Complexities And Dangers Of Remembering And Forgetting In Rwanda

Can a society, a culture, a country, be trapped by its own memories? The question is not easy to answer, but it would not be a bad idea to cautiously say: 'It depends'. This book is about one society - Rwanda - and its culture, traditions, identities, and memories. More specifically, it discusses some of the ways in which ethnic identities and related memories constitute a deadly trap that needs to be torn apart if mass violence is to be eradicated in that country. It looks into everyday cultural practices such as child naming and oral traditions (myths and tales, proverbs, war poetry etc.) and into political practices that govern the ways in which citizens conceptualise the past. Rwanda was engulfed in a bloody war from 1990 until 1994, the last episode of which was a genocide that claimed about a million lives amongst the Tutsi minority. This book - the first in the Memory Traps series - provides a new understanding of how a seemingly quiet society can suddenly turn into a scene of the most horrible inter-ethnic crimes. It offers an analysis of the complexities and dangers resulting from the ways in which memories are managed both at a personal level and at a collective level. The main point is that Rwandans have become hostages of their memories of the long-gone and the recent past. The book shows how these memories follow ethnic lines and lead to a state of cultural hypocrisy on the one hand, and to permanent conflict - either open and brutal, or latent and beneath the surface - on the other hand. Written from a memory studies perspective and informed by critical theory, philosophy, literature, [oral] history, and psychology, amongst others, this book deals with some controversial subjects and deconstructs some of the received ideas about the recent and the long-gone past of Rwanda. About the author: Olivier Nyirubugara is a lecturer of New Media and Online Journalism at the Erasmus School of History, Culture and Communication (Erasmus University Rotterdam). In 2011, he completed a PhD in Media Studies at the University of Amsterdam with a dissertation entitled Surfing the Past: Digital Learners in the History Class, in which he empirically explored ways in which pupils use the Web to find historical information. Nyirubugara has also been practicing journalism since 2002 and has been training and coaching journalists in mobile reporting in Africa since 2007.

This book deals with the genocide in Rwanda by analysing 10 Rwandan-authored novels that reveal a lot about memory processes in post-genocide Rwanda. The author argues that the freedom the novelists enjoy to create their own Rwanda enable them to explore the most controversial aspects of the relationships amongst the Hutu and the Tutsi.

Capitalizing on the current movement in history education to nurture a set of shared methodologies and perspectives, this text looks to break down some of the obstacles to transnational understanding in history, focusing on pedagogy to embed democratic principles of inclusion, inquiry, multiple interpretations and freedom of expression. Four themes which are influencing the broadening of history education to a globalized community of practice run throughout Teaching History and the Changing Nation State: · pedagogy, democracy and dialogue · the nation – politics and transnational dimensions · landmarks with questions · shared histories, shared commemorations and re-evaluating past denials The contributors use the same pedagogical language in a global debate about history teaching and learning to break down barriers to search for shared histories and mutual understanding. They explore contemporary topics, including The Gallipoli Campaign in World War I, transformative approaches to a school history curriculum and the nature of federation.

A critical exploration of the steps taken to promote peace, reconciliation and justice in post-genocide Rwanda.

Catholic and Protestant missionaries followed their own, competing agendas rather than those of the colonial state. This volume unravels these agendas and challenges received wisdom on the histories of Rwanda and Burundi, as well as the colonial relationship between state and mission. The archives of the White Fathers Catholic missionary order in Rome and Paris are read alongside primary sources produced by the British Protestant Church Missionary Society to analyse their impact between 1900 and 1972 in Rwanda and Burundi. The colonial state was weaker than often assumed, and permeable by external radical influences. Denominational competition between Catholic and Protestant missionaries was a key motor of this radicalism. The colonial state in both kingdoms was a weak, reactive agent rather than a structuring form of power. This volume shows that missionaries were more committed and influential actors, but their inability to manage the mass demand for the education that they sought and delivered finally undermined the achievement of their aims. Missionaries and the Colonial State is a resource for historians of Christianity, Belgian Africa specialists, and scholars of colonialism.

This book examines US interventions in the Democratic Republic of the Congo and Rwanda -- two countries whose post-independence histories are inseparable. It analyzes the US campaigns to prevent Patrice Lumumba from turning the DR Congo into a sovereign, democratic, prosperous republic on a continent where America’s ally apartheid South Africa was hegemonic; America’s installation of and support for Mobutu to keep the region under neo-colonial control; and America’s pre-emption of the Africa-wide movement for multiparty democracy in Rwanda and Zaire in the 1990s by supporting Paul Kagame’s Rwandan Patriotic Front (RPF). In addition, the book discusses the concepts of African development, democracy, genocide, foreign policy, and international politics.

The Art of Emergency charts the maneuvers of art through conflict zones across the African continent. Advancing diverse models for artistic and humanitarian alliance, the volume urges conscientious deliberation on the role of aesthetics in crisis through intellectual engagement, artistic innovation, and administrative policy. Across Africa, artists increasingly turn to NGO sponsorship in pursuit of greater influence and funding, while simultaneously NGOs-both international and local-commission arts projects to buttress their interventions and achieve greater reach and marketability. The key values of artistic expression thus become "healing" and "sensitization," measured in turn by "impact" and "effectiveness." Such rubrics obscure the aesthetic complexities of the artworks and the power dynamics that inform their production. Clashes arise as foreign NGOs import foreign aesthetic models and preconceptions about their efficacy, alongside foreign interpretations of politics, medicine, psychology, trauma, memorialization, and so on. Meanwhile, each community embraces its own aesthetic precedents, often at odds with the intentions of humanitarian agencies. The arts are a sphere in which different worldviews enter into conflict and conversation. To tackle the consequences of aid agency arts deployment, volume editors Samuel Mark Anderson and Ch�rie Rivers Ndaliko assemble ten case studies from across the African continent employing multiple media including music, sculpture, photography, drama, storytelling, ritual, and protest marches. Organized under three widespread yet under-analyzed objectives for arts in emergency-demonstration, distribution, and remediation-each case offers a different disciplinary and methodological perspective on a common complication in NGO-sponsored creativity. By shifting the discourse on arts activism away from fixations on message and toward diverse investigations of aesthetics and power negotiations, The Art of Emergency brings into focus the conscious and unconscious configurations of humanitarian activism, the social lives it attempts to engage, and the often-fraught interactions between the two.

Theatre and Performance in East Africa looks at indigenous performances to unearth the aesthetic principles, sensibilities and critical framework that underpin African performance and theatre. The book develops new paradigms for thinking about African performance in general through the construction of a critical framework that addresses questions concerning performance particularities and coherences, challenging previous understandings. To this end, it establishes a common critical and theoretical framework for indigenous performance using case studies from East Africa that are also reflected elsewhere in the continent. This book will be of great interest to students and scholars of theatre and performance, especially those with an interest in the close relationship between theatre and performance with culture.