Imperial War and Genocide Museum
The Profound Estimable Patron and Curators of the Imperial War and Genocide Museum and Gallery | |
luKhama aluDhakar luShahitishme aluJaheed nadine luBasmawatafiya (Packilvanian) | |
.jpg) Southern Facade from Museum Square |
The Imperial War and Genocide Museum (Packilvanian: luKhama aluDhakar luShahitishme aluJaheed nadine luBasmawatafiya) is a public agency that collects, documents and exhibits artefacts to shed light and encourage the public to reflect on Packilvania's past civil wars especially the Second Packilvanian Civil War as well as the "shameful history" (as Amhoud I put it) of persecuting minorities most infamously the genocide against humans. The museum was built by the Packilvanian government in 1985 immediately after the Second Packilvanian Civil War and operates as an independent agency. The former members of the Packilvanian Communist Party, mainly those who had been granted amnesty, sent a letter of protest at its construction and establishment stating that it was a violation of the amnesty agreement because they claimed it was indirect retribution. The newly established Supreme Court of Packilvania dismissed the claims and supported its role in enabling reconciliation and restitution in Packilvania.
Design and construction
The Museum is five stories high and consists of one large central attrium with two L-shaped wings on either side which form the three sides (east, west and south) of the a quadrangle that is completed by a second building connected via a covered colonnade. Within the quadrangle is a courtyard that is occasionally used to hose outdoor events. It includes an amphitheatre and various showcases of sculptures. The building is built from concrete and steel but its facade is clad in pseudo-red brick. Its main facade. The south side faces Museum Square and features a large ornate window and two towering minarets from its central section. It has large glass windows that expose its interior to natural light however, the art works, texts and photographs are shielded to prevent the tep's radiation from bleaching the ink or paint. The building is constructed in a mixture of classical Paxist architecture with modern design elements. It has been broadly described as Paxist revivalist architecture. The interior of the central attrium includes a cupola which is richly decorated in blue geometric patterns, floral patterns and calligraphy.
Exhibitions and collection
The Museum houses thousands of artefacts such as works of art, personal items, weapons, and replicas. The Museum often aims to create or host exhibitions that can be temporarily displayed in other similar institutions without and outside of Packilvania to give as many people as possible some exposure to the the subject matter on which they want them to reflect. Normally an exhibition will last for many years, but undergo changes through the introduction of new artefacts or display features while the broad subject matter remains the same. Some of the most notable exhibitions include:
| Topic | Founding Curator | Description |
|---|---|---|
| Displacement, Forced Removals and Expropriation without Compensation | Nahim Lukhan | Showcases photographs taken by journalists and amateur photographers of scenes of members of security services forcibly removing people from and destroying their homes and property. |
| Communist Youth League: Kiln in which the Ruthless are Formed | Tormud Jumhadeen | Showcases speeches, writings and other material by influential communist leaders within the Youth League and the propaganda intimidation and other tools they used to indoctrinate their members into committing genocidal violence. |
| Not Part of Us: Identity and Specism | Habran Inmodin | Showcases the legislation, essays and regulations used by the Communist Government to progressive classify people on the basis of species and to accord them rights and privileges thereof. This includes footage of sessions of the National People's Congress where such decisions were made and justified. |
| Fighting for Injustice and the Legacy of the Carriers of Mercy | Unamid Ilkhamadiyen | Takes the viewer through a journey of how the Carriers of Mercy rescued humans and fought for their liberation including the role of Allegheny and Drakkengard in housing refugees |
| Oratorial and Ideological Battlegrounds | Binayad Wathinud | Compares and contrasts teachings by mainstream Melkezedekist writers, philosophers regarding common dignity in Noi with the genocidal doctrine of the Communist Party. This includes comparing writings and quotations from scripture and literature. |
Reception
The founding of the Imperial War and Genocide Museum was celebrated by the Association for Reconciliation and Restitution (luKabal aluKibyamiyamayan nadine luTajdid), a multi-species civic society group aimed at identifying perpetrators and victims of crimes under the Communist government and encouraging both contrition and forgiveness respectively. In a letter by its Chairman, Jhurayn Saldoon, the Association described the founding of the museum as "an important step in enabling society to move forward". Professor Kemal Hunadim, head of the History Department of the University of Bingol praised the museum for "providing a valuable repository of and carefully preserving knowledge about our past, even the parts of its we wish did not happen".
The Institute for Ideological Relations was a think tank founded mostly by former members of the Communist Party and it conducts research on and writes about ideological debates in Packilvania. In 1986, they sued the government for allegedly violating the terms of the agreement that ended the war which among other things included blanket amnesty for most members of the party. They argued that the museum would invite violence and discrimination against members of the Communist Party, resulting in de facto retribution by the public. The case went all the way to the Supreme Court which dismissed it. Chief Justice Prince Radoub described the allegations by the Institute as "comical if not wholly ignorant of the plight wrought by the party" in the majority opinion which stated that reflection and condemnation of the Communist ideologies that led to the genocide does not constitute retribution which it defined as specific and targeted.
Staynish author and political analyst Fairdown Johannes criticised the Museum as an attempt at propaganda. In an editorial published in the Auroran Continental Press Organisation's website, he stated that the museum glamourised the role of Paxism and the Carriers of Mercy in the liberation of humans and the ending of thr genocide. He further contended that the Bedonite dynasty claimed excessive praise for its role. Political activist and dissident against the Bedonite government, Axanahid Hulameed (who is exiled in Free Pax States and continues to write critical commentary on the Packilvanian government), claims that the museum diminishes the role of Amhoud I who was arguably a key purveyor, architect and executor of genocide in Packilvania.