Justice and Genocide Education Tour BREAKING THE SILENCE

The Living Documents project will conduct its last large-scale program of 2009, the Justice and Genocide Education Tour, from September 1-3, 2009. With support from Cambodia ’s Ministry of Interiors, which has in past years helped DC-Cam bring 1,700 commune chiefs in 2006 and 2007, this tour will be the first comprised of district chiefs and civil party claimants. It will be a special tour attended by the district chiefs and ECCC civil party claimants, and will conclude with a theatre performance.



The second phase of the Living Documents project began this year centered on legal training sessions, observation of trial hearings, village forums, and film screenings. Phase Two continues the Living Documents project’s goal of fostering victim participation and knowledge of the tribunal process. Through outreach and education, participants ranging from ordinary villagers to local officials learn about the crimes of Democratic Kampuchea and the current tribunal mandated to prosecute them. Religious leaders, including touns and hakems from 396 mosques and 200 nuns, have also been frequent participants in our programs. Following this large-scale program in early September, DC-Cam will continue to conduct small-scale programs (training sessions and village forum) of approximately 60 persons.



It is imperative that a tribunal tasked with rendering legal justice for millions of victims employ appropriate measures to keep victims informed and aware of its progress. Not only would such measures increase the court’s transparency and effectiveness, but they can also help survivors to confront and heal from their trauma. The Justice and Genocide Education Tour is such a measure. The present proposal for a Victim Trust fund for civil party claimants however would not be an appropriate measure. The pain and suffering experienced by victims of the Khmer Rouge regime simply cannot be equated to a monetary value. The establishment of a trust fund would be plagued with the same corruption and administrative problems that already exist within the ECCC. Rather, other more effective and meaningful ways has been suggested by some NGO such as the official commemoration of existing memorials in the country. Such a measure would have a more profound impact than any amount of money could ever have. Moreover, considering that there are five million survivors, the ECCC must have an effective and feasible plan to handle the current 2,000 civil party claimants in the event that this figure increases tremendously, outpacing any future financial contributions to a trust fund.



This final tour is especially significant because of the participants involved. DC-Cam chose district chiefs because they are equipped with oratory skills and community resources, making them ideal for relaying information back to community members. The participation of district chiefs also helps to legitimate the program while at the same time, villagers greatly respect and feel honored to have local officials describe to them their experiences and knowledge of the tribunal. Building relationships with local officials through the program will also help to facilitate future activities such as village forums, film screenings, or art performances which local officials volunteeringly and effectively undertake. Finally, it is important that local officials witness for themselves the judicial process because they can use what they learn to better solve the problems in their communities.



This final tour is also exceptional because participants are invited to attend the monumental play, “Breaking the Silence.” Directed by Annemarie Prins and produced by Amrita Performing Arts, this play profoundly explores the psyches of seven survivors of the Khmer Rouge regime. Local teachers from the Royal University of Fine Arts dramatize the emotions of both victims and perpetrators through modern dance and traditional Cambodian music. The theatrical expressions of suffering, anger, and confusion on stage resonate well with audience members who are all survivors of the regime. The honest interpretations contained in the play have even prompted past audiences to informally call the play “Stories from Pol Pot’s Time.” In many ways, the actors are vicariously emoting for survivors who have for too long kept silent about their pain and anguish. The final tour will therefore conclude with this powerful performance.