How does one reconcile with the effects of a sudden natural occurrence which caused mass devastation, and changed the trajectory of an entire region thereafter? Can a museum on the said event hold collective memory and play a role in the writing of its history? Moreover, must there be a museum on geologic events such as earthquakes, at all?  Imagining a Forest of Memory I grappled with these questions and many more during my work as researcher for the Smriti Van  Earthquake Museum, Bhuj, Kutch, Gujarat. The public museum and memorial were conceived as an emotive, experiential space to remember and reconcile with the devastating earthquake of 26th January 2001 which affected every aspect of life in Gujarat.

The memorial is spread across 470 acres of the Bhujiyo Dungar or Bhujiyo Hill, and the museum occupies one portion of over 10,000 sq.m of gallery space. Smriti Van – literally  ‘forest of memory’, or ‘forest of remembrance’ was imagined as a place with a tree planted for each of the thousands of lives lost. Multiple kunds or small catchments built on the hill serve as places of quiet contemplation and remembrance, while also recharging the ground water table for the growing ‘forest’. The museum was imagined as a series of galleries interwoven with a central shaded spine, where visitors can wander freely and view the city of Bhuj.

As per the conceptual report, prepared by Vastu Shilpa Consultants, architects of the project, the museum and memorial seek to “offer comfort and finality to loss; a place of remembrance that gives the living a means of moving on with life.” The memorial and museum serve as anchor points in the telling of a story of human grief, loss, triumph and eternal resilience. It offers context-specific insights on the significance of holding, preserving and retelling stories related to earthquakes in plural, and the 2001 earthquake specifically. The exhibition design and interpretive planning of the museum was done by Noida based Design Factory India, a leading studio in experience, space and museum design. The process of conceptual planning and generation of a concise, compelling storyline took place over an intense few months. The research leading up to a storyline, and detailed exhibit research involved a consideration of multiple perspectives. Various curatorial lenses were considered in order to understand the impact of the events following 8:46 am of Republic Day, 26th January 2001, including but not limited to :

• The relevance of Earth science and evolutionary history in understanding the phenomenon of earthquakes
• Exploring significant civilizations of the region, such as the Indus Valley civilization in uncovering a narrative of inherent resilience in people and the land
• Learning and lessons from the catastrophic earthquake of 2001, seen against a backdrop of constant natural occurrences over centuries
• The importance of holding on to memories related to the earthquake however uncomfortable, and presenting them within the bounds of ethics and confidentiality
• And ways of remembering lives lost, such that it may become cathartic and collectively healing

The museum storyline evolved into 7 thematic blocks based on context setting, occurence of the event and its impact, and the learnings and way forward. The blocks are : Rebirth, Rediscover, Restore, Rebuild, Rethink and Relive. The thematic essence of each block was represented through a traditional craft from Kutch grounding the exhibition design to a local context with a national/international outlook.

The museum journey begins  with the evolutionary panorama of our planet and the geologic composition of the very land shaped by powerful natural phenomena, followed by a glimpse of resilience rooted in the 5000 year old Indus Valley civilisation settlements found across the Kutch region.  The journey also highlights the natural setting of Gujarat region, which is full of geologic wonders such as the Rann of Kutch and Banni Grasslands. A composite timeline of natural occurrences that have affected the region since two centuries is created to give the viewer a birds eye view of the geological history of the region. The 2001 earthquake  itself captured through secondary data and personal stories is presented  by multimedia exhibits, showing the transition from complete chaos towards a semblance of recovery. The immediate formation of Gujarat’s apex disaster management body –  a direct outcome of the disaster is shown alongside mammoth reconstruction measures undertaken. Disaster preparedness and awareness became an important topic , dealt with through games, interactives and models in the penultimate galleries. Finally, a starlit space for remembrance and to pay tribute to lost souls is a somber space, culminating the museum journey. Being a public museum, commissioned by Gujarat State Disaster Management Authority (GSDMA), the research drew from archives of the State, local news and institutional reports, along with help of subject matter experts in palaeo-seismology, geology, archaeology and social sciences. In doing this, the tangible and intangible impact of the earthquake at all levels of society was understood. By collaborating with master craftspersons across Kutch, the larger story of the 2001 earthquake was expressed not only in the museum’s content, but also in different dimensions of design.

The museum has now opened to public and first visitors; locals from Bhuj and nearby areas have arrived in large numbers. For many, the visit is a chance to pause and reflect on the collective struggles and successes in rebuilding lives over the last two decades. And for those who lost family or loved ones, the museum offers ample space to grieve and gain closure, through material memory and emotive interactions. Smriti Van Earthquake Museum can become a space to strengthen bonds that connect generations – and serve as a place for cultural expression, dialogue and learning. References:

1. Smritivan Museum Conceptual Report, GSDMA http://www.gsdma.org/uploads/22.01.2018_SVB_CONCEPTUAL%20REPORT%20FOR%20SMRITI%20VAN%20MUSEUM_FOR%20UPLOAD.pdf

About the Author

Niharika Joshi is an architect, expanding her practice to museums and curation. She thrives on visiting museums, collecting leaves and long walks in the forest. A perfect day involves brewing tea and lazing around with her dogs Gabbar, Bageera and Bira.