Representing the past is a contested and dissonant process. The
promotion of particular voices and stories within history in line with
the simultaneous suppression of others is an action which is both
directed by and influences the politics of identity, performances of
power and reaction to contemporary circumstance. But alongside
authoritative and officially endorsed versions of the past are
instances of cultural resistance which seek to challenge the agreed
conventions and fill silences. Alan Rice (2010) has described
occurrences of artistic reaction to dominant historical narratives as
'Guerrilla Memorialisation'. Through this terminology the importance
of recognising these gestures as a distinctly active, political and
performative process. Whilst these actions stand as important acts of
resistance in their own right, it seems important to question and
indeed try to understand the consequences of these processes of http://www.blogger.com/img/blank.gif
challenge. What are the legacies of such acts and what is their impact
on official narratives? What are the boundaries and limitations of
resistance to authoritative versions of the past and by whom are they
imposed? Who are the audiences for this resistance and how is it
received?
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