The following text presents reflections on a participatory workshop titled Memories of Home which engaged women of the Iraqi and Arab diaspora in London in dialogue and discourse around perceptions of identity as related to place, history and memory. Participants were asked to select an object of sentimental value that they, or their family members, brought with them from their home country. These objects, fragments and memorabilia of the past, served as anchors of memory and history, acting as portals that transported us across spatial and temporal boundaries.

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Through this initial exploration of the relationship between the objects and the histories and memories which embed them with meaning and value, the group engaged in individual and collective contemplation on the varied and often conflicting experiences of displacement and their reverberating impacts across multiple generations.

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The aim of the workshop was to encounter, extract and record individual narratives to produce a series of written, oral, and visual recordings that describe tensions associated with the loss of, and longing for ‘home’.

Our gathering brought together a group of women with a varied set of experiences in relation to displacement. Some shared first-hand experiences living in and leaving their homeland, while others left quite young or were born in the diaspora and contributed ‘inherited’ or ‘imagined’ narratives. Reflecting back, what unites them is a shared sense of longing for a construct of a home that they’ve either lost, or never known.

Through a constructive engagement with the past, we worked towards reclaiming a sense of ownership over their personal and collective experiences.

Nedal’s (b. Iraq) month-long vacation to London in 1979 has lasted 41 years. She has spent the majority of her life in exile; “All is gone, except the memories kept in the little items we carried with us.” She met her husband and raised three daughters in England. “I am proud of my daughters because they are connected to their homeland, but we didn’t force it upon them, and we gave them the freedom to decide for themselves.” Her daughter Rayya (b. 1988, UK), also part of the group, acknowledges the role her parents played in her conceptualization of Iraq but describes developing an interest in the culture and politics in Iraq independently. She is now a leader within the Iraqi Association and CAFI (Collective Action for Iraq), and an instrumental partner to this project.

Intisar (b. 1954, Syria) moved to London only three years ago. Through an organization called Scheherazade Initiatives, which organizes theatre-based workshops and projects for community groups, she has used writing and acting to express her experience of displacement. “Home, no matter how far away we drift, remains in our heart through its memories, both bitter and sweet. We cannot separate the past from the present, there is always a thin line that connects them together. There are simple things that pull us to the past, like loving a flower because my mother used to like it or liking a certain dish because it reminds me of my sister or my aunt. This thin line, however thin, is strong and stable and, in god’s will, won’t break.”

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Ashtar (b. 1961, UK), a filmmaker born to an Iraqi father and British mother, describes her Iraqi experience as ‘less distilled’. “I didn’t grow up with my father, but I was always fascinated by him and the country that he’s from.” It was only as an adult, having reconnected with him, that she started to get better acquainted with that side of her identity and family history. Her film, Abdallah and Leila (2017), is an imagined retelling of his experience. Ashtar recalls her father’s memory by attempting to understand who he was as a young man in Iraq and speculating on his experience as an older person living in a foreign country and battling dementia. “The film was my first attempt at exploring what being an Iraqi meant to my father, I suppose. It’s more about what I imagined my father to be thinking. It’s speculating, which as a second generationer, you do quite a lot of.”

Maysoun (b. 1954, Iraq) moved to London twenty years ago. She demonstrates a strong sense of dedication towards public service and is genuinely interested in connecting with people. “One can never forget the past, neither the hardships nor the pleasure, especially pleasant memories with family, friends, and neighbours, they cannot be replaced… And I pray to god that he preserves my memory and the memory of everyone else. With these beautiful memories you will continue to live and prosper. Looking back warms you and makes you reflect on how wonderful those times were, especially these days when Iraq’s condition is deteriorating, it will be painful for us.” Throughout the sessions, her voice was the sound of wisdom and encouragement. Her words carefully chosen, inspired, and always optimistic.

Programsprograms designed for the fx9860g series calculators. Our dialogue emerged from an initial exercise where participants were asked to describe their selected object solely through the memory or meaning it holds for them. It offered an opportunity to reflect on and renegotiate our relationship to our personal, familial, and collective histories.

Rather than accept the preservation of history and memory as an imperative duty, we debated and interrogated its true value within our lives, some of its more painful attachments, and how that pain (or knowledge, as we later came to call it) carries forward across generations. The objects became vessels through which we were able to access and examine personal attitudes towards remembrance.

Shezza’s (b. 1985, Syria) object is directly associated with the memory of leaving her home country of Syria as a young child. “The memory behind it is probably the oldest thing I own which came with me from Syria…it took the journey with me, and it’s taken the journey with me throughout my life every time I have moved.”Shezza later reveals her object to be a set of miniature glass turtles from her childhood, one of the few items she could fit into the small bag of favourite belongings her mother asked her to pack before having to suddenly flee the country. “They represent a lot of things, even in a metaphorical way. The idea of carrying your home on your back as a little turtle. When you see baby turtles crawling on the sand trying to get to the sea… the journeys of migration.”

Rayya’s object is one she “inherited” rather than brought from Iraq. “By inherited, I meant borrowed it and never gav