This article has focused on the initial ideas and steps undertaken in view of creating a National Museum and Archives in South Sudan, following its independence. When the country was established, questions were posed around what might serve as the foundations for a sense of cohesion in this culturally diverse country: one in which local identities have generally been more important than belonging to a nation-state. How could South Sudan turn its newly independent status into stable and sustainable nationhood, creating a country in which all citizens saw themselves included and their historical experiences reflected in national institutions? These questions gave rise to the idea of creating cultural institutions: ones whose purpose is not only to display objects, but to use heritage to build peace through fostering a sense of unity and national identity. In our case study, we described the rationale and approaches used for creating new cultural institutions, which mostly allow for people to exhibit and celebrate their culture in ways that emphasise commonalities between communities while contextualising their differences. It was also crucial to do this in ways that are relevant for a population comprising many people who would likely never visit an institution in the capital city of Juba. Stepping away from the need for a new, monumental building, to instead attempt to localise cultural meaning by focusing on festivals, lived experiences, dance and stories and other intangible forms of local heritage was a major part of our strategy around reaching out to non-urban communities and populations. The participatory model of the travelling exhibition that engaged with a broad population in South Sudan further clarified what was already expressed by cultural leaders in the country: heritage offered a way to re-build South Sudan's badly damaged social order and ethnic relations. As things stand in the present day, the use of culture to repair a social fabric battered by war remains an important concept. Anyone hoping to strengthen peaceful coexistence and understanding among different communities and ethnic groups, and to build a sense of sustainable collective belonging to the nation, has to consider museums and other cultural institutions as essential for the viability of a new nation. When this project was launched, we had not expected that a new war would erupt only two and a half years later, bringing everything to a halt. The conflict meant that participatory collecting and exhibiting became vastly more complex, and that part of the collection ended up leaving the country. While the participatory model revealed some practical challenges, the renewed conflict added an important additional factor to consider: how to act responsibly towards those individuals who had already contributed to the collection, honouring the promise that had been made to exhibit and 'use' their donated objects and stories as part of the National Museum, and as part of a broader programme to unify the nation? This seemed a prerequisite to achieving the project's peacebuilding goal. Parallel efforts to map south Sudanese objects in foreign collections have also shed more light on the need to address the absence of key objects on national territory and the complexity of doing so when 'having a museum' remains the global standard. Ultimately, both the travelling exhibition pilot and the question of returning objects to South Sudan challenged the idea of a travelling museum, and revealed the importance of simultaneously operating a physical institution. Yet the question of whether heritage is a sure way to build a sense of collective belonging to a nation, and whether it can heal a troubled past by guiding citizens to identify with the nation alongside their ethnic identities, remains a real test for new or post-conflict nations. The project may have come to a temporary halt, but the future still holds opportunities to build on the lessons learnt and to move forward. [ABSTRACT FROM AUTHOR]