Brieanna was born and raised in northern Minnesota, and received her B.A. in Sociology from Augsburg College in 2011. After completing her M.A. in Sociology from Queen’s University in Northern Ireland, she served in AmeriCorps as a Promise Fellow, taught sociology at a community college in Oregon, and was the Family Liaison at an Ojibwe culture and language school last year. With broad interests in mass violence, collective memory, and settler colonialism, she returned to Minneapolis to pursue her Ph.D. in Sociology at the University of Minnesota.

Brieanna writes for the CHGS blog on topics and events related to both American Indians broadly, and the Dakota and Ojibwe specifically. She is currently involved in a team project with Alejandro Baer examining over a century of local and national newspaper articles and their representations of the Dakota War of 1862; a timely undertaking, given the push toward revitalizing Fort Snelling and decisions to remove controversial art at the State Capitol. In addition, she is working on a side project with two other graduate students titled, “Imagining a “Final Solution” to “Never Again”: Experiencing Empathy through Digital and Non-Digital Games”.

We have grown accustomed to seeing photographs captured during conflict dehumanizing victims and fetishizing their suffering. Our Eye on Africa column has previously discussed the disproportionate ways in which the pain of non-western victims is consumed through the media, even though it does not educate us about the context leading to the suffering. Yet, other forms of war-photography capture something else: everyday life under conflict. Instead of focusing on the pain and suffering of victims, these photographs aim to highlight the continuity of life. They focus on the possibility of a future and the necessity to maintain a sense of self. Conflict and suffering can in fact be captured in ways that do not always freeze moments of agony and death in eternity.

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“Nasty, brutish, and short.”

In a recent lecture by Ambassador Stephen Rapp, hosted by the Human Rights Program, he borrowed from Thomas Hobbes’ famous line to describe life in a world without justice. His presentation kicked off a lecture series about the ongoing Syrian crisis.

Saying that Ambassador Rapp has an extensive resume is an understatement: he served as Ambassador-at-large for War Crimes in the Office of Global Criminal Justice, a position which brought him around the globe to address a wide span of conflicts during his 2009-2015 term. His legal experience includes positions in the International Criminal Court and the International Tribunal for Rwanda, where he helped prosecute the first conviction for a member of the media in inciting genocide. Currently, he holds positions with the Hague Institute for Global Justice and the US Holocaust Memorial Museum’s Center for the Prevention of Genocide.

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In our post on the photography of Maxine Rude – on display in the Eiger-Zaidenweber Holocaust Resource Center at the Sabes JCC – we touched on issues involved in exhibiting these photographs, including that a photographer’s choices on how to present a subject (framing, selecting, and excluding subjects) may influence a viewer’s perception.

A curator also makes influential choices, deciding how and what to include in an exhibit, and what to exclude. In putting pieces of art or photography together, these works may take on new and unexpected meanings in a visitor’s mind that were never intended by artist or curator, but are a result of the exhibition nonetheless. Or, a curator may intentionally be drawing comparisons that were not in the original artist’s mind.

In presenting Maxine Rude’s work, we take note of her portrayal of children and families, asking questions of the viewer about their response to seeing these victims of World War II and the Holocaust.

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Racism comes in many forms. Some strains mask themselves in institutional legitimacy and free speech. Others advance claims of victimhood, loss of religious freedom, or champion assertions that they are defenders of local custom and tradition. Regardless of its shape, however, racism is always the product of two forces: ignorance and malevolence. Racism is perpetually ignorant because it relies on ahistorical constructions of difference to advance universal assertions of racial, cultural, social, or national superiority. In this manner, racism is also always malevolent because it seeks to impose hierarchical configurations of ‘race’ in an otherwise multicultural, multiethnic world.

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Roger Grunwald, the child of a German Holocaust survivor is a performer from San Francisco and the author of The Mitzvah Project. On February 14^th, 2017 he presented his solo show at the University of Minnesota. In The Mitzvah Project Grunwald reveals the surprising history of the German men known as “mischlinge” – the derogatory term the Nazis used to characterize those descended from one or two Jewish grandparents – who served in Hitler’s army.

How did you get started integrating theater and community service?

In New York in the late 70s, I became a community activist and helped to build an organization called the New York City Unemployed and Welfare Council. This was at a time when New York City was in receivership. The city was broke and the major banks had taken over. The first programs to be cut were the ones in the poorest communities. One of the things that we learned from these men and women touched by the council’s work was that their kids loved culture but there was no real outlet for them to express this. A number of us who were involved in this community organizing activity came up with the idea of putting on a talent show. For the young people we produced a talent show in a church basement in the Bronx in the early 80s and that was the beginning of the All Stars Project. It is now in six cities around the United States.

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Paula was born in El Salvador and, because of the armed conflict in that country, she and her family fled to Mexico at a very young age where she was raised. After the armed conflict ended, she returned to El Salvador where she pursued her LL.B. at the Central American University “José Simeón Cañas.” After graduation, Paula worked as a judicial clerk at the Constitutional Chamber of the Supreme Court of Justice of El Salvador for seven years and, also, as a professor at the Central American University “José Simeón Cañas.” In the year 2009, she moved to South Bend, Indiana, to pursue a LL.M. at the University of Notre Dame du Lac. When she returned to El Salvador in 2010, she was appointed as the Director of the International Assistance Unit, until she decided to move to Minnesota in 2013 to pursue her Ph.D. in History major and Human Rights minor. Paula was the 2014-2015 Badzin Fellow in Holocaust and Genocide Studies. She is currently the USC Shoah 2016-2017 Graduate Research Fellow, a 2016-2017 American Association of University Women International Fellow, and a 2016-2017 University of Minnesota Interdisciplinary Doctoral Fellow.

Paula is interested in the question of genocide in Central America. Specifically, her intention is to debate whether scorched earth operations conducted as part of a state policy during the civil war of the 1980s in Guatemala and El Salvador indeed constituted genocidal practices per se, independently of the group targeted. Since the victims of such military operations are far more likely to be women, children and seniors, she is also interested in studying the diverse forms of sexual violence to which women and girls are subjected to by the perpetrators during the conduction of these military tactics.

If you’ve been to St. Paul lately, you’ve likely seen that the Minnesota Capitol Building is undergoing a massive renovation. More than $300 million is being spent to make the century-plus building a host of structural and technological upgrades. Once completed in the fall, a nearly two year-long project will come to an end.

However, it is not the building itself that’s been grabbing headlines. Instead, it’s the art inside – art that’s been estimated to be worth nearly $1 billion. Many of these pieces depict key moments in the state’s history: Among them the landing of Father Hennepin and the gallantry of the 2^nd Minnesota Company from the American Civil war. One piece that will not be on display when the Capitol reopens is a 1906 work by Anton Gag. It shows the attack on New Ulm by Dakota warriors during the short-lived 1862 conflict.

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Erma was born in Bosnia, raised in Croatia, and moved to Idaho as a refugee at the age of 14. She graduated with a double BA in Spanish and Social Science from Boise State University. She earned her MA in Spanish from the University of Oregon, and in 2012, she began her PhD in Spanish at the University of Minnesota. Erma is interested in issues of mass violence, collective memory and nationalism in contemporary Spain. She has been involved with the Holocaust, Genocide, and Mass Violence interdisciplinary graduate group since its inception and has served as the group coordinator and Research Assistant for the Center for Holocaust and Genocide Studies.

Erma’s current research examines Spanish cultural representations of the wars in the former Yugoslavia that took place in the 1990s. Her work is comparative, and based on the observed parallel experiences the two countries have gone through during the twentieth century including dictatorships, civil wars, and struggles over memory and transitions to democracy. As a literary and cultural scholar, Erma studies the way Spanish authors, journalists and photographers approach the Balkan atrocity as a symbolic reliving and reflection on old Spanish traumas such as the Spanish Civil War (1936-39) and Franco’s fascist regime. She will be defending her dissertation this semester.

The Minnesota State Capitol, not unlike other political spaces around the world, displays artwork meant to illustrate important moments in the history of the state. Of these, a number of paintings have created significant debate among politicians and community members.

Nearly a decade after the contentious Dakota War of 1862, an oil painting depicting Dakota warriors attacking white German settlers in New Ulm has, until this year, hung on the walls of the Minnesota State Capitol. The artist, Anton Gag, created “Attack on New Ulm” nearly forty years after the event. On January 26^th, 1887, The New Ulm Review reported that, “Mr. Gag’s undertaking is commendable and every one interested in the history of the dark days of New Ulm should aid him.”

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