Valérie Gorin

spectrum and témoignage is one of those. [At MSF, we want] to speak out and highlight the plights of populations caught in humanitarian crises. In those days [before MSF was created], we didn’t have social media, TV was just coming out and unless you put on a table what was happening in Nigeria during the Biafra war, it was not necessarily attracting attention from the global world. So out of outrage we were bearing witness. 1 Through the years, of course, other organizations realized it doesn’t necessarily change policies on the preemptive level. For MSF, we

Journal of Humanitarian Affairs
Open Access (free)
Robert J. Corber

The author reviews Barry Jenkins’s 2018 film adaptation of Baldwin’s novel, If Beale Street Could Talk, finding that Jenkins’s lush, painterly, and dreamlike visual style successfully translates Baldwin’s cadenced prose into cinematic language. But in interpreting the novel as the “perfect fusion” of the anger of Baldwin’s essays and the sensuality of his fiction, Jenkins overlooks the novel’s most significant aspect, its gender politics. Baldwin began working on If Beale Street Could Talk shortly after being interviewed by Black Arts poet Nikki Giovanni for the PBS television show, Soul!. Giovanni’s rejection of Baldwin’s claims that for black men to overcome the injuries of white supremacy they needed to fulfill the breadwinner role prompted him to rethink his understanding of African American manhood and deeply influenced his representation of the novel’s black male characters. The novel aims to disarticulate black masculinity from patriarchy. Jenkins’s misunderstanding of this aspect of the novel surfaces in his treatment of the character of Frank, who in the novel serves as an example of the destructiveness of patriarchal masculinity, and in his rewriting of the novel’s ending.

James Baldwin Review
Arjun Claire

MSF’s identity. Or so the organisation likes to distinguish its humanitarian character, privileging not only direct medical action but acts of ‘bearing witness’ to, or ‘speaking out’ against, violations of human dignity. Témoignage , however, is more than a set of actions. It encapsulates a medley of ideas: proximity with people living through crisis; the intent to listen to them; the swelling anger at their plight; the desire to change their situation

Journal of Humanitarian Affairs
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

networks that were seeking justice, humanitarian organizations did not use cinema to ‘confront perpetrators with the consequences of their actions’ or to ‘reduce abuses against civilians under attack’ ( DuBois, 2008 : 12). As they were heading towards protection activities for children or prisoners of war in the 1920s, humanitarian organizations used the films to emphasize their responsibilities to hold themselves (and the donors) accountable. Advocacy was, first and foremost, a public form of bearing witness to. At the publicity level, it seems that humanitarian films

Journal of Humanitarian Affairs
Bert Ingelaere

, A. , Rutayisire , T. , Sewimfura , T. and Ngendahayo , E. ( 2010 ), ‘Psychotrauma, Healing and Reconciliation in Rwanda: The Contribution of Community-based Sociotherapy’ , African Journal of Traumatic Stress , 1 : 2 , 55 – 63 . Ross , F. C. ( 2003 ), Bearing Witness: Women and the Truth and Reconciliation Commission in South Africa ( London : Pluto Press ). Rukebesha , A. ( 1985 ), Esotérisme et communication sociale ( Kigali : Editions Printer Set ). Staub , E. ( 2011 ), Overcoming Evil: Genocide, Violent Conflict and Terrorism

Journal of Humanitarian Affairs
Megan Daigle, Sarah Martin, and Henri Myrttinen

: Landscapes of Whiteness and Racial Identity in International Development ’, Anthropology Today , 25 : 5 , 4 – 7 . Majumdar , A. ( 2020 ), ‘ Bearing Witness Inside MSF ’, The New Humanitarian , 18 August ,

Journal of Humanitarian Affairs
The representation of violence in Northern Irish art
Shane Alcobia-Murphy

intelligence regarding his choice and arrangement of words. While he changes a demonstrative preposition (‘this’) to a definite article in ‘the tangled pile’ to allow for a sense of distance, he crucially alters the opening line of the earlier drafts to intimate his presence (he now includes the phrase ‘I see’), conveying his own act of bearing witness and his imaginative intervention at one and the same time. For the reader, this opening gambit embodies the ambiguity inherent within all testimony: as Derrida reminds us, while ‘[b]y law, a testimony must not be a work of art

in Irish literature since 1990
Open Access (free)
Environmental justice and citizen science in a post-truth age
Editors: Thom Davies and Alice Mah

This book examines the relationship between environmental justice and citizen science, focusing on enduring issues and new challenges in a post-truth age. Debates over science, facts, and values have always been pivotal within environmental justice struggles. For decades, environmental justice activists have campaigned against the misuses of science, while at the same time engaging in community-led citizen science. However, post-truth politics has threatened science itself. This book makes the case for the importance of science, knowledge, and data that are produced by and for ordinary people living with environmental risks and hazards. The international, interdisciplinary contributions range from grassroots environmental justice struggles in American hog country and contaminated indigenous communities, to local environmental controversies in Spain and China, to questions about “knowledge justice,” citizenship, participation, and data in citizen science surrounding toxicity. The book features inspiring studies of community-based participatory environmental health and justice research; different ways of sensing, witnessing, and interpreting environmental injustice; political strategies for seeking environmental justice; and ways of expanding the concepts and forms of engagement of citizen science around the world. While the book will be of critical interest to specialists in social and environmental sciences, it will also be accessible to graduate and postgraduate audiences. More broadly, the book will appeal to members of the public interested in social justice issues, as well as community members who are thinking about participating in citizen science and activism. Toxic Truths includes distinguished contributing authors in the field of environmental justice, alongside cutting-edge research from emerging scholars and community activists.

By expanding the geographical scope of the history of violence and war, this volume challenges both Western and state-centric narratives of the decline of violence and its relationship to modernity. It highlights instead similarities across early modernity in terms of representations, legitimations, applications of, and motivations for violence. It seeks to integrate methodologies of the study of violence into the history of war, thereby extending the historical significance of both fields of research. Thirteen case studies outline the myriad ways in which large-scale violence was understood and used by states and non-state actors throughout the early modern period across Africa, Asia, the Americas, the Atlantic, and Europe, demonstrating that it was far more complex than would be suggested by simple narratives of conquest and resistance. Moreover, key features of imperial violence apply equally to large-scale violence within societies. As the authors argue, violence was a continuum, ranging from small-scale, local actions to full-blown war. The latter was privileged legally and increasingly associated with states during early modernity, but its legitimacy was frequently contested and many of its violent forms, such as raiding and destruction of buildings and crops, could be found in activities not officially classed as war.

Peter C. Little

-­waste contextualization and perhaps even the environmental justice challenges experienced in Agbogbloshie (Akese and Little 2018). My aim here, then, is to turn to a participatory photography project in Agbogbloshie to stimulate critical discussion of the ways in which alternative e-­waste visioning can transform how e-­wasteland politics in Ghana are told, seen, and responsibly contextualized. Participatory photography, in this way, offers a critical perspective on embodied ways of knowing and practices of bearing witness to e-­waste pollution, Furthermore, photography itself offers a

in Toxic truths