliation initiatives in the region. As part of the EU project, the organizations also developed a set of shared, victim-centered, and context-specific transitional justice principles that victims’ groups in the Western Balkans can use to guide their work at the national and regional levels. PHOTO: Attendees walk through the “All Our Tears” exhibition in the Council of Europe’s Palais de l’Europe, in Strasbourg, France, in June 2023. (ICTJ) Throughout the 1990s, as Yugoslavia broke apart, its territories became brutal battlegrounds and the sites of the most serious conflict and abuses in Europe since World War II. The abuses included widespread attacks against civilians, enforced disappearances, population expulsions, systematic rape, and the use of concentration camps. Between 1991 and 2000, more than 140,000 people were killed, and almost four million others were displaced. The issue of the missing continues to haunt the region: At the time hostilities ended, an estimated 35,000 people were unaccounted for, and many families are still waiting for answers regarding the fate of their loved ones. “All Our Tears” shines a light on the experiences of the families of the missing and deceased as well as internally displaced persons in the region, and seeks to mobilize broader public support in their search for truth and justice. “This regional project exemplifies a remarkable collaboration among diverse groups, transcending borders and fostering unity in the pursuit of truth, justice, and healing for families affected by the wars in ex-Yugoslavia,” explained Teodora Zahirović, the public relations manager at Civic Initiatives, a Serbian civil society organization that participated in the project and helped organize the exhibition. For more information on “All Our Tears,” including detailed photo captions, see the exhibition catalogue.

This is an audio recording of a live event. On September 15, ICTJ organized a side event on the missing and disappeared in Syria, sponsored by the governments of Luxembourg and Finland, during the 77th session of the United Nations General Assembly. 

On June 21-23, 2022, Colombia’s Special Jurisdiction of Peace (la Jurisdicción Especial para la Paz, or JEP) held its first acknowledgment hearing on the taking hostages, serious deprivation of liberty, and other concurrent crimes (known as Case 01) at the Virgilio Barco Library auditorium in Bogotá. Seven former leaders of the guerrilla group Revolutionary Armed Forces of Colombia—People’s Army (FARC-EP) acknowledged their command responsibility for the kidnapping crimes that were the FARC-EP’s policy from 1993 to 2012 in the presence of victims, JEP officials, representatives from civil society and international organizations, and members of the national and international press.   This hearing marked the first time ever FARC-EP leaders publicly acknowledged their role in such systemic crimes and represents a decisive step in the country’s restorative justice process and in the affirmation of the victims’ dignity, both needed to mend Colombia’s social fabric torn apart by over 50 years of war.  In order to lay the strongest possible foundation for the encounter between victims and the former FARC-EP leaders, ICTJ facilitated three individual sessions with each of the 29 victims who offered their testimony at the hearing, four preparation workshops with former FARC-EP leaders, and three restorative justice meetings between victims and those responsible before the hearing.  For more, visit "The Road to Acknowledgment in Colombia" feature story.

Across the state of Maryland, communities are coming together to uncover the truth about racial terror lynchings and seek redress for the enduring consequences of these crimes. “More than the poll tax, the grandfather clause, and Jim Crow segregation, lynching and the threat of lynching helped regulate and restrict all aspects of black advancement, independence, and citizenship,” writes Sheryllyn Ifill in her book On the Courthouse Lawn. Between 1877 and 1950, over 4,000 African Americans were lynched across the United States. Lynchings were public acts of racial terrorism designed to instill fear and devastate African American communities. No one was held accountable for these grave human rights violations; instead, many officials turned a blind eye or condoned this violence. The Maryland Lynching Truth and Reconciliation Commission was formed by state legislators and signed into law in 2019. It is mandated to investigate racial terror lynchings in the state, hold public hearings, and make recommendations for addressing this violent legacy. It is the first and only commission of its kind in the nation. This state-level effort is complemented by county-level commissions and a strong network of volunteers determined to break the silence and complicity around these crimes and prevent their recurrence. As Karen Hughes White, a descendant of Robert Hughes who was lynched in Cumberland, Maryland, put it: "America needs to stand accountable for its children. Period.” As ICTJ has seen in its work around the world, revealing the truth and humanizing and honoring the victims of human rights violations are crucial first steps in this long-term process. For more, visit "The Ghosts of Racial Violence in Maryland" feature story.

In January 2022, ICTJ launched the Wide Awake Art Contest, an open call event inviting Lebanese and Tunisian artists as well as artists living in Lebanon or Tunisia to explore the theme “the Sound of Dissent.” The contest spotlights the creative works by those who are documenting and memorializing their communities’ stories in times of instability, resistance, and change. More than 220 artists entered works in wide range of mediums, including painting, sculpture, short film, animation, graffiti, audio composition, and photography, among others. The six winning finalists and three special prize winners, selected by a jury of world-renowned experts, won cash prizes and were invited to Tunisia to attend the award ceremony event and side events that focused on the intersection of socially conscious art and grassroots projects and activism. This online exhibition showcases 36 notable entries, each accompanied by a short description from the artist.  You can watch Wide Awake's first-prize winner "Amal" and other audiovisual works below. 

Around the world, the COVID-19 pandemic has revealed enduring legacies of repression. Some leaders have taken advantage of emergency measures meant to protect the population and curb the spread of the disease to instead crack down on civil society or political opposition and restrict civil liberties and freedoms. In this sense, the global health crisis has served a reminder of democracy’s fragility and the ever-present dangers of censorship, oppression, and authoritarianism. In Tunisia, where the wounds of the Ben Ali dictatorship are still fresh, the importance of this reminder has not been lost. In 2020, ICTJ’s office in Tunisia launched “Voices from Isolation,” an online campaign about historical memory in the time of a global pandemic. It encouraged Tunisians to remember and reflect on marginalized groups who have borne the brunt of the coronavirus disease the lockdown measures put in place to contain its spread.  The Voices from Isolation campaign included the “Create to Connect” art contest. The competition was open to emerging and mid-career Tunisian artists as well as artists for elsewhere but based in Tunisia. The artists, who work in a wide-range of mediums, all created the pieces they entered in the contest in response to the COVID-19 pandemic. “The situation with COVID-19 remains turbulent, and reflecting on one's own life at this time feels like a constant work in progress, which involves stepping back from the present in an attempt to understand its shifts,” said photographer and third-place-winner Lotfi Gharini. The global pandemic brought to the surface and exacerbated underlying injustices, forcing artists to reexamine society, history, and their relationship to the world around them. “In this project, I let the past—embodied through my personal memories and childhood universe in Sbiba [a city in Tunisia’s Midwest]—serve as a starting point to explore and bifurcate three essential questions concerning the future. What can I know? What must I do? What can I hope for?,” explained Issam Smiri, a comic artist and the second-place winner. ”Confinement allowed me to explore this universe further and served as a creative catalyst.”  Through Create to Connect, ICTJ was able leverage art to spark important conversations about Tunisia’s past as well as ongoing inequality and exclusion in the country. It also shined a spotlight on Tunisia’s talented artists and encouraged them and others to continue their vitally important work. “The contemporary art scene and alternative means of communication have always served as a fertile ground for broaching difficult conversations about the past,” explained Salwa El Gantri, head of ICTJ’s Tunisia office. “The Create to Connect art competition invited artists and audiences to reflect on the role of art at the intersection of social, political, and economic turmoil in Tunisia. The artwork serves a vehicle of expression and self-representation for the oppressed and under-represented members of Tunisia society.”

Through its initiatives in several countries, ICTJ has learned that hip hop music can be a powerful and effective way to engage young people in transitional justice issues, such as truth, memory, and reconciliation, and encourage their participation in ongoing processes. The music, which particularly appeals to younger generations, can uniquely connect them to historical and ongoing injustices through a cathartic musical experience. It can also inspire them to resist oppression and to demand justice and positive social and political change. In the Gambia and Côte d’Ivoire, for instance, ICTJ partnered with rising hip hop artists in an effort to educate young people about transitional justice processes underway in their respective countries and motivate them to take part in them. The artists created hip hop music about issues related transitional justice, effectively reaching a segment of the population that may not have otherwise known the full extent of past abuses or paid attention to policies meant to address them. These ICTJ-led initiatives fomented creativity and democratized knowledge about how to deal with gross human rights violations after conflict or repression. Several of the young people who participated in them later became leaders in their communities. Knowing the positive role hip hop music can play in the pursuit of truth, justice, and redress, ICTJ staff members from different country offices discussed the idea of holding an international hip hop festival in Colombia where hip hop artists from around world could come together, learn from their each other’s experiences, and share their ideas about transitional justice issues with other artists, experts, practitioners, and civil society representatives. After many months of planning and numerous postponements due to the global COVID-19 public health crisis, ICTJ's office in Colombia joined forces with the Movement of Latin American Expressions of Hip Hop (MELAH) and the online cultural outlet Revista Cartel Urbano to host the hybrid virtual and live International Hip Hop Encounter in Bogotá, Colombia on November 25 through November 28. The four-day event assembled artists, musicians, and activists from across Latin America and Africa for live performances and to discuss the role of hip hop music and culture in uncovering truth, preserving memory, and resisting violence and oppression. Black and Latinx youth in the South Bronx, in New York City, created hip hop music and culture in the 1970’s, against a backdrop of urban blight, poverty, and rising violent and often drug-related crime. The artistic and cultural movement has since spread to nearly every country around the globe. The music, graffiti, and breakdancing often articulate the hardships of marginalized populations and their desire for justice and greater opportunities, regardless of the country where they are made.  Many marginalized populations today, especially those in countries with legacies of gross human rights violations, still grapple with poverty, inequality, social exclusion, and targeted police brutality. For young people in these communities, hip hop remains a relevant tool to help affirm their dignity in face of discrimination and an outlet of creative expression and cultural resistance.  Learn more about the international hip hop encounter here:  

Since time immemorial, justice for a crime has generally meant punishment of the wrongdoer. Even today, some members of society, including victims and lawmakers, still believe that justice is not served unless the guilty party receives a stern and punitive sentence, such a long prison term or even capital punishment for the most serious crimes. However, the theory of justice has evolved tremendously in the last century, and especially in recent decades. Transitional justice processes, in particular, have helped shift the focus of criminal accountability for gross human violations from punishing the offender to fulfilling the victim’s rights to truth, redress, and guarantees of non-recurrence. In doing so, these processes seek to mend the social fabric in societies emerging from, and often torn apart by, violent conflict or repression and to lay the foundation for lasting peace and reconciliation. A justice that focuses on repairing the harm rather than punishing the crime is commonly referred to as reparative justice. Restorative justice traces its roots to traditional and indigenous judicial systems, in which the whole community often participates in administering justice for a crime. Colombia’s ongoing Special Jurisdiction for Peace (JEP) represents the most ambitious process to date to incorporate restorative justice practices into its mandate and operations. Established by the 2016 peace agreement to hold to account those responsible for mass human rights abuses committed during Colombia’s 50-yearlong civil war with the guerrilla group the Revolutionary Armed Forces of Colombia (FARC), the JEP takes an unprecedented mixed approach that integrates substantive restorative justice strategies alongside retributive justice sanctions. As part their sentencing before the court, perpetrators who acknowledge their responsibility for crimes actively participate in restorative justice measures that serve to repair the harms inflicted on the victims and their communities. The recent ICTJ report A Mixed Approach to International Crimes: The Retributive and Restorative Justice Procedures of Colombia’s Special Jurisdiction for Peace describes the court’s mixed model, delves into its innerworkings, and critically assesses its restorative justice components and their impact. Last year, ICTJ hosted a weeklong conference on restorative justice in Bogotá, Colombia, led by three of the world’s most prominent experts in the field: Roberto Cornelli and Adolfo Ceretti from Italy, John Braithwaite from Australia, and ICTJ’s own Deputy Director and Director of Programs Anna Myriam Roccatello. Over the course of the week, these experts met both publicly and privately with members of the JEP, victims, ex-combatants, members of the armed forces, and academics to discuss the role of restorative justice in criminal accountability in general and specifically in the implementation of Colombia’s peace agreement. John Braithwaite, Adolfo Ceretti, and Roberto Cornelli, also made some time to sit down with ICTJ to discuss restorative justice and Colombia’s transitional justice process. The video below presents excerpts from these filmed interviews.

Fifteen years ago, a young nurse named Cristina Cobo was forcibly disappeared by members of the paramilitary group United Self-Defense Forces of Colombia. Paulina Mahecha, her mother, preserves her memory and that of over 20 other disappeared women from the departments of Meta and Guaviare by creating rag dolls. The "Cristinas of the Conflict," as Paulina calls them, are now part of a traveling exhibition that aims to raise awareness in Colombia about what happened in the south of the country.