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The Philippines have never known a unified state-sanctioned narrative about the violence that happened during the Marcos dictatorship. In order to resist ongoing disinformation campaigns that seek to erase evidence and memories of past violence, various institutional and civil society actors are currently initiating interventions in the domain of truth and memorialization. Notably, artists, curators, and creative professionals are engaging in various kinds of so-called 'narrative documentation' and 'narrative change-making'. Several of these initiatives mobilize spatial dynamics and co-created processes to facilitate more complex forms of truth-telling and memorialization, which foreground complexity and ambiguity, and which prompt more engaged forms of truth-listening. This article zooms in on a specific project that mobilizes traditional artisan and artistic techniques and forms to revisit women's experiences of historical and ongoing violence by crafting layered and ambiguous narratives about harm. In doing so, the Weaving Women's Words on Wounds of War project seeks to further memorialization, truth-telling, and truth-listening about gendered violence. Through an analysis embedded in scholarship on memory, truth, and artistic practice, I argue that it is the generation of ambiguous and complex narratives that invites an active and relational type of engagement and listening. This holds potential for resisting the erasure of complex forms of violence, both in the context of the Philippines, as well as in other contexts where truth or memorialization initiatives may be incapable of capturing the gravity of lived experiences of violence or of facilitating genuine listening. [ABSTRACT FROM AUTHOR]

This paper explores recent transformations in Islamic pilgrimage patterns in Israel/Palestine. The meanings assigned to traditional Muslim sites, and the conduct and practices of the dwindling number of pilgrims who visit them, are the struggling victims of strategic socio-political erasures caused by dramatic geo-political changes. Since 1948, the hegemony of the State of Israel has perversely politicized sacred Islamic sites beyond their traditional religious functions. Muslim pilgrims, for their part, engage in rituals that have become a counterweight to Israeli ethnocratic imperatives. The reconstruction of an Islamic pilgrimage map presents a shared imaginative landscape as lieux de mémoire that undergird political and social resistance. The dogged survival of Islamic pilgrimage comprises a counterweight to state power. Muslims fight to affirm Palestinian identity, reclaim heritage spaces as anchors for identity, and actively engage with land claiming. [ABSTRACT FROM AUTHOR]

Muslim marriages have gained much attention in public debates and academic research. This article examines marriage practices among displaced Iraqi Shia migrants in the UK. Only a few studies have examined this group and fewer by investigating their marriage practices as a way to preserve their religious and cultural memory (Halbwachs 1992). The article is based on Pierre Nora's concept of lieux de mémoire, which refers to spaces, objects or events that have a significant meaning to a particular groups' collective memory (Nora 1989, 1996). I argue in this paper that the transnational aspects of cultural memory expressed in Shia marriage practices such as rituals, images, and objects among the Iraqi Twelver Shia women in the UK can be regarded as examples of transnational Shia lieux de mémoire. These marriage practices, although appropriated for various personal, social, and religious memories outside of any national framework, are still highly politicized. The article focuses on the practice of sofrat al-'aqd (for short sofra) that provides women with the ability to articulate their religious and social identity through material objects placed on the sofra that act as women's transnational Shia lieux de mémoire. [ABSTRACT FROM AUTHOR]