Echoes of Resilience: A Tapestry of Survival
📍 Where: Human Rights Research and Education Centre, Fauteux Hall (5th floor), University of Ottawa.
When: March 30th - September 30th 2025
Exploring the transformative power of art—moving from memory and reflection towards actionable change
Launched initially as a one-week feature of our Genocide Prevention 25 event, this powerful art exhibit has been extended and will now remain open until September 30, 2025.
Below, you'll find descriptions of the original works on display. While most pieces remain, a few have been temporarily removed during the extension period due to prior commitments by the artists.
Art Collection
Hazara Collection
Buddha of Bamiyan
Arif Bahaduri
Watercolor and ink on paper
This artwork reimagines the Buddha of Bamiyan, a symbol of cultural heritage and spiritual presence, in a haunting and evocative manner. The ghostly outline of the destroyed Buddha looms over a cascade of disembodied eyes, spilling downward like a torrent of sorrow. Desperate hands emerge from the depths, reaching upward, perhaps in anguish, resistance, or an unfulfilled plea for justice. The background, textured with warm yet fractured hues, speaks of decay, destruction, and a history marred by violence.
This piece draws a chilling parallel between the erasure of the Bamiyan Buddhas and the genocide of the Hazara people in Afghanistan. Just as the Buddhas were obliterated in an act of ideological and cultural destruction, the Hazara community has endured persecution, targeted massacres, and systemic violence. The cascade of eyes might symbolize the countless Hazara victims—witnesses to their own suffering—whose pain and presence persist despite attempts to erase them.
Buddha of Bamiyan
Arif Bahaduri
Mixed media on paper
This artwork presents a haunting reinterpretation of the Buddhas of Bamiyan – symbolic of Hazara cultural identity – blending history, spirituality, and destruction. The central figure, draped in flowing robes, appears weathered and eroded, symbolizing the passage of time and the tragic loss of the original statues, which were destroyed by the Taliban.
Surrounding the figure are ghostly faces and skeletal remains, evoking themes of war, decay, and the fragility of cultural heritage. The muted earthy tones, tinged with reds and browns, create a dreamlike yet somber atmosphere, as if the image itself is dissolving into history. This piece is a powerful meditation on resilience, loss, and the impermanence of even the grandest monuments.
Through this deeply symbolic and emotionally charged composition, this series mourns both cultural and human loss, serving as a stark reminder of the fragility of existence, the weight of history, and the resilience of those who refuse to be forgotten.
Dreaming of School
Arif Bahaduri
Watercolor and ink on paper
This evocative artwork captures a haunting blend of innocence and sorrow, symbolizing loss, resilience, and a deep connection to history. A young girl’s face emerges from the landscape, seamlessly merging with the earth, as if she is both a part of it and trapped within it. Her gaze is calm yet profound, carrying an unspoken weight of pain and endurance.
Above her, wilted tulips—traditionally symbols of the Hazara people—droop in a lifeless arc, their withering forms echoing tragedy and forgotten suffering. The red-stained sky, coupled with the stark contrast of light and shadow, suggests a history of violence and loss, alluding to the struggles and genocide faced by the Hazara community in Afghanistan.
The blending of human and nature in these pieces speaks to the enduring spirit of those who have suffered but refuse to be erased. It is a tribute to lost innocence, an unyielding presence of memory, and a silent plea for justice and recognition. The desolate landscape, the mournful flowers, and the piercing eyes of the girls weave together a narrative of grief, survival, and the hope that one day, the wilted will bloom again.
The Dambora Player
Arif Bahaduri
Watercolor, ink and coffee on paper
The image of an old hunchback man playing the Dambora on a red rug reflects a moment of emotional release in Hazara culture.
The Dambora—a traditional string instrument deeply rooted in Hazara culture—is used to express both joy and sorrow, offering comfort in times of pain.
The rugs are common in Hazara homes, symbolizing warmth and tradition. Through the music, the man seeks solace, connecting to his emotions and preserving his cultural identity.
Chehel Dokhtaraan (The Forty Girls)
Murtaza Ali
Painting, mixed media
Inspired by an epic Hazara legend, this work pays tribute to the 47 young women who resisted violent attacks in Uruzgan. Surrounded by advancing troops, the girls fled to the Shashpar Mountains—but the violence followed. Facing imminent capture and the threat of losing their dignity, they made an unthinkable choice: to leap from the mountaintop rather than surrender.
Their blood stained the rocks below, marking a place now known as the Chehel Dokhtaraan Mountains—named in remembrance of their courage and sacrifice. This piece evokes their story as an enduring symbol of resistance, dignity, and the price paid to preserve both. Poems and oral histories continue to honor their legacy today.
In Limbo
Murtaza Ali
Painting, mixed media
This painting was created in response to the trauma experienced by Hazara refugees stranded in Indonesia. Fleeing persecution in Afghanistan, many Hazara people sought safety through irregular migration routes, only to find themselves in prolonged limbo—denied legal status, employment, education, or resettlement options. Trapped for years with no clear path forward, the weight of uncertainty has led to widespread psychological distress and a tragic rise in suicides within the refugee community.
The artist channels the grief of losing friends to this despair, describing a personal struggle between holding on to hope and surrendering to hopelessness. In painting this piece, they found a sense of relief and renewal—a reclaiming of hope for the future. The work stands as a powerful reflection on the emotional toll of statelessness, and the quiet resilience that persists in the face of it.
The Resilience
Murtaza Ali
Painting, mixed media
This painting speaks to the quiet resistance of those who long to grow freely but are held back by trauma and societal restriction. Like a plant contorted by its environment, the subject reflects how identity and potential are shaped—and often stifled—by forces beyond one’s control.
For Hazaras, this struggle is all too real. Whether in Afghanistan or in host countries like Pakistan and Iran, they face systemic injustice, denied access to education, safety, and opportunity. Yet the will to grow remains. This piece honors that resilience—the determination to push upward, even when the world presses down.
Tamil Collection
The Burning of the Jaffna Public Library
Source: Tamil Web Archives
Once one of Asia’s largest libraries, the Jaffna Public Library housed over 95,000 rare Tamil palm-leaf manuscripts, parchments, books, and newspapers. On June 1, 1981, it was deliberately set ablaze by a mob reportedly supported by Sri Lankan state actors. The burning stands as one of the most violent acts of ethnically motivated biblioclasm in the 20th century, symbolizing a targeted erasure of Tamil culture and knowledge.
Captured and Executed
Source: Tamil Web Archives
A photograph showing a young Tamil rebel after capture and execution by the Sri Lankan armed forces during the final stages of the civil war. It speaks to the systematic extrajudicial killings that marked this period.
Mass Execution
Source: Channel 4 Video Footage
This frame captures a group of captured Tamil rebels shortly before execution. Among them, 19-year-old Shalini Gunalingam, who was gang raped and killed alongside fellow detainees. The image stands as testimony to the brutality and sexual violence committed against Tamil prisoners during May 2009.
Isaipriya and Shalini: Rape, Torture, and Murder
Source: Channel 4 Video Footage
Shoba Dharmaraja, known as Isaipriya, was a Tamil journalist and television anchor for the LTTE. Alongside Shalini Gunalingam, she was captured by the Sri Lankan military, then raped, tortured, and murdered. Footage of these crimes was authenticated by international observers, including the UN and Amnesty International. This piece confronts the gendered violence and media suppression experienced during the war.
Manik Farm & Point-Blank Execution
Sources: The Hindu File Photo; Channel 4
Manik Farm was the largest displacement camp during the final phase of Sri Lanka’s civil war, at one point confining over 300,000 Tamils behind barbed wire and under strict military control. Barred to media, it became a symbol of mass internment and human rights abuse. The adjacent image of a Tamil rebel executed at point-blank range further reveals the systemic violations that occurred both inside and outside the camp.
Tibetan Collection
Tibetan Wall Texts
The Sacred Arts of Tibet
Tibetan art has a rich and ancient history, predating the arrival of Buddhism from India (7th to 13th C.E). Over time, Tibetan art absorbed influences from Central Asia, Persia, China, and the subcontinent. Despite these external influences, Tibetan art retained its distinct identity and played an integral role in the culture.
Principle Forms of Tibetan Art Tibetan paintings traditionally appear in three main forms: Wall frescoes, Adornments to copied manuscripts, and Thangkas (scroll paintings). These art forms serve various roles, including decorative, meditative, and ritualistic purposes. They also convey core Buddhist values such as inner transformation, ethical precepts, and the key Buddhist concept of Compassion.
Preserving Buddhist Knowledge Between the 7th and 13th centuries, more than 4,500 core texts and commentaries were translated from Sanskrit into Tibetan by teams of scholar-translators. Many of the original Sanskrit texts were lost due to historical upheavals, but the Tibetan translations have preserved this knowledge. Alongside written texts, visual art was not merely illustrative but held a core role in the transmission of Buddhist teachings, making it an important medium for spiritual practice and meditation.
Impact of Chinese Rule on Tibetan Art
With the loss of Tibet to the People's Republic of China (PRC), the core of Tibetan culture became increasingly threatened. The Chinese Communist Party sought to reshape Tibetans within the framework of a totalitarian ideology. As a result, many works of Tibetan art were destroyed during the upheavals of this period, and Tibetan culture faced severe repression.
However, due to ongoing interaction with neighboring regions and the efforts of many ordinary Tibetans, some of Tibet’s most portable cultural materials—such as painted scrolls, block-printed texts, and smaller votive pieces—were able to escape destruction. These items were crucial in preserving Tibetan art and culture.
The Revival of Tibetan Art in the 1980s
By the 1980s, young artists in Tibet began cautiously creating art that was less prone to outright censorship than written works. Ancient Tibetan motifs were reinterpreted to address current issues of identity and sovereignty in periods of severe repression. Art became an important means of expressing the struggles of the Tibetan people, raising questions about their cultural identity, autonomy, and resistance.
Continuum of Tibetan Art
The development of Tibetan art can be best understood as a continuum. Artists continued to use traditional motifs while adapting them to address contemporary dilemmas and challenges. Some modern works featured here, created by artists from Lhasa-based galleries like the Gendun Choephel Gallery, have gained wider recognition outside of Tibet and within the Tibetan diaspora. However, these galleries have often been open and closed depending on political circumstances, highlighting the precariousness of artistic expression in Tibet.
For Tibetans, preserving and promoting Tibetan culture, especially through art, is an act of renewal and resilience. Despite facing ongoing occupation and repression, the Tibetan people continue to fight to keep their cultural heritage alive, using art as a tool for survival and resistance.
Gendun Choephel: A Legacy of Expression
Between 2000 and 2008, a small group of young Tibetan artists—sparked by a study-share program—formed an informal collective in Lhasa to explore creative expression in a rare window of relative freedom. Inspired by their namesake, Gendun Choephel, a visionary cleric, poet, and artist of the 1940s, the group used art to respond to the beauty of the Tibetan landscape and the tension of life under occupation.
Despite waves of censorship and closure, the collective continues today, committed to preserving Tibet’s artistic legacy—echoes of which still adorn the temples and halls of the plateau. Their work is part of a broader movement now carried forward by Tibetan artists in the diaspora, from India to Canada, the UK, and the U.S., united in purpose: to create, to resist, and to remember.
Iconic Tibetan Yaks
Samchung (Diaspora Artist)
Tibetan yaks form a protective space for women and children—evoking themes of flight, return, and shelter along uncertain paths. A quiet homage to resilience amid displacement.
Mahatma Gandhi Rendered in Tibetan Style
Karma Sichoe (Dharamsala-based Artist)
Created for the Tibetan translation of Life of Gandhi book cover, this artwork reimagines Gandhi through a Tibetan aesthetic lens—linking global nonviolence to Tibetan spiritual traditions.
New Realities in Tibet
Gendun Choephel Gallery
Montage of Buddha, PLA Soldier, Young Pioneer, and Young Woman. A layered visual commentary on identity and power in present-day Tibet—placing spiritual icons beside state symbols and personal figures to portray the contested realities of Tibetan life.
Mythical Flight over Tibetscape
Gendun Choephel Gallery
This imaginative piece draws on traditional Tibetan stories and myths, depicting a fantastical aerial journey through an otherworldly Tibetan landscape.
Underwater Tight Rope
Gendun Choephel Gallery
A surreal and symbolic scene reflecting the balancing act Tibetans must perform in negotiating difficult spaces—navigating submerged dangers, constraints, and delicate tensions in their lived experiences.
Mandala
Mid-9th century historic print
An ancient mandala guiding Buddhist practice through cosmological symbolism—offering insight into harmony, balance, and the path to spiritual transformation.
Dictator’s Club, East Africa Edition
Mahder Tella
Digital Painting
During the dark days of 2021, as the Tigray genocide continued to unfold, Mahder Tella created this comic book cover—a satirical yet devastating portrayal of the unfolding atrocities. Using the recognizable 'Simpsons' aesthetic, she transformed its lightheartedness into a stark depiction of genocide's harrowing stages: classification, dehumanization, organization, polarization, preparation, persecution, extermination, and denial.
This piece is a powerful indictment of the denial and complicity of Isaias Afwerki and Abiy Ahmed Ali, who dismissed their roles in atrocities that included arterial drone strikes, systematic executions, telecommunication blackouts, widespread looting, and the weaponization of hunger. The direct line between Eritrea and Ethiopia in the imagery symbolizes their coordinated campaign. The peace agreement, signed in Tigrayan blood, underscores the immense human cost. The inclusion of drones and Ethiopian Airlines highlights their instrumental role in the genocidal violence.
Yet, this artwork transcends despair. It is a testament to resilience, fueled by the defiant words, “Silence encourages the tormentor, never the tormented – E.W. Never Again, Again.” This serves as a rallying cry, affirming the unwavering determination of the Tigrayan people to fight for justice and overcome all odds. This piece is a testament to the power of art to confront injustice, challenge denial, and ultimately, to inspire resistance.
Gelaho
Yeshi Gebretinsae
Painting
Artist Statement
Yeshi Gebretinsae, alongside Hlina, forms one half of the powerful artistic duo behind the Roots of Identity collection. This body of work serves as a profound meditation on Tigrayan identity, unflinchingly confronting the devastating atrocities inflicted upon the community. Through her evocative paintings, Yeshi translates the complexities of cultural heritage and the pain of collective trauma into visual narratives.
The painting showcased here depicts a young girl, a symbol of vulnerability and hope, being lifted from darkness by a community of hands. This powerful image represents the collective strength and resilience of the Tigrayan people, who come together during the darkest of times, pushing forward toward brighter days. The inclusion of a section of the Tigray map within the composition anchors the artwork to its specific cultural and geographical context, emphasizing the deep connection between the people and their land.
Hidri
Seb-Halyot
Photography
Artist Statement
“A pact among generations A memory A reality A present A future
Tigray Defense Forces are not composed of one party only; it is the people’s resistance to oppression. It is what was and what will be—the right to self-determination.”
NEBSEY – A Short Film
Gabrielle Tesfaye
Nebsey, meaning my body/soul in Tigrigna, is a short film that tells the stories of women who experienced sexual and gender-based violence during the Tigray War in Ethiopia. It addresses the impact of this violence and explores themes of reconciliation, justice, and healing.
Co-produced by artist Gabrielle Tesfaye and researcher Mitiku Gabrehiwot, the film aims to aid the healing process for affected communities. It is part of the Ethnographies of Parliaments, Politicians and People (EoPPP) project, sponsored by SOAS University of London.
Wa’ero
Robel Asfaw
Painting
Artist Statement
Robel Asfaw's Wa’Ero (Female Warrior), inspired by the iconography of Lady Justice, confronts the distorted reality of justice faced by the Tigrayan people amidst genocide and ethnic cleansing. This powerful image reimagines the traditional symbol, transforming it into a defiant figure that challenges the very notion of impartiality in the face of brutal oppression.
Wa’Ero stands as a visual testament to the resilience and strength of Tigrayan women, who, like the warrior depicted, must navigate a system where justice is compromised. Asfaw's work serves as a stark reminder of the urgent need for accountability and truth, amplifying the voices of those silenced by violence.
Tigrayan Collection
Echoes of the Land
Alain Sangwa – Prime Luminisce
Rwanda Visual Artist
Acrylic on canvas
This artwork captures the breathtaking beauty of Rwanda’s rolling hills, enveloped in a lush green landscape that stretches toward misty blue mountains. The scene is alive with cultural significance—an elder draped in a traditional white robe stands firmly with a staff, gazing into the distance, symbolizing wisdom and guardianship over the land. In the background, a woman gracefully carries a basket on her head, moving toward a small herd of Ankole-Watusi cattle, which are revered for their resilience and historical importance in East African culture.
The painting is a visual ode to the deep connection between the Rwandan people and their homeland, evoking themes of heritage, resilience, and unity. The contrast of vibrant greens against the soft blues of the sky and mountains creates a sense of peace and timelessness, inviting the viewer to immerse themselves in the spirit of the land.
Grace in Motion
Reymond Alex – Prime Luminisce
Rwanda Photographer
Photography
Set against the rolling hills of Rwanda, this striking image captures a cow in a moment of quiet elegance, lifting its hoof as it grazes peacefully. The golden hues of its coat contrast beautifully with the lush green pasture and the soft, misty mountains in the background, evoking a sense of harmony between the animal and its natural environment.
Every detail, from the texture of its hide to the subtle motion of its step, speaks to the resilience and grace of rural life. This photograph is a tribute to the deep connection between livestock, land, and livelihood in traditional communities.
Inkomoko (The Origin)
Rwego Yves – Prime Luminisce
Rwanda Visual Artists
Acrylic on canvas
This captivating piece, titled Inkomoko (meaning “The Origin” in Kinyarwanda), presents a powerful visual of interwoven hands, symbolizing unity, resilience, and heritage.
The striking contrast between the deep black skin tone and the vibrant streaks of yellow, green, and blue evokes a sense of national identity, echoing the colors of the Rwandan flag.
The textured paint, seemingly flowing over the fingers, represents the blending of culture, history, and transformation—highlighting the journey of self-discovery, identity, and collective strength. The grip of the hands suggests solidarity, struggle, and the binding power of heritage that transcends time.
This artwork serves as a profound reflection on the past, present, and future, asking the viewer to contemplate the foundation upon which identity is built and the strength that emerges from deep roots.
The Majesty of Ankole
Reymond Alex – Prime Luminisce
Rwanda Photographer
Photography
This striking photograph captures the regal presence of the Ankole-Watusi, a breed of cattle renowned for its massive, elegantly curved horns. Resting in a tranquil natural setting, the central bull, adorned with a decorative beaded collar, exudes a quiet strength and dignity.
The framing of the image—where another set of horns in the foreground creates a layered perspective—emphasizes the grandeur of these sacred creatures, often regarded as symbols of prestige and heritage in Rwandan and East African cultures.
Through rich earthy tones and a serene atmosphere, this piece invites the viewer to appreciate the deep cultural significance and breathtaking beauty of Ankole cattle.
Pure Joy in the Highlands
Reymond Alex – Prime Luminisce
Rwanda Photographer
Photography
This captivating photograph encapsulates the essence of happiness and youthful innocence against the breathtaking backdrop of Rwanda’s volcanic highlands. Two children, seated on a grassy embankment, share a moment of laughter, their radiant smiles reflecting the warmth of their bond.
The vast expanse of lush fields and towering mountains in the background creates a striking contrast to their carefree presence, emphasizing the harmony between nature and community.
With vibrant colors and a dynamic composition, this image tells a story of resilience, simplicity, and the beauty found in everyday moments.
Warrior’s Rhythm
Alain Sangwa – Prime Luminisce
Rwanda Visual Artist
Digital painting
This striking black-and-white digital painting encapsulates the raw energy and spirit of the Intore warrior dance, a traditional Rwandan performance known for its strength, grace, and historical significance. The central figure, adorned in a bold geometric-patterned costume, wields a spear and shield, exuding power and determination. His long, flowing headdress—a signature element of the Intore dancers—rises dramatically, capturing the movement and vitality of the dance.
The stormy, textured sky in the background intensifies the scene, adding depth and evoking the resilience of the Rwandan warrior spirit. The monochromatic color scheme enhances the contrast between light and shadow, symbolizing the balance between struggle and triumph.
Warrior’s Rhythm is a visual celebration of cultural heritage, movement, and the enduring strength of a people whose history is etched in dance, storytelling, and resilience.
Tutsi Collection
Uyghur Collection
Postcards from East Turkistan
Photographic collage
Intimate snapshots of daily Uyghur life, preserving memories of freedom and cultural heritage now under threat. Official postcards from the late 1990s capturing everyday life across East Turkestan—from Kashgar to Urumqi to the Pamir Plateau.
The photographs showcase civilians shopping at bazaars, enjoying local food and drinks, and interacting with animals such as donkeys. Notable landmarks featured include the Imin Minaret and the Tomb of the Fragrant Concubine.
Traditional Etles Dress
Silk textile garment
Handmade Etles silk dress from Kashgar, symbolizing Uyghur cultural identity, craftsmanship, and resilience. Etles is a famous Uyghur textile pattern, often featured in traditional clothing for both women and men.
Traditionally worn during special occasions such as weddings and holidays, the vibrant Etles design is also woven into the fabric of daily life in East Turkestan—appearing in architecture, garments, and furniture across the region. This particular dress was handmade in the city of Kashgar using real silk.
Traditional Uyghur Dress
Historic garment
Rare and historic traditional Uyghur dress, embodying community traditions, celebration, and cultural preservation. It embodies common Uyghur attire characteristics like layering and bright colors. Today, it is most commonly worn during celebration events and festival performances for traditional Uyghur dance.
Wall Text: The East Turkestan Police Leaks
This exhibit features selected images and internal documents leaked from Chinese state archives, collectively known as the Xinjiang Police Files. These materials were obtained from confidential sources and authenticated by investigative teams from major global outlets, including the BBC and Voice of America.
The photographs, taken between 2017 and 2018, depict Uyghur men, women, and children detained in so-called “re-education” camps across East Turkestan. Many were targeted and imprisoned solely because of their ethnic background and Muslim faith—facing accusations as vague as “having a beard,” “wearing a veil,” or “studying the Qur’an.”
Alongside these haunting portraits are police manuals, surveillance protocols, internal directives, and shoot-to-kill orders—revealing the scale and brutality of the Chinese state’s campaign of mass internment and cultural erasure.
This installation transforms leaked state records into testimony—humanizing those who have been detained and silenced. It offers an unfiltered window into life inside the camps and honors the courage of whistleblowers who risked everything to expose the truth.