ABSTRACT
In the literature on transitional justice mechanisms, most notably international criminal courts and truth and reconciliation commissions (TRCs), attention is increasingly given to the language and structures, or grammar, of performance. The reason is two-fold. First, these processes are clearly performed in that they are stage-managed, loosely scripted, involve different actors and interlocutors, and have targeted audiences. Second, and more importantly, understandings of their likely impact are increasingly tied to the efficacy of their performance in contributing to tangible change through the interaction of audience and performer. The common idea is that, in a time of transition, broad reforms – such as new legislation, a constitution or institutions – require a performance or enactment of change to become effective (Cole 2010: p. xi). More specifically, transitional justice mechanisms are valued, at least in part, because of their ability to embody transition and thus for their role in helping to shape popular perceptions of the state and associated political regime, and for their potential role in the public articulation, acceptance and internalisation of new shared narratives and ideals, such as forgiveness, reconciliation, accountability, tolerance, human rights and national unity, and thus for their contribution to nation-building.
