Memory Site: Burcoro
Item Set
Items
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Memorial in Northern Uganda, No. 23 Plaque at Burcoro -
Memorial in Northern Uganda, No. 22 JRP staff at memorial -
Memorial in Northern Uganda, No. 21 memorial at Burcoro -
Memorial in Northern Uganda, No. 20 memorial at Burcoro -
Memorial in Northern Uganda, No. 19 memorial at Burcoro -
Memorial in Northern Uganda, No. 18 memorial at Burcoro -
Memorial in Northern Uganda, No. 17 memorial at Burcoro -
Memorial in Northern Uganda, No. 16 memorial at Burcoro -
Memorial in Northern Uganda, No. 15 memorial at Burcoro -
Memorial in Northern Uganda, No. 14 memorial at Burcoro -
Memorial in Northern Uganda, No. 13 JRP staff at memorial -
Memorial in Northern Uganda, No. 12 Memorial for survivors at Burcoro Gulu District -
Memorial in Northern Uganda, No. 11 Memorial for survivors at Burcoro Gulu District -
Roundtable on First Day of Exchange Charles Okumu Charles Okumu, Chairman Community Reconciliation (CORE) team in the Burcoro Parish Awach Sub County, speaking at introductions per country/region on first day -
The Monument of Burcoro Massacre The image depicts the monument in Burcoro built to memorialize Burcoro massacre of 1991. -
Stolen Dreams This visual artwork created by poster artist Alit Ambara depicts the violence suffered by children who were forced to become child soldiers by the Lord's Resistance Army -
Surrounded by Cedar Song Written and composed by Chief Wiliam Wasden. Commissioned by Sabrina Williams and Peter Morin for the children and youth in the Ministry of Child and Family Development (MCFD) ‘s care as a way for them to express their belonging. This song was performed by Peter Morin in Burcoro, Uganda, during the first International Exchange of the Transformative Memory Network in 2019. Poet and professor Juliane Okot Bitek reflects on memory practices that transcend: “I was part of the group that visited Burcoro, where the community shared stories of two massacres that took place on their land. During the visit, Peter Morin offered to sing two songs. As he did not have his drums with him, he asked that we clap along with him, and he provided the rhythm for us to follow. After he sang, a man stood up, evidently moved by Peter’s song, and asked if people remembered that Acholi used to have a similar kind of song. He then sang a song from memory, clapping along, as Peter had just done.