Monday, September 30, 2019

The Meaning of Home

Our homes have strong claims on our time, resources and emotions. Growing up, I was constantly aware of every aspect of my home because I spent a lot of time comparing it to other homes. For my entire life, I have lived in the same 2 bedroom, 2 bathroom house. It is located in the oldest neighborhood in my city. Growing up, I constantly had to defend my home. Since it is the oldest neighborhood in my city, most people assume that it is not a "good" neighborhood. However, all the houses are well taken care of and it is a safe area. I used to not tell people where I lived because although I like my home, other people automatically judged it. I always compared my home to my friend's homes. Their houses all looked like an interior designer had done the inside, or that it was staged for an event. In comparison, my house looks more lived in and we chose to decorate it with family pictures and souvenirs we've collected. To me, my home is a site of happiness and good memories.

It is interesting that from a young age I was already comparing my home with that of my friends. According to the article by Valentine (cited below), in affluent societies more than a third of capital is invested in homes. Because of this, a home has the power to represent the resources someone has, or doesn't have. Because my home looked different than others, people assumed things about me and my family. This shows how a home can function as a space that represents an individual. I used to not like to have people come to my home because I was afraid of how they would interpret it and how it would shape their opinion of me. Why do we compare our homes, a place that is shaped by and shapes the individual, to other people's homes? This question made me wonder if there is an ideal home and if there is a home that society expects a certain person to have.

Next, T.V. shows have impacted how I view a home. Shows, such as HGTV's Extreme Dream Home, have commodified homes and turned houses into something public instead of private. After seeing episodes of this show I am left wishing that my house had all of the cool, up-to-date technology and new designer furniture. Growing up, I would go to home improvement shows with my parents. These would take place in the Expo Center near Cleveland. The focus of these expos was to encourage you to buy more things for your home, such as automatic light controls and hand-free sinks. These expos support the fact that purchasing goods can make your house feel like home. However, what makes a home a home? For some people the HGTV dream home may truly be their dream home, but for others this might not be the case. Although I like the houses shown on the Extreme Dream Home series, I don't think I would feel at home there. Purchase, layout and decoration decisions all reflect the person, or people who live in a house. Because of this, it is important to base these decisions on personal preferences and not what you think an "ideal" home should look like. Overall, it's the happiness and love that exist within a house that make it a home. Lastly, It is interesting that the show Extreme Dream Home uses "home" instead of "house", since we normally refer only to where we live (or place where we feel most comfortable) as home. For example, I would not refer to my friends house as a home. Overall, the relationship between "house and "home" is similar to that of "place" and "space". Once we assign meaning and connections to a place, it can become our home.

Finally, it is important to not assume things about a person based on their home, or where they consider home to be. It is also important to not assume which place a person considers their home. A home is constantly evolving and its meaning and importance to a person can change over time. A home is a space that is usually private, so it is interesting to consider who this home is shared with.

Dream Home 2019


HGTV dream home tour
Valentine, Gill. 2001. Social Geographies: Space and Society. Essex, England: Pearson Education Ltd. Chapter 3.

Memorials as Arenas: The AIDS Memorial Quilt and The Monument Quilt



As we discussed in class on Thursday, memorialization is often an elite-directed process driven by those in power with a vested interest in controlling the narrative of a memorialized event. However, if memorials are “arenas” in which “social actors and groups…debate and negotiate the right to decide what is commemorated and what version of the past will be made visible to the public,” we should also expect to see memorials that are not derived from a purely elite perspective (Dwyer & Alderman, 2008, p. 171). As mentioned in class, there are a multitude of sites that might be considered as examples of memorials as arenas, but I’d like to highlight one recent example from the United States. Some of you may be familiar with the Monument Quit, a memorial space for survivors of rape and abuse that has traveled around the country over the past few years. It made a stop at Peden Stadium in 2017 and was last displayed on the National Mall from May 31 – June 2, 2019.

In class, we also spoke in class about memorials not typically being erected for “ongoing” or permissible violence, violence that is necessary to maintain the status quo and therefore goes unacknowledged or underrepresented in the dominant narrative. The Monument Quilt is one example of what a memorial for this type of violence, here sexual violence, might look like. The quilt project began as an initiative of a Baltimore non-profit, FORCE: Upsetting Rape Culture. The choice of a quilt was no accident – the organizers were influenced by the AIDS Memorial Quilt, first displayed on the National Mall in 1987 (“AIDS Memorial Quilt”).

The medium of a quilt was intentional as well. In some ways a quilt is a logical medium for incorporating a multitude of voices into a single display; the patchwork design of a quilt lends itself well to being added to over time by many people. However, quilting is also historically associated with feminine crafts, and the Memorial Quilt in particular can be situated both as a continuation of the dialogue started by the AIDS Memorial Quilt and as a part of the reclamation of traditional femininity associated with some third-wave feminist movements (Groeneveld, 2009). By displaying both of these quilts on the National Mall, in the midst of memorials sanctioned by the government, both of these groups of activists deliberately put their memorials in conversation with those erected by the state. They further used these moveable memorials as mechanisms through which to stake a claim to public space and engage in public dialogue around types of violence that are often ignored and permitted.
Photo credit: https://www.washingtonpost.com/express/2019/05/30/monument-quilt-displaying-thousands-stories-survivors-sexual-assault-will-make-its-way-dc/ 



Cleve Jones (2016), one of the organizers of the AIDs Memorial Quilt, gave a speech when the quilt was first displayed on the National Mall. He said,"Today we have borne in our arms and on our shoudlers a new monument to our nation's capital. It is not made of granite or steel and was not built by stonecutters and engineers. Our monument is sewn of fabric and thread, and was created in homes across America and wherever friends and families gathered to remember their loved ones lost to AIDS." The organizers of the Monument Quilt echoed Jones' sentiment about the quilt serving as a different kind of memorial space, one that amplifies experiences of violence that have been silenced and provides a public space for these stories to be heard (Haupt, 2019). 

Not only has the Monument Quilt worked to create public space for a dialogue around rape and sexual abuse, but it has also publicly created space for survivors to heal. In creating the quilt, FORCE gave any survivor who wished to participate the chance to send in a quilt square of their making. In brining these multitude of voices together, the Monument Quilt created a literal patchwork of the many faces that survivorhood can take. These stories were written, painted, and stitched onto red fabric (the color chosen by FORCE to give the quilt some cohesive appearance) and when displayed, the squares were typically used to spell out a message of solidarity, most often “NOT ALONE.” Though neither the Monument Quilt nor the AIDs Memorial Quilt were intended as permanent memorials in the sense that they were never meant to occupy a single space forever, these projects have been catalogued online and serve as living records of waves of otherwise unacknowledged violence and the material consequences of that violence for victims and survivors. 

_____________________________________
Sources:
“About: The AIDS Memorial Quilt.” n.d. Accessed September 30, 2019. https://www.aidsquilt.org/about/the-aids-memorial-quilt.

Dwyer, Owen J. and Derek H. Alderman. 2008. “Memorial Landscapes: Analytic Questions and Metaphors.” GeoJournal 73: 165-178.

Groeneveld, Elizabeth. 2019.“’Be a Feminist or Just Dress Like One:’ BUST, Fashion, and Feminism as a Lifestyle.” Journal of Gender Studies 18, no. 2 (Summer): 179-190.

Haupt, Angela. May 30, 2019. "The Monument Quilt--displaying thousands of stories from survivors of sexual assault--will make its way to D.C." The Washington Post. https://www.washingtonpost.com/express/2019/05/30/monument-quilt-displaying-thousands-stories-survivors-sexual-assault-will-make-its-way-dc/

Jones, Cleve. October 9, 2016. "How One Man's Idea for the AIDS Quilt Made the Country Pay Attention." The Washington Post. https://www.washingtonpost.com/national/health-science/how-one-mans-idea-for-the-aids-quilt-made-the-country-pay-attention/2016/10/07/15917576-899c-11e6-b24f-a7f89eb68887_story.html

 “The Monument Quilt.” n.d. Accessed September 30, 2019. https://app.themonumentquilt.org/about/.

Tuesday, September 24, 2019

Memorializing the Memory of Partition of 1947


The question of memorialization has never been an easy one. It becomes an important one as, “public museums, memorials, and other historical sites play a crucial role in the construction and maintenance of national mythologies, histories, and identities.”[1] After seven decades, how does one undertake the arduous and complex task of remembering a history where roughly twelve million people were displaced, and an estimated million people were killed in communal rioting?[2] In 2017, the world’s first-ever Partition Museum was inaugurated in the border city of Amritsar in Punjab, India to commemorate the 70th anniversary of the Partition of British India in 1947. Positioned as a people’s museum, it houses archival documents and State records, oral histories, art installations, personal letters, amongst other everyday objects that survived the tumultuous migration crossing the now-impenetrable India-Pakistan border. The Partition Museum is a collaborative effort between the state government of Punjab and The Arts and Cultural Heritage Trust (TAACHT). Nestled in the historic colonial building of Town Hall, built in 1866 by the British as an administrative building, the museum describes the colonial past leading up to the moment of Partition.
Laudable as an archival effort, it is important to acknowledge that the Partition Museum is alive as a space where visitors come and interact with the space and objects invoking affective labor for both the spectator and the artefacts. However, the Partition Museum works as a space of memory and mode of memorialization very often harboring nationalistic and communal feelings through its architecture, curation of exhibits, spatial and aural aesthetics. Cresswell articulates the essence of place memory as, “the ability of place to make the past come to life in the present and thus contribute to the production and reproduction of social memory.”[3] His mediations on place and memory provide several frameworks to further think about modes of memorialization of Partition. The process of which is about almost seven decades after the event – which could even be attributed to the idea of post belatedness of trauma made popular by scholar Cathy Caruth in memory studies. It is also important to bear that the belatedness also could emerge from the context and multiple meanings of silence that emerge in South Asian cultures, where traumatic events are considered to be best kept veiled and hidden.
The political decision of building a museum representing “people’s history of Partition” in Amritsar, a city bearing Partition’s bloody legacy, instead of the national capital of New Delhi. The exhibition heavily emphasizes the role of Indian Punjab, diminishing important Partition narratives from other parts like Bengal, Assam, Kashmir, Bombay, and even Pakistan and Bangladesh. In another instance, a jarring and distasteful life-sized installation of a saw cutting a wall into half is plopped in the middle of one of the galleries, dramatically and literally screaming Partition. What is dangerous about the spatial affects of such projects is the continued deep-seated communal implications of 1947 – witnessed in the Sikh riots of 1984, Gujarat carnage of 2002, and most recently in the Muzaffarnagar riots of 2013. Any memorial dedicated to the event of Partition of 1947 should instead be enable its visitors to learn from the past and be self-reflexive about ongoing communal strife. Instead, it should not isolate the event to a moment in history, as the Partition Museum does through its design and architecture of a walk-through chronological timeline of events. In the midst of the rising right-wing Hindutva (Hindu nationalism) ideologies across the country, such living memorials can terribly go wrong and turn into Statist projects instead of working as sites of healing or foregrounding counter-narratives.
BIBLIOGRAPHY

Butalia, Urvashi. The Other Side of Silence. Durham: Duke University Press, 2000.
Dickinson, Greg, Brian L. Ott, and Eric Aoki. “Spaces of Remembering and Forgetting: The Reverent Eye/I at the Plains Indian Museum.” Communication and Critical/Cultural Studies 3, no. 1 (2006). doi: 10.1080/14791420500505619.
Cresswell, Tim. Place: A Short Introduction. Oxford: Blackwell Publishing, 2004.



[1] Greg Dickinson, Brian L. Ott and Eric Aoki, “Spaces of Remembering and Forgetting: The Reverent Eye/I at the Plains Indian Museum,” Communication and Critical/Cultural Studies 3, no. 1 (2006), doi: 10.1080/14791420500505619.
[2] Urvashi Butalia, The Other Side of Silence (Durham: Duke University Press, 2000), 3.
[3] Tim Cresswell, Place: A Short Introduction (Oxford: Blackwell Publishing, 2004) 87.


Contribution to the Post : On Place and Memory: Berlin, Scars and Social Memory


*Sorry, I decided to do a post since the comment section does not allow me to post any picture.  

The Post " On Place and Memory: Berlin, Scars and Social Memory"  is very thoughtful and reminds me of " le monument des martyrs" (the monument of the martyrs) in Cote D'Ivoire, my country of origin.  As shown in this post, Germany purposefully erected historical monuments and places for the society to not forget the dark pass of the Hitlerian period and somehow prevent the story from repeating itself. In my country, the regime of the former president Laurent Gbagbo built “le monument des martyrs” for commemorating the death of thousands of people killed during the protestation of his election in 2000. The goal of this monument was to remind the Ivorian society of the horror of armed conflict, but the political campaign built around this monument connected it to the victory of the former president Laurent Gbagbo in the collective memory of the population. Cresswell (p. 90) in his argumentation was right, effectively the question of which memories are promoted and which cease to be memories is a political question. What was once a commemoration for the dead of the post-election crisis in 2000 became a symbol of the ruling party’s victory over the others. This idea was so prevalent that after his arrest in 2011 during the second post-election conflict, the partisans of the new president Alassane Ouattara destroyed the monument of the martyrs as a symbol of the fall of the old regime. The fact that this monument was created after an armed conflict and destroyed after one unfolds a tragic irony and show the failure of an all society.




Before: image 2010


After: image 2012

https://eujournal.org/index.php/esj/article/download/9945/9414
(The link is in french)




Commemorating Memories of Places

Introduction
 Commemorating place memory plays a significant role since it brings back the feelings of individual and shared identity attached to the places in question. Most built places, such as slave houses, museums, libraries, status, street naming, and buildings are geared towards bringing back memories to people who have shared history.
Reflecting on this week reading reminded me of Transatlantic Slave Trade and the slave houses I visited in the Gambia and Senegal. Specifically, in the Gambia’s these aspect of history is part of the education system, in order words it is part of the heritage of the country so as kids learn about slavery and slave trade of their ancestor as early as in primary school. I remembered visiting slaves’ houses in the Gambia during my primary six. This visit taught me lasting memories on how slave trade was carryout throughout Africa. In addition, I learnt how our ancestor where treated and shipped to the new world as they called like a pieces of goods or commodities.  These past memories will never fade away in our society based on my personal experience visiting and studying about them. As argued by Cresswell (2004), the “ability of place to make the past come to life in the present and thus contribute to the production and reproduction of social memory” ( p.87).


The pictures above shows the slave houses that served as shipping point for many slaves that were exported to the Americas. These buildings were built in mouth of the Atlantic Ocean in The Gambia and Senegal. These houses served as a place for storing slaves before they are ship to their final destination. Therefore, these places functioned as memories for African as is part of our ancestry and is part of our culture and history. In line with geographic discourse, Slave houses represent part of cultural geography of Africa because it give us the identity of our ancestor.
Most importantly, these places will aid our generation to know the dark past of their ancestral history. I believe most government of African countries invested in these slave houses to keep them alive to serve as commemorating slave trade. As Cresswell (2004) stated “some memories are allowed to fade – are not given any kind of support” (p.85). I quite agree with the author proposition since some memories disappear if they are not supported. Without doubt, I am certain that many African governments maintain these slave houses and include in their school curriculum in the teaching of slavery and slave trade to prevent fade memories. In a related manner, this has help many people especially African American to traced back the root of their ancestry. For example, people like Alex Haley believe to be connected to Kunta Kinte original from Juffure known as Juffure Island in the Gambia. Juffure Island, houses one of the slave houses and served as shipping point from the Gambia during the slave trade.
Consequently, place names are an important part of our geographical and cultural environment. They identify geographical entities of different kinds and represent irreplaceable cultural values that are of vital significance to people's sense of well-being and feeling. Therefore commemorating places and names are of major social importance to our society. 


Slaves with their Masters and Guards
  
The above pictures are unit houses within the slave houses where slave are held before they are transported through the sea to Europe then to America. These houses are very tiny and hundreds of slaves have been kept in one place. Before shiping most of them, many  died and some who are very strong slave and worried become weak to resist been taken away. According to a historian narrator in during my visit to Goree Island in Senegal, some of the slave houses in Gambia are meant for resisting slave so that they are kept in dungeon as a form of punishment and to weaken them.  Cresswell (2004) suggested that “these places have the power to force hidden and painful memories to the forefront throught their material existence” (Cresswell 2004, p. 89). In a similar manner, these slave houses serves as a historical landscapes in many African countries are part of African geographical landscape that produce and reproduction of knowledge of the past history and these memories will ever stay with the continent.  Remarkably, these houses does not only produce knowledge but it also serve a tourism development for countries and heritage culture which is part of our socity. It serve as a knoweldege center for thousands of visitors world wide every year. Visitors learn the heritage culture, and the history of slavery that was done from the global scale and its effects.

Thus, this week reading also reminded me of the historical geography seminar I did during my first semester. The reading on Place, Memory, and Conflict, the important of place naming associated with the civil right movement that brought massive memorial infrastructures in the US South. After the death of Martin Luther King, Jr., memory works was untaken across the many US towns and cities. These monumental works has change the landscape of the US south. The construction of museums, monuments, parks, streets naming, and libraries associated with the civil rights movement and the king. This landscape produce memories of the past in the US history. According to Dwyer (2000), public history deepens engagement of social history since it represents a shift in “landscapes for the legacy of American public history” from the “commemoration elite individuals and their homes and toward the remembrance of more mundane, socially representative lives and landscapes” (Dwyer, 2000, p.661). The result of all this ongoing “memory work” is a rich, complicated landscape comprising of traditional expressions of public memory (e.g., monuments and museums, murals and historic plaques) as well as more routine elements such as street signs and community centers (Dwyer 2000, P. 661). Dwyer (2000) also argues that the purpose of producing this memorial landscape, the public portrayal of American history has been change. I believed the question is how these memories are been produces, what it represent, how do we use them to create knowledge of past in order to commemorate the past history. In addition, Cresswell (2004) argues that “place have many memories and the question of which memories are promoted and which conclude to be memories at all is a political question”  ( p. 89).
Therefore, the argument Dwyer is putting that, there are significant contradictions and exclusions in the memorial landscape’s treatment of the civil rights era. Because of “these exclusion and inclusion some question have to put in the creation of memorial landscapes” (Dwyer 2000, p.662).  Dwyer further argues that memories landscapes associated with civil right movement are major heritage attractions, and the tourism industry is responsible in part for their development and promotion. In addition the “growing consensus as to what the movement stood for and who the heroes were certain elements that are important to look into” (Dwyer 2000, p.662). Dwyer further posited that the manner in which
“the role women play in the civil rights movement was overwhelming most of whom are working class activist, however, attention given over to the “Great Man” paradigm of history that focuses more on leaders than on organizers or participants and valorizes the national at the expense of the local” (Dwyer 2000, p. 663).
Therefore the above assertions are in contrast with Cresswell (2004) argument that “people with different interests have to make their case for preservation and what to be included or excluded, thus a new kind of place is born out of a contested process of interpretation” (p..90). In conclusion, “the connection between place and memory and the contested nature have to be the object of component of geographical research” (Cresswell 2004, p.91)


References
For more information on slave trade in Gambia and Senegal read Barry, B. (1998) book
And more on slave houses visit this link
Barry, B. (1998). Senegambia and the Atlantic slave trade. Cambridge University Press.
Cresswell, Tim. 2004. Place: A Short Introduction. Oxford: Blackwell Publishing. Pp. 85-93.
Owen Dwyer, “Interpreting the Civil Rights Movement: Place, Memory, and Conflict.”  The Professional Geographer 52 (4) (2000): 660-671.

Saturday, September 21, 2019

On Place and Memory: Berlin, Scars and Social Memory

The Cresswell (2004) reading on “Place and Memory” reminded me (memories brought to present) of a city that impacted me when I visited it exactly because of its way of making memories feel alive in such an effective way you cannot help but cry sometimes when you are visiting some of its spaces, memorials or monuments. I’m talking about Berlin in Germany. I visited it back in 2011 and went on the historical tour that took me throughout the city where they have practically all of it marked with historic points of interest from the Nazi period. 

One very interesting thing to highlight is how the place where Hitler committed suicide (his bunker) is purposefully not made a tourist attraction point, nevertheless is not erased from the city's history. Actually there is a housing development built in the 80s and only an informational board set up in the midst of the parking lot gives information in the form of facts and myths of Hitler’s defeat and suicide. At a public level, like Cresswell (p. 90) says, which memories get to be promoted and how is a political decision. And this is clearly a very smart and thoughtful one.

Hitler's bunker and suicide place is intentionally marked only with this 
information board in the middle of a parking lot of a contemporary housing 
project  built over the destroyed bunker. HNAPEL/WIKIMEDIA COMMONS
Hitler’s bunker and suicide place is an example. The way it’s marked within the city is clearly an intentional political decision of how they want history to remember the deranged leader of this dark episode of German and world history. They did not want to either make it a place for supremacists to peregrine, nor they wanted it to be a target for attacks. I think it was a brilliant way to solve it: a contemporary housing project built over the destroy bunker where regular citizens live and at the same time not erasing it from history by marking the place with a factual information board in a marginal place such as a parking lot.

Another place that came to my memory while reading Cresswell is the Holocaust Memorial in Berlin. A huge artistic display that features concrete vertical pieces set up sort of like a city or sometimes like a huge concrete orderly maze. 
Intriguing and controversial Holocaust Memorial space in Berlin designed by an American architect is a place that does not leave anyone indifferent. Getty Images.


The first thing that comes to mind when you are there is that they resemble graves. But there are all plain, no inscriptions or names or any marks; they are all of different sizes sometimes bigger than you, sometimes just a step up your feet. You can get lost in its corridors at some parts. And it is also interesting to notice how small kids climb them sometimes as it was a playground. At times it looks like a city’s buildings, at times as a graveyard. 

Like the architect has said, it was built to get any personal interpretation, although it has been criticized precisely for being too abstract. To me, it was a place where at the same time you could feel a tense calm and peace but disturbing too. This mixed emotions that such a huge and imposing place generates is a sign of the brilliancy of how this place was design and built for memories to interact with the monument. What you know about the Holocaust, what you learn about it while being in this country and experiencing the places, what you feel while your knowledge interacts with your feelings and memories that aren’t even yours but of a collective group that suffered so much.

Holocaust Memorial in Berlin. A controversial monument - place - that invites diverse interpretations and meanings. Photos from Getty Images.

Underground this memorial is an information center that is like a museum with also amazingly arranged rooms to bring history to the present, as Cresswell says. Each room is very different and two of them caught more my attention. One rather small room very dimly lit with people walking around a few tomb graves with light coming out of them. 

Each one has a name, date and story told through a real letter that was recovered, handwritten by someone going to the extermination camps that managed to throw the letters outside the cramped trains. Sometimes there are pictures of the person, sometimes not. But as you move from tomb to tomb reading the handwritten letters and placing a name or a face to it, the experience is overwhelming with emotions and you cant help sobbing, and hearing other people around sobbing as well. It is very moving.




But one of the most impactful rooms to me was one that uses sound more than vision and it is called the Room of Names, simple concept: name the fallen, make them exist for you. You go into a tall room with tall white walls and a few benches. You sit down or stand up and then a voice starts reading names and last names, birth and death dates while the four walls show at once the name that is being read out loud. This seemed so simple to me and yet so moving because the assassinated were named, each their single stories and lives were being honored and not forgotten every time we hear their names, we think of the personal private suffering, their identities relived and rescued for collective .

Room of Names is a space where sound is the main medium to link history and the present, the personal and the collective, the person listening the names of the dead produces feelings and ever lasting memories where history and present intertwines. Visitors Center, Berlin.

There are only two more places I want to share with you from this experience with places and memories I had in Berlin. One is the Concentration Camp I visited, and of course many, many things can be said about it (Cresswell takes a critique for the Catholic appropriation intent of one of these camps), but I will just share with you the sight among all that really broke me down from the many there are in such a memory-place. It was a pile of worn out shoes stiff because of passing time; every size shoes, by the crematory ruins. Just to think of each person that worn them and that lost their lives in such horrible conditions is beyond moving.

(PLACE YOUR MEMORY HERE)

Lastly, a place that does not have to do precisely with the Nazi regime but with the Cold War in Berlin is the Berlin Wall. And this reminds me also Alatout’s reading on the Israeli wall. So as to not make this post longer than it is, I will just point out to the fact that after the Berlin wall was torn down in 1989 several sections of it were preserved for memory and history telling. And of course is the first thing you want to see when you go to Berlin, the wall. The very interesting thing to me about how those sections have been preserved is that they have intervened them with art. A piece of the wall is painted by an artist showcasing whatever they want to in relation to the wall, their own memories, thoughts and feelings. A wall that for political-ideological reasons was built to separate bodies and to prevent their mobilization; a wall that was torn down materially by those bodies; a wall today preserved for history and memory through artistic interventions. Freedom and creativity wining over repression and suppression. A new place and experience is built over the old without erasing it so that its consequences are never forgotten, but a re-appropriation of meaning of such place.


(1961) Walls as technology of Ideology. The Berlin wall being reinforced by East German workers near the Brandenburg Gate. Research.archives.gov
(1986) Three years before it came down, graffiti only on the West side of the wall while the East side is 'clean' and guarded. The Guardian.

 
(1989) Wall torn down. Time.com.
(1989) Bodies tearing down the wall of confinement. Time.com

 
Tourists take pictures by preserved sections of the wall which have new
meanings through their appropriation by art. The Guardian 

Other sections:








More Berlin Wall Art: 

VIDEO from 1989 actual crumbling of the wall:  


Berlin Art in the city: