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The Continuing Travails of Paul Rusesabagina: Hero or Villain?


June 28, 2007
(Published in the Guelph Mercury on July 3, 2007)

Umberto Eco says a real hero is always a hero by mistake, that he dreams of being an honest coward like everyone else. It’s an aphorism that Paul Rusesabagina may soon take to heart. Heroism for the world’s most high-profile Rwandan is fast becoming a burden, with every humanitarian medal he receives, and with every lecture he gives.

In his book An Ordinary Man, and in the film Hotel Rwanda, Rusesabagina is portrayed as the man instrumental in saving more than 1200 lives during the 1994 genocide. The son of a Hutu man and a Tutsi woman, and the manager of Kigali’s top hotel, Rusesabagina was in a unique position to help people who flocked to the hotel looking for refuge from the machetes.

However, today, 13 years later, Rusesabagina is being called an opportunist, a liar, an imposter, a revisionist, a negationist, a traitor, a defender of mass murderers, a man profiting from the blood of a million victims. He lives in self-imposed exile in Belgium. He says he’s survived at least one assassination attempt. And he’s vilified every time he stands up to make a public pronouncement on Rwandan affairs.

He has his defenders, of course, people like Thomas Kamilindi, a well-known Rwandan journalist now living in the U.S. who insists that Rusesabagina helped save his life. George Bush gave Rusesabagina the Presidential Medal of Freedom, and a number of other humanitarian groups followed suit. But the groundswell of innuendo and animosity against him—a campaign led and fed by the administration of Rwandan President Paul Kagame—threatens to blacken his reputation.

Rusesabagina’s offense has been to speak up, loudly and sometimes rashly, on behalf of the majority Hutus who, he claims, have been disempowered in the modern Rwanda. He says Hutus are being killed today, and their killers are not being held accountable. “The failure of justice is critical,” Rusesabagina writes, “for it leaves our nation still in pieces and in danger of exploding again before long.” He believes Kagame to be something of a tyrant. He has even talked—mistakenly, I think—about a “second genocide.”

I’ve spoken to Rusesabagina at length, researched his story, and talked to many people about him and his allegations. I’ve heard enough to believe he’s sincere: I haven’t heard enough to say whether his most serious allegations are true or not.

Still, after a five-week visit to Rwanda this past spring, it’s my belief that the Kagame regime is exploiting this controversy over Rusesabagina to deflect attention from its own political failings and excesses. Rwanda remains desperately poor. Its prisons are full. Many genocide survivors are destitute. Kagame, an English-speaking Tutsi raised in Uganda, has passed draconian laws to enforce his version of why the genocide happened, and his vision of a society without ethnic divisions. Indeed, many Rwandans are afraid even to utter the words “Hutu” and “Tutsi.”

Reconciliation is the absolute orthodoxy; for the Tutsi victims to forgive their Hutu victimizers is now seen almost as a patriotic duty. (In his autobiography, Rusesabagina asks: “ . . . How in God’s name can a man “reconcile” with people he has raped, tortured and murdered? How can things ever be put right with the parents of a baby who has been ripped limb from limb?”)

Meanwhile, there is a virtual absence of political opposition, and the media is intimidated. In April, newspaper editor Agnès Nkusi Uwimana was sentenced to a year in jail and fined $6500. Her crime was to publish a letter-to-the-editor that complained that Tutsis were not being prosecuted for killing Hutus. Many Western human rights groups say the same thing. Paul Rusesabagina says the same thing. But to say it on the hills and on the streets of Rwanda is today a crime—a crime of ideology. A thought crime.

The main newspaper, the New Times, censors stories of ethnic killings because it doesn’t want to “enflame” the public. The principle seems to be: Better an ignorant public, than a fearful one.

While in Kigali, I was punished for writing a personal blog that characterized a public appearance by Kagame in an unflattering way. After the Intelligence Service read my blog, I was refused access to the state TV network where I was scheduled to do media training. I learned that the “watchers” also investigated another Canadian journalist, Gil Courtemanche, after a critical column he wrote for Montreal Le Devoir.

The Rwandan government and its defenders say, with some justification, that strong measures are needed to restore stability to a society that was shattered, root and stem, in 1994. There is zero tolerance for disagreement on issues of ethnicity.

But to smother dissent, to impose orthodoxy and to excoriate people like Paul Rusesabagina for what they say--or for their personal fame or success--can only lead to authoritarianism. Rwanda has been down that road before. What it needs now is a strong civil society, complete with earnest voices, disagreeable or otherwise.

*********

Rusesabagina has more than the Rwandan state to contend with. Now the world Anglican Church is putting his feet to the fire. Here's an article in a recent online edition of ChristianityToday. The "kicker" in this story is in the fifth paragraph from the end.

Rwandan Politics Intrudes on American Church
Archbishop told Anglican congregation to cancel talk by Hotel Rwanda subject Paul Rusesabagina.
Sarah Pulliam | posted 9/10/2007 11:29AM

A suburban Chicago church sought leadership from Rwanda amid theological disputes with the Episcopal Church. This week, it found itself in conflict with its leaders over Rwandan politics.

All Souls Anglican Church had scheduled Paul Rusesabagina, whose life was featured in the 2004 movie Hotel Rwanda, to speak during Sunday morning services. The Wheaton, Illinois, church, a member of the Rwandan-led Anglican Mission in America (AMiA), had advertised Rusesabagina's appearance as part of a fundraiser to build a school in Gashirabwoba, Rwanda.

On Thursday, however, All Soul's pastor J. Martin Johnson received a message from AMiA President Canon Ellis Brust that Emmanuel Kolini, the Anglican archbishop of Rwanda, requested that the church not have Rusesabagina speak.

Rusesabagina has been at odds with the president of Rwanda. The archbishop feared that the event could create a strain in the relationship between the Anglican Church of Rwanda and the government.

"Truly I am horrified that we could have such a negative impact without meaning to," Johnson told Christianity Today. "I had no idea this was a controversial issue."

Rwandan president Paul Kagame has criticized the Oscar-nominated movie Hotel Rwanda for inaccurately portraying the country's 1994 genocide.

Hotel Rwanda highlights Paul Rusesabagina's role as a hotel manager who saved more than 1,200 Tutsi refugees. An estimated 800,000 people were massacred during 100 days of the genocide.

Kagame disputed Hotel Rwanda's portrayal of Rusesabagina as a hero. Kagame has said that Rusesabagina happened to be there and that he happened to survive because he was not in the category of those being hunted.

Rusesabagina criticized Kagame in his 2006 autobiography An Ordinary Man, saying that Kagame surrounds himself with corrupt businessmen.

"The same kind of impunity that festered after the 1959 revolution is happening again, only with a different race-based elite in power," he wrote. "We have changed the dancers but the music remains the same."

Instead of speaking at the church, Rusesabagina spoke at the nearby Wyndemere Auditorium in Wheaton Sunday night.
Director of Operations for All Souls Jennifer Merck, who was involved in organizing the original event, said many in the church were disappointed when Rusesabagina did not speak.

"My observation is that in the United States, we are so comfortable with our right to free speech," Merck said. "The fact that we listen to someone has nothing to do with whether we agree with him or not. That's not so true in the rest of the world."
Many, including Merck, left the Episcopal Church over the issue of homosexuality and chose to be under the oversight of the church in Rwanda.

"I don't know that we really knew then what it meant for us to be connected to Rwanda and frankly, we're beginning to find that out," she said. "It raises questions about what does it mean to live in the global church."

Since Rusesabagina had received the U.S. Presidential Medal of Freedom from President Bush, the All Souls pastor thought it would be a good way to attract attention for the school the church is trying to build.

"He was controversial or outspoken, but we have named him a hero in this country," Johnson said. "I thought it was a bit tacky because of the film, thinking, 'We're going a bit Hollywood with this, but oh well, it's for the good of the kingdom.'"

But after President Kagame found out Rusesabagina was supposed to speak at a church overseen by archbishop of Rwanda, he contacted Kolini, who then sent a message to the church requesting that the event be canceled, Johnson said.

"The bigger reality for us is having to accept the whole concept of obedience, and that is a harder cultural pill to swallow than I realized," he said. "I'm forced to encounter my own resistance and bias."

Johnson, who was previously a priest in the Episcopal Church, has been under the Rwandan authority since 2004. "He simply said, 'Please don't. Your church can't have this man speak there,'" Johnson said. "My initial response was, 'Can they tell us what to do?' We just have to say, 'Okay, fine, sorry,' and that's what we've done."

The church had sent out announcements to several people in the Chicago area and Johnson was embarrassed to have to cancel the event.

"I don't know if we'll simply have to get masters degrees in political science to keep working in the church," Johnson said and laughed. "I've never even been to Rwanda, but we are

The Forgiveness Fantasy (work in progress)


June 22, 2007

"Rwanda's key dilemma is how to build a democracy that can incorporate a guilty majority alongside an aggrieved and fearful minority in a single political community."--Mahmood Mamdani, "When Victims Become Killers"

"In keeping silent about evil, in burying it so deep within us that no sign of it appears on the surface, we are implanting it, and it will rise up a thousandfold in the future. When we neither punish nor reproach evildoers, we are not simply protecting their trivial old age, we are thereby ripping the foundations of justice from beneath new generations . . . It is going to be uncomfortable, horrible to live in such a country!"--Aleksandr Solzhenitsyn, "The Gulag Archipelago"

Eric Kazamarande has the chest, shoulders and heavy hands of a construction worker. He’s not tall. But even in his absurd pink prison garb, he radiates a primal strength. Armed with a machete, he must have cut a fearsome figure. Eric doesn’t remember how many blows it took to kill 12 Rwandans, but the two children he hacked to death probably offered a bit less resistance than the ten Tutsi adults he murdered. He chopped one man’s head off and carried it around the town of Kabukuba like a trophy.

When I first met Kazamarande in 1998, on a wooden bench outside the Rilima prison in central Rwanda, he didn’t talk much about the killings, except to offer what sounded like a carefully-rehearsed alibi. “We were driven by an invisible enemy that invaded our souls,” he told me. This enemy invader, whatever it was, proved highly efficient: it gave Eric and his fellow genocidists the strength to kill a million Rwandans in just a hundred days in 1994.

(You can see my documentary Rwanda: Out of the Darkness here)

Eric ended our interview with a deft finishing touch. “My heart is at peace,” he said, “because I have already confessed.” When he got out of prison, he pledged, he would visit the families of his victims, and beg forgiveness. At that point I turned off my video camera, and Kazamarande calmly walked back into his cell, escorted by a deputy warden. He would serve a total of about eight years.

Fast forward nine years . . . A few weeks ago, I saw Kazamarande again. He was now a free man. He’d found work as a baker. He was wearing a rakish leather Nike cap, and there was a cell phone in his pocket. There was a swagger in his step. He was doing all right. He’d wiped the bloodstains from his hands. He’d shown the requisite remorse. He’d knocked on doors, said I’m sorry, collected his forgivenesses like so many vouchers from the families and friends of his victims, and now he just wanted to get on with his life. As we talked, he occasionally brought his hands to his heart, to show his sincerity.

I couldn’t resist a question about guilt. Did he feel any after 13 years? “It’s not the kind of thing I think about,” he said. “For me it has gone.” Eric said the survivors of the genocide--the parents of the children he killed, the children of the man he beheaded--might still have unresolved anger, and grief. “But inside me, I don’t have a problem.”

Next to Eric stood Pelagia, an African woman in her mid 30s. She is a Tutsi. She’s lost more than three dozen family members in the genocide. When Eric was out hunting, Pelagia was one of the hunted. Now, 13 years later, she is one of the forgivers. They are neighbors. How does she feel about Eric?

Head slightly bowed, eyes avoiding mine (and Eric’s), she says softly: “The government has taught us that we are Rwandan and we are one.” She says she’s satisfied that the man next to her “has become a new person.” The past is the past, the blood has been washed away, and the African grasses cover the common graves. Yet there is little conviction in Pelagia’s voice, and she keeps a physical distance from Eric. She dutifully says the words that the government wants to hear.

I reflect on the words of Jean Hatzfeld, in his book A Time for Machetes: “The killer has no idea of the ordeal that begins for the victims once they have agreed to forgive, for in so doing they not only reopen old wounds but also lose the possibility of gaining relief through revenge. The killer does not understand that in seeking forgiveness, he is demanding that the victim make an extraordinary effort and he remains oblivious to the survivor’s dilemma, anguish and courageous altruism . . . "

Hatzfeld tells of one survivor, Francine, who shared her perspective of forgiveness. "A man may ask for forgiveness if he has had one Primus (beer) too many and then beats his wife. But if he has worked at killing for a whole month, even on Sundays, what can he hope to be forgiven for?" Hatzfeld quotes another survivor: "Only justice can pardon . . . a justice that makes room for truth, so that fear may drain away."

Reading a translation of Eric's interview, I see how he avoids any mention of justice. He assumes that forgiveness is his due, because he has served eight years in prison, and has followed the forms of admitting guilt. Watching him next to Pelagia, I wonder: Is this man really in touch with reality? He ends the interview on an unexpected, and chilling note. Ethnic peace, he says, is entirely in the hands of the authorities. Rwandans are by nature malleable, he says, and if the state decides to turn Tutsis loose against Rwanda’s majority Hutus “they would do it (the genocide) against us.” His meaning is clear, and deeply disturbing: All Rwandans are still capable of killing, he says. All it will take is another government of genocidal intent to start the bloodletting again. By depersonalizing the act of mass murder, by making it an act triggered by a malevolent state, Eric seeks to minimize his guilt, and to diminish his “agency.”

I would like Eric to meet Emmanuel Murangira. Emmanuel, a tall lanky man with a hole in his forehead where a bullet entered his brain, is one of a handful of Tutsi survivors in the school at Murambi, in southwestern Rwanda. Emmanuel has seen more death than most men: an estimated 50,000 people were slaughtered on the school premises in 1994 after a series of pitched battles between Tutsi civilians and attacking soldiers, interahamwe militia and ordinary Hutu citizens. Today, Emmanuel guides visitors through the "death rooms" where 1200 victims are carefully laid out in poses of death, their remaining flesh preserved by lime.

Striding through the charnel houses, Emmanuel is clearly disturbed by all the easy talk of remorse and forgiveness. He acknowledges that Rwandans were influenced by propaganda from above. "But if the people had refused this position, the genocide would not have reached the level it did. They were going around killing people, taking their possessions, hoping for their land, stealing everything they could get their hands on. The killers were fat and greedy--that’s why they agreed so readily with with what the authorities told them to do." In other words, the voices that drove the killers onward came from within themselves, venal and covetous. They simply wanted things that others had, and found a way to ideologize this desire.

This is where Rwandans find themselves today: If they hope to function again as members of a civil society, the survivors of the genocide will have to accept at face value the sometimes blithe acts of contrition of the killers like Eric Kazamarande; the killers will have to believe that they have been forgiven (or at least no longer subject to prosecution) and both Hutus and Tutsis will have to trust that they have nothing more to fear from one another, and that they will have a role to play in the shaping of Rwanda’s future.

What complicates this process of national forgiveness and reconciliation is, ironically, that it has been formalized as government policy. The only way out of Rwanda's ethnic nightmare, the politicians say, is for all Tutsi (and Hutu) victims to forgive their tormentors, as individuals and as a group. Some critics see this as not only impossible, but also inadvisable. Philosopher Roger Scruton, reviewing Charles Griswold's book Forgiveness: a philosophical exploration, has this to say. "When forgiveness becomes the public rallying cry . . . encouraged by civic and religious leaders, and praised far and wide for its power to heal, its slide into confusion and vulgarity is inevitable. It becomes identified with 'closure,' it is sentimentalized and transformed into therapy, and the criteria for its practice are obscured. It melds into forgetfulness of wrong, and is granted all too easily, once the expected public theatrics are performed."

Writing about the Stalinist outrages in the 1930s and 40s, Solzhenitsyn had this to say about the evildoers: " . . . For the sake of our country and our children we have the duty to seek them all out and bring them all to trial! Not to put them on trial so much as their crimes. And to compel each one of them to announce loudly: 'Yes, I was an executioner and a murderer.' " Solzhenitsyn says little or nothing about forgiveness.

This past spring (2007), I spent five weeks in Rwanda. It was the 13th anniversary of the genocide, and virtually every sentence I heard contained the “R” word—Reconciliation—sometimes preceded by the “U” word—Unity. It’s the mantra of the Tutsi-dominated government of President Paul Kagame. Unity and Reconciliation. This, we are told, is how the awful wounds of the genocide will be healed.

The healing process involves a number of steps. First, the killers must confess and beg forgiveness. The survivors are then required to forgive the people who tried to exterminate them. Everybody must attend weekly community tribunals, called gacacas, at which the murderers, rapists and looters who have eluded justice will be pointed out, accused, and be asked to confess. Meanwhile, the government will enforce a host of draconian laws and regulations against things like divisionism, negationism and “genocidal ideology.”

How draconian? Well, you can now be thrown into jail if you openly challenge the official orthodoxy of ethnic relations in Rwanda. Indeed, on April 20, newspaper editor Agnès Nkusi Uwimana, was sentenced to a year in jail and fined $6500. Her crime was to publish a letter-to-the-editor which complained that Tutsis were not being prosecuted for killing Hutus. Many Western human rights groups say the same thing. Paul Rusesabagina, the real-life hero of the film “Hotel Rwanda,” says the same thing. But to say it on the hills and the streets of Rwanda is today a crime—a crime of ideology. A thought crime.

Indeed, the new dogma is that there ARE no more Tutsis and Hutus, only Rwandans. “If you want to attack the problem of disunity,” one local official told me, “you attack it from the strongest point that created those divisions. So, no more Tutsis, no more Hutus . . . in Rwanda.” The speaker was comfortable in English because he was a Rwandan Tutsi who had been raised in Uganda—English-speaking Tutsis of Ugandan heritage are now a minority within a minority in Rwanda, but they hold the balance of power. (The second language of most Tutsis is French.) And it’s this very power that allows Paul Kagame, another Ugandan-raised Tutsi, to enforce the decree that there will be no ethnic divisions in Rwanda.

These attempts to officially "mask" ethnicity is wrong-headed, and even dangerous, say some Rwandans. In his celebrated book "Life Laid Bare: The Survivors in Rwanda Speak," French author Jean Hatzfeld quotes survivor Innocent Rwililia: "Here in Rwanda, it's a big deal to be Hutu or Tutsi. In a marketplace, a Hutu can spot a Tutsi at fifty yards, and vice versa, but admitting that there is a difference is taboo, even among ourselves. The genocide will change the lives of several generations of Rwandans, yet it is still not mentioned in our schoolbooks. We ourselves are never at ease with these differences, and in a manner of speaking, ethnicity is like AIDS; the less you talk about it, the more havoc it wreaks."

Political analysts J.-H. Bradol and A. Guibert argue that "to stress the absence of ethnic identities has become a means of
masking the monopoly by Tutsi military of political power. In this case, political discourse opposed to ethnism attempts to hide the domination of society by the self-proclaimed representatives of the Tutsi community." European academic Filip Reyntjens concurs; he says that while "the elimination of ethnicity is a worthwhile goal . . . the cynical manipulation of this objective as a tool for the monopolization of power in the hands of a small group is something quite different." (2004)

Meanwhile, the local newspapers, television and radio stations obediently censor stories that might put the lie to the fantasy of ethnic harmony. David Gusoniorye, news editor of the Kigali New Times, gave me an example of the kind of story he will keep out of the newspaper: A group of Hutus attacked a Tutsi wedding party, and several people were killed. But Gusonoirye decided not to print the story, because it might “send very strong negative signals” about ethnic togetherness. (Gusonoirye would not even use the words “Hutu” or “Tutsi” until I pressed him for details.)

This past July, according to the Toronto Star’s Debra Black, a New Times editor was sacked for approving the publication of an “unflattering” photo of President Kagame. “The rest of the staff,” Black wrote, “ was told . . . to avoid criticizing the government, the presidency and the law. They only needed to be told once for the message to sink in.” Meanwhile, Kagame tells journalists that they must take the initiative to improve their craft. The irony seems lost on him.

The independent media, for their part, know exactly what stories are too hot to handle: anything that exposes corruption or human rights violations within the army (Rwandan Defence Force), the ruling party, and the office of Paul Kagame himself. “I know this very well,” says Charles Kabanero, editor of the opposition Umeseso, “because most of my former colleagues who left the country wrote stories concerning those three areas.” Dozens of journalists have fled Rwanda because of intimidation and other threats. Earlier this year, Kabanero won the Golden Pen Award for his crusading journalism, and the authorities—embarrassed at the elevation of a critical journalist—promptly abolished the award.

I myself got a small taste of official disfavor when I wrote a blog about Paul Kagame that was mildly critical. The government’s Intelligence Service spotted the blog, and I was told that I was no longer welcome on the premises of TV Rwanda, where I had been scheduled to do some media training. An official told me I was not welcome because I did not “understand” things in Rwanda. I was too preoccupied with the “shadows” of life there.

Rwanda authorities are clearly on the alert for what Harvard psychologist Stephen Pinker calls “dangerous ideas”--in this case the idea what any divergence from the official text of the genocide and the post-genocide healing process threatens the stability of the state.

Writes Pinker: “ It's hard to imagine any aspect of public life where ignorance or delusion is better than an awareness of the truth, even an unpleasant one. Only children and madmen engage in ‘magical thinking,’ the fallacy that good things can come true by believing in them or bad things will disappear by ignoring them or wishing them away. Rational adults want to know the truth, because any action based on false premises will not have the effects they desire.
“History also tells us that a desire to enforce dogma and suppress heretics is a recurring human weakness, one that has led to recurring waves of gruesome oppression and violence.”

* * * * *
For some Rwandans, the process of forgiveness came in curious ways. Solange Mukandayisabye, a 37-year-old hairdresser from Kibungo, was 24 when the genocide came. She lost her parents and four siblings in the mass slaughter at Nyarubuye Parish, in eastern Rwanda. Solange’s mother pleaded with the interahamwe to spare her, saying that relatives living next door would vouch for the fact that she was Hutu. But when the killers banged on the neighbor’s door, a woman inside denied the relationship. “We don’t know them,” she said. “Go ahead and clean up the neighborhood.”

The most efficient clean-up occurred in a classroom adjacent to the church, where hundreds of Tutsis fled, hoping for sanctuary. Solange was among them. They barred the door, and pressed against it with their bodies. But the interahamwe broke through. machetes and clubs flailing.

Solange crawled under bodies, and tried to hold her breath. She was covered in other people’s blood and body parts. After their first murderous sweep, the interahamwe sprinkled pepper over the wounds of the fallen. Anyone who flinched was quickly dispatched with a few blows. Solange, miraculously, had no cuts on her body, so she was able to remain still. Hours later, under cover of darkness, she pulled herself out of the carnage and fled.

For years after, Solange was consumed by the need to avenge herself on the killers, and on the townspeople who had condemned her family by denying them help. “I wanted to be a soldier. I wanted a gun, so I could go back to the neighborhood and kill everybody. But they wouldn’t accept me in the army because I had a child. I tried for three or four years. But they never took me.”

Finally, in 2001, Solange visited a Pentecostal church and heard a sermon on forgiveness. It was an epiphanic event: She says it transformed her life. By means of a profession of blanket forgiveness, she could now release herself from the past and the people in it. “I was ready to forgive everybody,” she said, “even those who did not ask me for forgiveness.” E. K. Stratton calls this process “unhooking”--detaching oneself from a traumatic past experience. This is a spiritual process, but it also has a practical side: It allows the individual to begin to forget. The perpetrators of an atrocity lose their psychological hold on their victims. Today, Solange has no interest in pursuing justice in the courts “because that would take me back to the situation I went through.” For the same reason, Solange will not take part in the annual genocide commemoration ceremonies--she is determined to avoid any experience that takes her back to 1994.

“My feelings (of vengeance) are all gone,” she says. “I don’t know what happened to them.”

*****

I would like to talk for a moment about fear. During my visit to Rwanda in 2007, I met a young European woman who was researching her doctoral dissertation. Her subject was how the children of genocide survivors, born since 1994, deal with the trauma of the event that they only know about from conversations, or from reading, or from commemorative events. To this end, the woman had spent several months living with Rwandan families, listening to their talk, and evaluating how the adults processed the genocide with their children.

She was reluctant to talk to me, and insisted I not use her name, or any information that might identify who she was, or where in Rwanda she was working. “Are you afraid of government retaliation?” I asked her. “No,” she replied. “I am afraid for the people. I am afraid that if their neighbors should find out what they are saying to me, and among themselves (about the genocide), that they would be harmed.” I expressed surprise that, 13 years after the killings, the anxiety level should still be so high, that people should still talk in whispers about what they had experienced.

I wanted to get this woman’s impressions about reconciliation and forgiveness. I had heard that Rwandans are, by nature, reluctant to reveal their true feelings, especially to strangers, but even among themselves. I had heard the expressions about the “tears that fall inside.” Given this tendency, how could we evaluate the expressions of reconciliation and forgiveness from the survivors?

The woman explained that when a Rwandan talks about a traumatic event, there are two voices: the interior one, and the exterior one. What we were hearing from the Tutsi survivors was the “exterior” voices of national healing. The interior voice, the voice of experience and pain, was suppressed.

“After such an event (the genocide) there are feelings of hatred and anger and vengeance which are natural and which anyone can feel and that must be dealt with. So effectively, either we express these feelings, or we don’t And if we express them, they must be contained in a space, in a psychological space, a judicial space, whatever, it must be contained somewhere. If it’s not contained, we come to renewed violence-- a new genocide or new massacres . . . Perhaps reconciliation can do something to contain these feelings in their interior life, inside themselves. But the question is about the long-term: If someone holds his feelings inside like this, what does it mean for the long term? I leave the question open, but it’s certain that the psychological question rests on this level.”

In her cautious, academic way, she seemed to be saying that the necessary psychological space did NOT yet exist in Rwanda--otherwise, why should people be so nervous about expressing themselves openly.

She continued: “There is a danger of of “mal-etre” (ill-being), of immense psychological suffering, and it is obvious today that the survivors are in a state of great suffering and I believe they can’t continue to look after themselves like this . . and so this question will confront the next generation: this conflict between the interior, which does not show itself outside. . . Will this be a burden on the next generation, or will these people find new space, will they be creative enough to construct a new space, will be next generation be able to do something about these feelings? . . . . The task now is very very very very difficult.”

Looking Back


May 15, 2007

You may leave Rwanda, but it doesn’t leave you. I’m back in Canada with Emmanuel’s genocide story in my head. And Theogene’s take on the process of forgiveness. And Emmy on the difficulties of practicing journalism in Rwanda. And the light in Jean-Bosco’s eyes when he talked about how his TV story helped fix the potholes on Kigali streets.

They were four of my students and I like to think they taught me as much as I taught them. Only half of my time in Rwanda was spent in the classroom, but that time was a rich vein. At its best, teaching for me is a joyful negotiation: I’ll give you something, and you give me something back. Occasionally, I get the best of the bargain. This was one of those times.

But it all happened accidentally. I was never supposed to be a Rwandan classroom at all. Blame it on a few loose words.

Ever since my first reporting trip there in 1994, Rwanda has taken up residence in a small corner of my brain, in the form of an anguished question mark. How could this genocide possibly have happened? When I signed up for the Rwanda Initiative last year, I thought this might be a unique (and oblique) way of getting me closer to an answer. I agreed to spend three weeks in the newsroom of TV Rwanda. I would help the reporters develop some professional reporting skills. In return, I would use those contacts to pursue some stories of my own, as a freelance journalist.

But something happened. In my first week in Kigali, I wrote a blog that upset some influential people, and these people decided that I would not be welcome in the country’s only TV newsroom. Something about my obsession with “shadows” that one still finds in Rwandan life. It was my first civics lesson in 21st-century Rwanda: Be careful—very careful-- what you say about life in the aftermath of the genocide. People are listening and reading, and weighing every word, every nuance, every opinion, especially if there might be an international audience. Some things in Rwanda may only be whispered. On reflection, I shouldn’t have been surprised. Rwanda is still in post-traumatic shock. When a visitor comes and unburdens himself of an opinion that may be even mildly critical of the government, it will set off alarm bells.

As a result, instead of going to TV Rwanda, I was re-routed to the campus of the National University in Butare. I would be teaching the fundamentals of broadcast writing to a group of journalism and communication students. As it turned out, the fuss over my blog was useful preparation for me as a teacher: It gave me insight into the environment that these prospective communicators would be launched into after graduation. If they decided on journalism, they would have to learn to walk a fine line. Tightrope walking is not necessarily a bad thing in this business: if nothing else, you learn to step carefully, you learn balance, you learn to be intensely aware of your environment. Up on the high wire, you learn to focus. Or else.

Happily, a number of my students also worked at TV Rwanda in their spare time. I could watch their work on the nightly news. We could discuss it. And day-by-day, I began to see things that they could do to improve their product—to create a better newscast—without risking the displeasure of their bosses, who have to be so mindful of politics. I told them that this was vital work: Television news can be—should be—a forum for public dialogue, and Rwanda was in urgent need of as much public dialogue as it could generate. Here are some of the things I told them:

1. “Let me hear more voices, and see more faces, in your news reports. Average people, talking about things that matter to them, in simple language. This is where politics starts. People talking to other people. Make your newscast a more democratic platform.”
2. “Don’t be in such awe of the politicians. Drop the titles, like ‘honorable.’ Ask them tougher questions. Be polite, but politely skeptical. Don’t take everything they say at face value. Ask them, politely, to back up their statements with facts.”
3. “Convince your editors to expand their news agendas. Rwandan domestic news consists almost entirely of press conferences and seminars. The images are boring to the point of catatonia. TV news should not be a government bulletin board, it should be an informed conversation. Take the cameras outside, videotape people where they live and work and play, and tell stories that have a greater social import. Rwanda is full of powerful human stories. Tell these stories. Over time, both your editors, and the politicians who rely on television to ‘get their message out,’ will see that this makes for far more compelling TV news.”
4. “In your writing, try to simplify, and try to stay away from bureaucratic jargon. You are professionals. Don’t parrot press releases. You are not publicists. You are journalists trained to think critically. Let that be reflected in the language and the scope of your reporting.”
5. “Let me hear more people talk, especially in close-up. I want to see their eyes, glance into their souls. And don’t paraphrase them. Don’t put your narration over video of their lips moving. Give them voice, even if it’s in an unfamiliar language. That’s how you get authenticity.”
6. “You, the reporters, are the agents of change. This change does not have to be confrontational. These things I’m talking about are not subversive, they’re common sense. So tactfully convince your bosses, convince officials, heck, tell the president, that it is in everyone’s interest to develop a more watchable, balanced and independent news media. It will be more work for you, but ultimately, much more satisfying. And it’s an exciting enterprise: you’ll be pioneers.”

And so on. Some of the students complained that, in their work, they were constrained by what they called “the editorial line.” One student called their work “appeasement.” That sounded dangerously blunt, but it may hold some truth. Public broadcasting in Rwanda is not public broadcasting in Canada. “Freedom of the press,” in the Rwandan context, is seen by many as a dangerous two-edged sword that needs to be managed and contained. This argument has some strong historic underpinnings—in 1994, for example, leading radio stations and newspapers were organs of genocidal propaganda.

But I also got the feeling that my students were holding themselves back, even censoring their own instincts. One student who worked regularly at TV Rwanda bluntly called it a culture of “laziness.” Many of the reporters, he said, just didn’t want to do the work needed to expand the boundaries of their craft. We didn’t have the time to explore this further in the classroom; it would be a great subject for some future master’s or doctoral thesis.

With the lessons out of the way, I asked the students to talk about themselves, their own life histories, and their own motivations. To my pleasant surprise, they were expansive and candid—more candid, in fact, than any students I’ve ever taught in Canada. And this is where my learning came. I learned things about how they viewed the limits of forgiveness: where the personal anguish and loss they suffered in the genocide came crashing up again the social imperative of national unity. One student gave me insight into reconciliation of the “heart,” as opposed to reconciliation by political decree. As they talked, they gave me hope that the next generation of Rwandan journalists does indeed have a strong voice and a social conscience that will help to break ground and heal wounds.

All that’s needed, perhaps, is a little more oxygen, a little more empowerment—an acceptance by authorities that the rewards of more open expression in Rwanda, may well outweigh the risks. Especially if the voices doing the expressing belong to people like Emmanuel and Theo and Emmy and Jean-Bosco . . .

"They fall, and falling they are given wings."


April 27, 2007

The Sufi poet Rumi has a wonderful poem about learning to fly by falling. You grow wings because you have to.

This week, I threw my 4th year journalism and communications class over a cliff.

“Your final assignment,” I told them, “is to produce a television documentary.” I held up a newspaper headline that talked about how they, the students at the National University of Rwanda, live under “appalling” conditions. It was more tabloid than truth, but I thought it was a good subject matter to get the students airborne.

If they failed, no matter. If they succeeded, they would brush against glory.

Eleven pairs of eyes looked at me expectantly. “We have three days to complete this,” I told them. “You will do all the work yourselves. Videotaping. Interviewing. Writing. Producing. Editing. Your deadline is Friday. Okay, how long should our documentary be?”

“Twenty minutes,” said Bernard. He’s fearless.

Whoa! Flying is one thing. But 20 minutes is supersonic. “Why don’t we go for eight minutes?” I said. “Even that’s an awful long time on television, where you measure in seconds.”

I looked out at them. Maybe three students had ever handled a digital camera. Four of them had some limited TV news experience. One had reasonable editing skills. Was I asking too much? Of course I was. That’s one of the sadistic privileges of teaching.

I said the project needed a producer and asked for volunteers. After a full minute, Jean-Pierre tentatively raised his hand. He wasn’t sure what a producer did, but it sounded like an interesting challenge. Jean-Pierre edits the student newspaper. He had delegation skills. He’ll do fine.

I divided them up into five teams of two. Team 1 would look at the bland student cafeteria food. Team 2 would investigate the scarcity of student housing. Team 3 would look at student bursaries (chronically late). Team 4 would pursue the Science student who had organized the survey that produced the story. And Team 5 would go after the university administration.

Over the next few hours, a half-dozen other students wandered into class, in that infuriatingly careless, casual way that many Rwandan students adopt. It’s a disregard for the clock that won’t serve them well as journalists later in life, but I’ve learned to roll with it. I told them to check in with their fellow students, and assign themselves to one or another of the teams.

We came up with a title: “Ibibazo: Inside Campus.” Ibibazo is Kinyarwanda for “problems.” We discussed whom they would interview. We drew up lists of questions. I gave them a 10-minute crash course on the use of the digital camera. Automatic and manual focus. Framing. Don’t shoot into light. Proper use of microphones. How to shoot sequences—wide, medium and tight shots. Cutaways. The importance of natural sound. “And listen, don’t talk while you are recording, because the camera will pick up your voices and it will ruin the ambient sound.”

They were anxious to get going. “Three more things. And these are REALLY important! Whoever is using the camera MUST wear headphones, so you know you’re getting sound. Second, use a tripod. We don’t want any shaky-cam. And third, and this is really really important, bring back lots of close-ups.”

Two hours later, they began straggling back. I slipped their tapes into the player. The first tape had absolutely no sound. I glared at Jean-Bosco, the cameraman, and he gave me a sheepish grin. “Wrong audio channel,” he said. In fact, he’d disobeyed the mandatory headphone rule. The next tape was a study in cinematographic epilepsy—constant undirected movement. (The crew forgot the tripod.) The third tape was a dizzying sequence of pans, zooms and tilts, the kind of thing you expect in Uncle Fred’s home movie, but not on television There was also a lot of their own chatter on the audio track.

Things were getting ugly. But I counted to 10 and followed the Golden Rule of Pedagogy: Don’t break their hearts before they’ve had a chance to learn something. I looked for something positive in their work, and found it: On all the tapes, the novice filmmakers showed enthusiasm (and some skill) in the “standup,” in which the reporter looks into the camera and says something profound. I complimented them on their camera presence, and sent them back out to re-shoot everything they’d done. And I put a little steel into the spine of the producer, Jean-Pierre. “Headphones, tripod, close-ups. And no talking while the cameras are rolling” I told him. “Make sure they remember.”

Over the next 24 hours, things began to happen. Emmanuel and Bernard came back with some inspired videotape illustrating cramped student housing—four men to a room, leaky bathroom plumbing. Other teams came back with some quite vivid student interviews, mostly in English, full of passion. The camerawork was steadier, the sound was good, even the framing began to show real imagination. And there was one extraordinary tape, shot in the campus cafeteria kitchen, with scenes that might have been lifted from Dante’s Purgatorio. I’m exaggerating, of course, but after their first efforts, this was like gold. Jean-Pierre was clearly putting on some pressure.

Neville, a particularly quiet student, showed a natural talent in front of the camera. He had no nerves, and he hit his standup on the first “take.” As for scriptwriting, I found a fluent writer: Ritah. She produced crisp, short sentences in a hurry, and wasn’t intimidated by deadlines. And Jean-Emmanuel showed a lot of promise in his interviews: he kept repeating his questions until he got the answer he wanted.

They shot a total of 10 hours of tape, and I said enough. The story was edited by a committee of three. In charge of editing was the unflappable Emmanuel Mungwarakarama who, over 13 hours, overcame computer crashes, power failures, audio problems, and a blizzard of technical glitches that would have driven most North American editors mad. He was a resolute titan who carried the project on his shoulders. I fought back the urge for editorial intervention. This had to be their work, their voices. No time for muzungu (white man) management.

“Ibibazo: Inside Campus,” a story of student life in Rwanda, will never make Cannes or Sundance. It’s choppy, there are too many different voices, there is no original music. It was produced with unreliable equipment, and has no post-production glitz.

But I think it’s fine. Remembering Rumi, I look closely at the students on camera, and I think I can see something. They’re not flying yet, but with at least three or four of them, I can see the first telltale signs of avian evolution. They’re growing wings.