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RWANDALESSON's TIGBlog
HI-JACKED EASTER 1994, FLYING TO L.A, USC SHOAH FOUNDATION INSTITUTE EASTER 2008
Related to country: Rwanda
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Good Friday, I'm sitting in my room somewhere in Springfield, Missouri... far from my countryland. I deeply reflect on issues going on with my 80 min film "Behind this convent".
Back in Rwanda, someone I do not know was watching it as well. She immediately emailed me, "Gilbert, I thought your film looks very powerful and I thought of the irony that I was watching it on Good Friday." But she goes on, "I wondered one small thing where in the beginning the person is saying "after 13 years I want to know" and he says "Mbabarira", like, "I'm sorry but I want to know..." and to me, even the fact that he uses the words "mbabarira" to the genocidaires is something powerful, because his language is very polite. I wonder if that can be included in the subtitles..."
The thing that the viewer did not know is that I, the filmmaker, was the one confronting my parents' killer.
This picture below is the only vivid, physical and visual representation I have with my parents alive. It was their last picture taken by Easter 1994. I was told, "your parents are on this photo. You look like your mother." No one can understand the pain it caused me when for the first time, I saw it and struggle to guess who among these people were my parents. "I know them, I know them, no one knows them better than I do. I am their first born son." The same night, I had to seriously face my young brother Sauveur. He said, "How can that be? You do not know." I could not cry in front of him. How can a six years old boy understand a genocide? How can I teach him without creating pain and hatred in him?
Now that today, I know my parents on the photo yet I knew them. Now, I know that I, once upon a time, I have lived with my parents and I had a family and I did not come from the sky or born out of a tree. I am so happy about that but again, the smile is wiped away by the sad reality and haunting statistics of the dead: on this photo, how many who survived the genocide?
In 1994, the Easter was hi-jacked in Rwanda. Monday Easter, following an attack, I run to hide in some swamps in a place called "mu gishanga", the current industrial park. For two days, I was in their, in the waters, never afraid of the electric ports. My father's killer responding to a question by a public on his view as a Christian said "the priests did not give us good education and example to follow. We should not have killed..."
All members of my "African" family were christians. I was baptized and received all the sacraments. Those who came to kill us were christians too. They hunted us down with spears, arrows and grenades. On April 10th, 1994, they stormed a convent and took about 200 tutsi who sought refuge in there. Then, the hutu killers took them behind the convent in our home and proceeded to take their lives. My mother and these 200 people were hit with nail-clubs and hacked with machetes before they were thrown into a pit.
Then, the killers burnt down my home with fuel and inflamed the pit. If there was anyone who barely survived, they suffocated. My sister Rosine was 11 years old. Emmanuel, the killer, told me, "your sister throw herself into the pit, before we touched her." My father and three other men survived the same attack by hiding in the store room but they were discovered seven days later and taken from the convent. The killer Emmanuel goes on "we, first, beheaded your father. Then, we hit his body with nail-clubs." "Why?", I asked him. "We were Christians... we were not sure if he is not going to resurrect and we wanted to stop that."
Am I still a christian? A convent and a church is a House of God and respected for that. We, as humans, are the House of God. Aren't we all created by the same God? Our call as Christians should be to reclaim Easter by thinking deeply about its meaning of redemption in our today's world. Thinking about this Easter one more time again, is redemption enough? Is victory great? How about a defeat? Hands in the air, retreat and surrender. Do you think victory is great? At what costs should we celebrate the victory? Isn't the blood of Jesus enough? What of our confession? I am not the only one in quest of truth, perfection and redemption. Someone in the film said "for a request of forgiveness to be considered, the truth has to be told, not half told or withheld."
I am a rose grown on a bed of skeleton,
What raised me beneath is horrendous and gruesome,
But what is grown above me is vibrant.
A re-birth.
My contributions as a filmmaker have led me to the United States by May 2007 and celebrated by President Bill Clinton and President Kagame. I once again come back this January 2008 and this particular life's journey is meant to be a rebirth and make as many friends as possible to help me to ressurrect what died inside me. A new friend told me "you really should write poetry again... maybe a book of poems?" My friend, following the genocide, I lost everything. Everything. Even my ability to write a poem. A Rwandan proverb saying goes "ujya gukira indwara arayirata", that is to say "if one wants to be healed from a sickness, he or she must talk about it to the world."
Visiting the visual archive of the SHOAH FOUNDATION INSTITUTE on 24 and 25/03/2008, I am much more speechless to my own pain. How can I compare my inner feelings with the survivors and the witnesses of the Shoah?
Tears were falling,
Like a rain,
Like the flow of the waters of Nyabarongo river
To the burdened blue skies of California.
Tomorrow is not promised to you and or I.
So, I give thanks to what I have as a life and share what I can today.
We, as humans, cannot compare the pain. We are even struggling with words to describe what happened to us to speak beautiful to the world. We, here, refer to the ones who have been thrown into pits, raped, heavily marked with machetes. We have no name yet to name this suffering. We simply can learn from each other's grief, despair and inspire new hope.
In the words of the SHOAH FOUNDATION INSTITUTE, "one hundred years from now, historians who do research about our time will use video as their main resource. In the future, the past will be visual." In my own words, without testimonies of genocide, there is no history of it. I studied history but what I learnt from the Shoah Foundation is not something that people study in university classroom. You have to take this journey.
For your own information, I am not going to make a mistake about it but simply admit (hands in the air) that the writing of my screenplay "MOTHER RWANDA" is heavily marked by my visit to the USC SHOAH FOUNDATION, I changed the trailer and the film original intent is modified. This fiction film is going to explore the oral history and is interested in the events that took place in Gitarama (place), 1994 (april to be specific) and a particular mother.
But first of all, I have to go to find a film school, let the mind and heart mend. Then struggle to raise funds to write the screenplay and make the film. I got the possibility of touring the USC CINEMATIC STUDIES and be introduced the best professors in cinema.
My friends, I saw my dreams bold and valid: ten toes and ten fingers. Visiting the school and talking to the professors, I started seeing the endless possibilities of my childhood dream that was stolen and taken away for me. One has to study what he or she believes. There is no bandages to fix a broken soul, heart and yet bones mend and cut heals. Healing of the non-physical part of the humans is an inner process through which a person becomes whole once again.
Through filmmaking, I am searching my own ways to mend my broken spirits, something of the power of creativity. I refuse to go to hospitals. I refuse to take tablets. I want to try and see this medicine for my body.
I want creativity to be my own medicine. I want to take that risk. I have an impression that by the way I used my film instinct has helped to establish but I would love to go further to unlock my limited skills and in this way, the skills acquired only in a world renown university can end my torture of silent sufferings. This is not something that people can see and touch, because it is inside. Creativity is part of all of us, but creative expressions ought to be nurtured and encouraged.
Besides, my father's killer told me "your father was my friend." What? Before I digest this, the other killer in the film goes on to challenge me "A film is not really that important." I had only wanted to have a normal conversation as a civilized citizen. He told me this after I asked him "have you ever been filmed in your life?"
Now, I am much more concerned by this profession I just discovered. What is the value of making films? I would like to challenge filmmakers of this world to help me to respond to him. This is the journey I want to undertake. I have a serious question to respond. The floor is ours and the ball is in our court, we the filmmakers of the world.
A colleague in the profession I admire, Stephen Spielberg, might have once said " there is a rescue mission involved in the best movies. A person is saved from his own undoing or what other people are doing to him." [James Clarke, Stephen Spielberg, Herpenden, Pocket essential, 2004]
PÂQUES DÉTOURNÉE 1994, VOLANT À L.A, INSTITUT PÂQUES 2008 DE BASE D'USC SHOAH
Automatically translated into French thanks to WorldLingo
Bon vendredi, je m'assieds dans ma chambre quelque part à Springfield, Missouri… loin de mon countryland. Je réfléchis profondément sur des questions étant dessus assorties à mon film de 80 minutes « derrière ce couvent ».
En arrière au Rwanda, quelqu'un que je ne sais pas l'observait aussi bien. Elle emailed immédiatement me, « Gilbert, j'ai pensé que vos regards de film très puissants et moi ai pensé à l'ironie que je l'observais bon vendredi. » Mais elle continue, « je me suis demandé une petite chose où dans le commencement la personne dit « après 13 ans où je veux savoir » et il dit « Mbabarira », comme, « je suis désolé mais je veux savoir… » et à moi, égalisez le fait qu'il emploie les mots « mbabarira » aux genocidaires est quelque chose de puissant, parce que sa langue est très polie. Je me demande si cela peut être inclus dans les sous-titres… «
la chose que le téléspectateur n'a pas sue est qu'I, le réalisateur de film, était celui confrontant le tueur de mes parents.
Cette image ci-dessous est la seule représentation vive, physique et visuelle que j'ai avec mes parents vivants. C'était leur dernière photo prise par Pâques 1994. J'ai été dit, « vos parents suis sur cette photo. Vous ressemblez à votre mère. « Personne ne peuvent comprendre la douleur qu'il m'a causé quand pour la première fois, j'ai vu lui et la lutte pour deviner qui parmi ces personnes étaient mes parents. « Je les sais, je les sais, personne les sait mieux que je. Je suis leur fils aîné. « La même nuit, j'ai dû sérieusement faire face à mon jeune frère Sauveur. Il a dit, est-ce que « comment ce peut être ? Vous ne savez pas. « Je ne pourrais pas pleurer devant lui. Comment un garçon de six années peut-il comprendre un génocide ? Comment est-ce que je peux l'enseigner sans créer la douleur et la haine dans lui ?
Maintenant qu'aujourd'hui, je connais mes parents sur la photo pourtant je les ai connus. Maintenant, je sais qu'I, il était une fois, j'ont vécu avec mes parents et j'ai eu une famille et je ne suis pas venu du ciel ou soutenu hors d'un arbre. Je suis si heureux à ce sujet mais encore, le sourire est essuyé loin par la réalité triste et les statistiques de hantise des morts : sur cette photo, combien qui ont survécu le génocide ?
En 1994, Pâques a été détournée au Rwanda. Lundi Pâques, suivant une attaque, je cours à la peau dans quelques marais dans un endroit appelé le « gishanga de mu », le parc industriel courant. Pendant deux jours, j'étais dans le leur, dans les eaux, jamais effrayées des ports électriques. Le tueur de mon père répondant à une question par un public sur sa vue en tant que chrétien dit « les prêtres ne nous a pas donné la bons éducation et exemple pour suivre. Nous ne devrions pas avoir tué… «
Tous les membres de ma famille « africaine » étaient des chrétiens. J'ai été baptisé et ai reçu tous sacrements. Tels qui sont venus pour nous tuer étaient des chrétiens aussi. Ils nous ont chassés avalent avec des lances, des flèches et des grenades. Le 10 avril 1994, ils ont donné l'assaut à un couvent et ont pris le tutsi environ 200 qui a cherché le refuge dedans là. Puis, les tueurs de hutu les ont pris derrière le couvent dans notre maison et ont procédé prendre leurs vies. Ma mère et ces 200 personnes ont été frappées avec des ongle-clubs et entaillées avec des machettes avant qu'elles aient été jetées dans un puits.
Puis, les tueurs ont brûlé en bas de ma maison avec du carburant et ont enflamé le puits. S'il y avait n'importe qui qui a à peine survécu, ils ont suffoqué. Ma soeur Rosine était 11 années. Emmanuel, le tueur, dit me, « votre jet de soeur elle-même dans le puits, avant que nous l'ayons touchée. » Mon père et trois autres hommes ont survécu la même attaque en se cachant dans la salle de magasin mais ils ont été découverts sept jours plus tard et pris du couvent. Le tueur Emmanuel va sur « nous, premier, a décapité votre père. Puis, nous avons frappé son corps avec des ongle-clubs. « « Pourquoi ? », Je lui ai demandé. « Nous étions des chrétiens… nous n'étions pas sûrs s'il ne va pas ressusciter et nous voulions arrêter cela. Est-ce que «
je suis distillateur un chrétien ? Un couvent et une église est une Chambre de Dieu et respectée pour celle. Nous, comme humains, sommes la Chambre de Dieu. Ne sommes-nous pas avons-nous tout créé par même Dieu ? Notre appel comme chrétiens devrait être de reprendre Pâques en pensant profondément à sa signification de rachat en notre monde d'aujourd'hui. Penser à cette Pâques une plus de fois encore, est assez rachat ? La victoire est-elle grande ? Que diriez-vous de d'une défaite ? Mains à l'air, à la retraite et à la reddition. Pensez-vous la victoire est-vous grand ? À quels coûts devrions-nous célébrer la victoire ? Le sang n'est-il pas assez de Jésus ? Laquelle de notre confession ? Je ne suis pas le seul à la recherche de la vérité, perfection et rachat. Quelqu'un dans le film a dit « pour une demande de la rémission d'être considéré, la vérité doit être dit, être pas à moitié dit ou retenu. »
Je suis une rose développée sur un lit de squelette,
ce qui m'a élevé est dessous affreux et horrible,
Mais ce qui est développé au-dessus de moi est vibrant.
Une renaissance.
Mes contributions en tant que réalisateur de film m'ont mené aux Etats-Unis pour le mois de mai 2007 et ont célébré par le Président Bill Clinton et le Président Kagame. Je reviens de nouveau le ce janvier 2008 et le voyage de la cette vie particulière est censé pour être une renaissance et pour faire autant d'amis comme possibles de m'aider au ressurrect ce qui est mort à l'intérieur de moi. Un nouvel ami m'a dit que « vous vraiment devriez écrire la poésie encore… peut-être un livre des poésies ? « Mon ami, suivant le génocide, j'ai perdu tout. Tout. Même ma capacité d'écrire une poésie. Une énonciation rwandaise de proverbe va « arayirata d'indwara de gukira d'ujya », c'est-à-dire « si on veut être guéri d'une maladie, lui ou elle doit parler de elle au monde. »
Visitant les archives visuelles de l'INSTITUT de BASE de SHOAH sur 24 et 25/03/2008, je suis beaucoup plus sans voix à ma propre douleur. Comment est-ce que je peux comparer mes sentiments intérieurs aux survivants et aux témoins du Shoah ?
Les larmes tombaient,
comme une pluie,
Comme l'écoulement des eaux du fleuve de Nyabarongo
aux cieux bleus chargés de la Californie.
Le demain n'est pas promis t'et ou à l'I.
Ainsi, je donne grâce à ce que j'ai comme vie et part ce que je peux aujourd'hui.
Nous, comme humains, ne pouvons pas comparer la douleur. Nous luttons même avec des mots pour décrire ce qui est arrivé à nous pour parler beau au monde. Nous, ici, nous référons à ceux qui ont été jetés dans des puits, violés, fortement identifiés par des machettes. Nous n'avons aucun nom pourtant pour appeler cette douleur. Nous simplement pouvons apprendre de la peine de chacun, désespoir et inspirer le nouvel espoir.
Dans les mots de l'INSTITUT de BASE de SHOAH, « cent ans dès maintenant, les historiens qui font la recherche au sujet de notre temps utiliseront la vidéo en tant que leur ressource principale. À l'avenir, le passé sera visuel. « Dans mes propres mots, sans témoignages de génocide, il n'y a aucune histoire de elle. J'ai étudié l'histoire mais ce que j'ai appris de la base de Shoah n'est pas quelque chose que les gens étudient dans la salle de classe d'université. Vous devez prendre ce voyage.
Pour votre propre information, je ne vais pas faire une erreur à son sujet mais l'admettre simplement (des mains dans le ciel) que l'écriture de mon scénario « MÈRE RWANDA » est fortement marqué par ma visite à la BASE d'USC SHOAH, j'ai changé le bas de page et l'intention originale de film est modifiée. Ce film de fiction va explorer l'histoire orale et est intéressé par les événements qui ont eu lieu dans Gitarama (endroit), 1994 (avril à être spécifique) et une mère particulière.
Mais tout d'abord, je dois aller trouver une école de film, laisse l'esprit et le coeur réparer. Puis lutte pour soulever des fonds pour écrire le scénario et pour faire le film. J'ai obtenu la possibilité de voyager les ÉTUDES CINÉMATOGRAPHIQUES d'USC et sois présenté les meilleurs professeurs dans le cinéma.
Mes amis, j'ai vu mes rêves audacieux et valides : dix orteils et dix doigts. Visitant l'école et parlant aux professeurs, j'ai commencé à voir les possibilités sans fin de mon rêve d'enfance qui a été volé et emporté pour moi. On doit étudier ce que lui ou elle croit. Il n'y a aucun bandage pour fixer une âme cassée, le coeur mais les os réparent et la coupe guérit. Curatif de la partie non-physique des humains est un processus intérieur par lequel une personne devient saine et sauve de nouveau.
Par filmmaking, je recherche mes propres manières de réparer mes spiritueux cassés, quelque chose de la puissance de la créativité. Je refuse d'aller aux hôpitaux. Je refuse de prendre des comprimés. Je veux essayer et voir cette médecine pour mon corps.
Je veux que la créativité soit ma propre médecine. Je veux prendre ce risque. J'ai une impression que d'ailleurs j'ai employé mon instinct de film a aidé à établir mais j'aimerais aller plus loin ouvrir mes qualifications limitées et de cette façon, les qualifications acquises seulement à une université de renommée du monde peuvent finir ma torture des douleurs silencieuses. Ce n'est pas quelque chose que les gens peuvent voir et toucher, parce qu'il est à l'intérieur. La créativité fait partie de tous les nous, mais des expressions créatrices doivent être consolidées et encouragées.
En outre, le tueur de mon père m'a indiqué que « votre père était mon ami. » Ce qui ? Avant que je digère ceci, l'autre tueur dans le film continue pour me défier « qu'un film n'est pas vraiment celui important. » J'ai eu ai seulement voulu avoir une conversation normale en tant que citoyen civilisé. Il m'a dit que ceci après que je lui aie demandé « vous avez été jamais filmé dans votre vie ? »
Maintenant, je beaucoup davantage suis concerné par cette profession que j'ai juste découverte. Quelle est la valeur de faire des films ? Je voudrais défier des réalisateurs de film de ce monde de m'aider à répondre à lui. C'est le voyage que je veux entreprendre. J'ai une question sérieuse à répondre. Le plancher est à nous et la boule est dans notre cour, nous les réalisateurs de film du monde.
Un collègue dans la profession que j'admire, Stephen Spielberg, pourrait avoir une fois que dit « il y a une mission de délivrance impliquée dans les meilleurs films. Une personne est sauvée de son propre démantèlement ou ce que d'autres font à lui. « [James Clarke, Stephen Spielberg, Herpenden, empochent essentiel, 2004]
PASCUA SECUESTRADA 1994, VOLANDO A L.A, INSTITUTO PASCUA 2008 DE LA FUNDACIÓN DE USC SHOAH
Automatically translated into Spanish thanks to WorldLingo
Buen viernes, me estoy sentando en mi sitio en alguna parte en Springfield, Missouri… lejos de mi countryland. Reflejo profundamente en las ediciones que se encienden con mi película de 80 minutos “detrás de este convento”.
Detrás en Rwanda, alguien que no sé lo miraba también. Ella emailed inmediatamente me, “Gilbert, pensé que sus miradas de la película muy de gran alcance y yo pensé en la ironía que la miraba el buen viernes.” Pero ella se enciende, “preguntaba una cosa pequeña donde en el principio la persona está diciendo “después de 13 años que deseo saber” y él dice “Mbabarira”, como, “yo está apesadumbrado pero deseo saber…” y a mí, iguale el hecho de que él utiliza las palabras “mbabarira” a los genocidaires es algo de gran alcance, porque su lengua es muy cortesa. Me pregunto si eso se puede incluir en los subtítulos… “
la cosa que el espectador no sabía es que I, el cineasta, era el que está que enfrentaba el asesino de mis padres.
Este cuadro abajo es la única representación viva, física y visual que tengo con mis padres vivos. Era su cuadro pasado tomado por Pascua 1994. Me dijeron, “sus padres estoy en esta foto. Usted parece su madre. “Nadie pueden entender el dolor que me causó cuando por primera vez, vi lo y lucha para conjeturar quiénes entre esta gente eran mis padres. “Los sé, yo los sé, nadie los sé mejor que lo hago. Soy su primer hijo nacido. “La misma noche, tuve que hacer frente seriamente a mi hermano joven Sauveur. ¿Él dijo, “cómo puede eso ser? Usted no sabe. “No podría gritar delante de él. ¿Cómo puede un muchacho de seis años entender un genocidio? ¿Cómo puedo enseñarlo sin crear dolor y odio en él?
Ahora que hoy, conozco a mis padres en la foto con todo les conocía. Ahora, sé que I, érase una vez, yo ha vivido con mis padres y tenía una familia y no vine del cielo o llevado fuera de un árbol. Soy tan feliz sobre ése pero otra vez, la sonrisa es limpiada lejos por la realidad triste y la estadística que frecuenta de los muertos: ¿en esta foto, cuántos que sobrevivieron el genocidio?
En 1994, la Pascua fue secuestrada en Rwanda. Lunes Pascua, siguiendo un ataque, funciono a la piel en algunos pantanos en un lugar llamado “gishanga del mu”, el parque industrial actual. Por dos días, estaba en su, en las aguas, nunca asustadas de los puertos eléctricos. El asesino de mi padre que respondía a una pregunta de un público en su opinión como cristiano dicho “los sacerdotes no nos dio la buenos educación y ejemplo para seguir. No debemos haber matado… “
Todos los miembros de mi familia “africana” eran cristianos. Me bautizaron y recibí todos los sacramentos. Los que vinieron matarnos eran cristianos también. Nos buscaron tragan con las lanzas, las flechas y las granadas. El 10 de abril de 1994, stormed un convento y tomaron a tutsi cerca de 200 que buscó el refugio adentro allí. Entonces, los asesinos del hutu los tomaron detrás del convento en nuestro hogar y procedieron a tomar sus vidas. Golpearon con los clavo-clubs y fueron cortadas a mi madre y a estas 200 personas con los machetes antes de que las lanzaran en un hoyo.
Entonces, los asesinos se quemaron abajo de mi hogar con el combustible e inflamaron el hoyo. Si había cualquier persona que sobrevivió apenas, sofocaron. Mi hermana Rosine era 11 años. Emmanuel, el asesino, dicho me, “su tiro de la hermana mismo en el hoyo, antes de que la tocáramos.” Mi padre y tres otros hombres sobrevivieron el mismo ataque ocultando en el cuarto de almacén pero los descubrieron siete días más adelante y fueron tomados del convento. El asesino Emmanuel va en “nosotros, primeros, decapitó a su padre. Entonces, golpeamos su cuerpo con los clavo-clubs. ¿““Por qué? ”, Le pregunté. “Éramos cristianos… no éramos seguros si él no va a resucitar y deseamos parar eso. ¿“
Soy alambique un cristiano? Un convento y una iglesia es una casa del dios y respetada por ésa. , Como seres humanos, somos la casa del dios. ¿No somos creamos todo por el mismo dios? Nuestra llamada como cristianos debe ser reclamar Pascua pensando profundamente de su significado del rescate en nuestro mundo de hoy. ¿El pensamiento de esta Pascua una más vez otra vez, es rescate bastante? ¿Es la victoria grande? ¿Cómo sobre una derrota? Manos en el aire, el retratamiento y la entrega. ¿Usted piensa la victoria es grande? ¿En qué costes debemos celebrar la victoria? ¿No está la sangre de Jesús bastante? ¿Qué de nuestra confesión? No soy el único en la búsqueda de la verdad, perfección y rescate. Alguien en la película dijo “para una petición del perdón de ser considerado, la verdad tiene que ser dicha, ser dicha no a medias o ser retenida.”
Soy una rosa crecida en una cama del esqueleto,
qué me educó debajo es horrendo y espantoso,
Pero qué se crece sobre mí es vibrante.
Un renacimiento.
Mis contribuciones como cineasta me han conducido a los Estados Unidos antes del mayo de 2007 y han celebrado por presidente Bill Clinton y presidente Kagame. Me vuelvo de nuevo el este enero de 2008 y el viaje de esta vida particular se significa para ser un renacimiento y para hacer a tantos amigos como sea posible ayudarme al ressurrect qué murió dentro de mí. Un nuevo amigo me dijo que “usted realmente escribiera poesía otra vez… ¿quizá un libro de poemas? “Mi amigo, siguiendo el genocidio, perdí todo. Todo. Incluso mi capacidad de escribir un poema. Un refrán Rwandan del proverbio va “arayirata del indwara del gukira del ujya”, es decir “si uno desea ser curado de una enfermedad, él o ella debe hablar de ella al mundo.”
Visitando el archivo visual del INSTITUTO de la FUNDACIÓN de SHOAH en 24 y 25/03/2008, soy mucho más sin habla a mi propio dolor. ¿Cómo puedo comparar mis sensaciones internas con los sobrevivientes y los testigos del Shoah?
Los rasgones caían,
como una lluvia,
Como el flujo de las aguas del río de Nyabarongo
a los cielos azules cargados de California.
La man#ana no se promete usted y o al I.
Así pues, doy gracias a lo que tengo como una vida y parte qué puedo hoy.
, Como seres humanos, no podemos comparar el dolor. Incluso estamos luchando con palabras para describir qué nos sucedió hablar hermoso al mundo. , Aquí, referimos a los que se han lanzado en los hoyos, violados, marcados pesadamente con los machetes. No tenemos ningún nombre con todo nombrar este sufrimiento. Podemos aprender simplemente de la pena de cada uno, desesperación e inspirar nueva esperanza.
En las palabras del INSTITUTO de la FUNDACIÓN de SHOAH, “cientos años de ahora en adelante, los historiadores que hacen la investigación sobre nuestro tiempo utilizarán el vídeo como su recurso principal. En el futuro, el pasado será visual. “En mis propias palabras, sin testimonios del genocidio, no hay historia de ella. Estudié la historia pero qué aprendí de la fundación de Shoah no es algo que la gente estudia en sala de clase de la universidad. Usted tiene que tomar este viaje.
Para su propia información, no voy a incurrir en una equivocación sobre ella pero a admitirla simplemente (las manos en el aire) que la escritura de mi guión “MADRE RWANDA” es marcada pesadamente por mi visita a la FUNDACIÓN de USC SHOAH, yo cambié el acoplado y se modifica el intento original de la película. Esta película de la ficción va a explorar la historia oral y está interesada en los acontecimientos que ocurrieron en Gitarama (lugar), 1994 (abril a ser específico) y una madre particular.
Pero primero de todos, tengo que ir a encontrar una escuela de la película, dejo la mente y el corazón reparar. Entonces lucha para levantar fondos para escribir el guión y para hacer la película. Conseguí la posibilidad de viajar los ESTUDIOS CINEMÁTICOS de USC y me introduzca los mejores profesores del cine.
Mis amigos, vi mis sueños en negrilla y válidos: diez dedos del pie y diez dedos. Visitando la escuela y hablando con los profesores, comencé a ver las posibilidades sin fin de mi sueño de la niñez que fue robado y quitado para mí. Uno tiene que estudiar lo que él o ella cree. No hay vendajes para fijar un alma quebrada, el corazón pero los huesos reparan y el corte cura. El curativo de la parte no-física de los seres humanos es un proceso interno con el cual una persona hace entera de nuevo.
Con filmmaking, estoy buscando mis propias maneras de reparar mis alcoholes quebrados, algo de la energía de la creatividad. Rechazo ir a los hospitales. Rechazo tomar las tabletas. Deseo intentar y ver esta medicina para mi cuerpo.
Quisiera que la creatividad fuera mi propia medicina. Deseo tomar ese riesgo. Tengo una impresión que a propósito utilicé mi instinto de la película he ayudado a establecer pero amaría ir más lejos a abrir mis habilidades limitadas y de esta manera, las habilidades adquiridas solamente en una universidad del renombre del mundo pueden terminar mi tortura de sufrimientos silenciosos. Éste no es algo que la gente puede ver y tocar, porque está adentro. La creatividad es parte todos nosotros, pero las expresiones creativas ought ser consolidado y ser animado.
Además, el asesino de mi padre me dijo que “su padre fuera mi amigo.” ¿Qué? Antes de que digiera esto, el otro asesino en la película se enciende desafiarme “que una película no es realmente ésa importante.” Tenía deseé solamente tener una conversación normal como ciudadano civilizado. Él me dijo que esto después de que le preguntara “le han filmado siempre en su vida?”
Ahora, soy referido mucho más por esta profesión que acabo de descubrir. ¿Cuál es el valor de hacer las películas? Quisiera desafiar cineastas de este mundo para ayudarme a responder a él. Éste es el viaje que deseo emprender. Tengo una pregunta seria a responder. El piso es los nuestros y la bola está en nuestra corte, nosotros los cineastas del mundo.
Un colega en la profesión que admiro, Stephen Spielberg, pudo tener una vez que sea dicho “haya una misión del rescate implicada en las mejores películas. Ahorran a una persona de su propio deshacer o qué la gente está haciendo a él. “[James Clarke, Stephen Spielberg, Herpenden, embolsa esencial, 2004]
PASQUA DIROTTATA 1994, VOLANTE A L.A, ISTITUTO PASQUA 2008 DEL FONDAMENTO DI USC SHOAH
Automatically translated into Italian thanks to WorldLingo
Buon venerdì, sto sedendomi nella mia stanza in qualche luogo a Springfield, Missouri… lontano dal mio countryland. Profondamente rifletto sulle edizioni che accendono con la mia pellicola di 80 minuti “dietro questo convent„.
Indietro in Ruanda, qualcuno che non sapessi stava guardandola pure. Immediatamente emailed me, “Gilbert, ho pensato che i vostri sguardi della pellicola molto potenti ed io pensassi all'ironia che sterà guardandola il buon venerdì.„ Ma accende, “mi sono domandato una piccola cosa dove nell'inizio la persona sta dicendo “dopo 13 anni che desidero conoscere„ e dice “Mbabarira„, come, “io sono spiacente ma desidero sapere…„ ed a me, livelli il fatto che usa le parole “mbabarira„ ai genocidaires è qualche cosa di potente, perché la sua lingua è molto gentile. Mi domando se quello può essere incluso nei sottotitoli… “
la cosa che il visore non ha conosciuto è che la I, il filmmaker, era quella confrontante l'assassino dei miei genitori.
Questa immagine sotto è l'unica rappresentazione che chiara, fisica e visiva ho con i miei genitori vivi. Era la loro ultima immagine presa da Pasqua 1994. Mi sono detto a, “i vostri genitori sono su questa foto. Assomigliate alla vostra madre. “Nessuno possono capire il dolore che lo ha causato quando per la prima volta, ho visto esso e la lotta per indovinare chi fra questa gente erano i miei genitori. “Li conosco, io li conosco, nessuno li conosco più meglio di. Sono il loro primo figlio sopportato. “La stessa notte, ho dovuto affrontare seriamente il mio fratello giovane Sauveur. Ha detto, “come può quello essere? Non sapete. “Non potrei gridare davanti lui. Come può un ragazzo di sei anni capire un genocide? Come posso insegnarlo senza generargli il dolore e l'odio?
Ora che oggi, conosco i miei genitori sulla foto tuttavia li ho conosciuti. Ora, so che la I, una volta, io ha vissuto con i miei genitori ed ho avuto una famiglia e non sono venuto dal cielo o sopportato da un albero. Sono così felice a tale proposito ma ancora, il sorriso è pulito via dalla realtà triste e dalle statistiche frequentanti dei morti: su questa foto, quant0 che sono sopravvissuto il genocide?
In 1994, la Pasqua è stata dirottata in Ruanda. Lunedì Pasqua, seguente un attacco, funziono al pellame in alcune paludi in un posto chiamato “gishanga di mu„, il parco industriale corrente. Per due giorni, ero in loro, nelle acque, mai impaurite degli orificii elettrici. Assassino del mio padre che risponde ad una domanda da un pubblico sul suo punto di vista come cristiano detto “i priests ci non ha fornito la buoni formazione ed esempio per seguire. Non dovremmo uccidere… “
Tutti i membri della mia famiglia “africana„ erano cristiani. Baptized e ricevuto tutti i sacraments. Coloro che è venuto ucciderlo erano cristiani anche. Li hanno cercati si scolano con i germogli, le frecce e le granate. Il 10 aprile 1994, stormed un convent ed hanno preso il tutsi circa 200 che ha cercato il rifugio dentro là. Allora, gli assassini del hutu li hanno presi dietro il convent nella nostra sede ed hanno continuato occorrere le loro vite. La mia madre e questa 200 genti sono state colpite con i chiodo-randelli e sono state incise con i machetes prima che fossero gettate in un pozzo.
Allora, gli assassini si sono bruciati giù la mia sede con combustibile ed inflamed il pozzo. Se ci fosse chiunque che sopravviva a mala pena, hanno soffocato. La mia sorella Rosine avere 11 anno. Emmanuel, l'assassino, detto a me, “il vostro tiro della sorella lei stessa nel pozzo, prima che la tocchiamo.„ Il mio padre ed altri tre uomini sono sopravvissuto lo stesso attacco nascondendosi nella stanza di deposito ma sono stati scoperti più successivamente sette giorni e sono stati presi dal convent. L'assassino Emmanuel va “sui noi, primi, ha decapitato il vostro padre. Allora, abbiamo colpito il suo corpo con i chiodo-randelli. ““Perchè? „, Gli ho chiesto. “Eravamo cristiani… non eravamo sicuri se non sta andando resurrect e desiderassimo arrestare quello. “
Sono ancora un cristiano? Un convent e una chiesa è una Camera del dio e rispettata per quella. , Come esseri umani, siamo la Camera del dio. Non siamo interamente abbiamo generato dallo stesso dio? La nostra chiamata come cristiani dovrebbe essere di riprendere Pasqua pensando profondamente al relativo significato dell'estinzione in nostro odierno mondo. Pensando a questa Pasqua una nuova volta ancora, è estinzione abbastanza? È la vittoria grande? Come circa una sconfitta? Mani nell'aria, nella ritirata e nella resa. Pensate la vittoria siete grandi? A che costi dovremmo celebrare la vittoria? Non è l'anima di Jesus abbastanza? Che cosa del nostro confession? Non sono quello unico nella ricerca della verità, perfezione ed estinzione. Qualcuno nella pellicola ha detto “per una richiesta del perdono di essere considerato, la verità deve dirsi a, non a metà dirsi a o ritenuto.„
Sono una rosa sviluppata su una base dello scheletro,
che cosa lo ha alzato sotto è horrendous e orribile,
Ma che cosa si sviluppa sopra me è vibrant.
Un re-birth.
I miei contributi come filmmaker lo hanno condotto negli Stati Uniti entro il maggio 2007 ed hanno celebrato dal presidente Bill Clinton e dal presidente Kagame. Ancora una volta ritorno il questo gennaio 2008 ed il viaggio di questa vita particolare è significato per essere un rebirth e per fare altretanti amici come possibili aiutarlo a ressurrect che cosa è morto all'interno di me. Un nuovo amico mi ha detto che “realmente dovrte scrivere ancora la poesia… forse un libro dei poems? “Il mio amico, seguente il genocide, ho perso tutto. Tutto. Anche la mia capacità di scrivere un poem. Un detto Rwandan di proverbio va “arayirata di indwara di gukira di ujya„, cioè “se uno desidera essere guarito da una malattia, lui o lei deve parlarla al mondo.„
Visitando l'archivio visivo dell'ISTITUTO del FONDAMENTO di SHOAH su 24 e su 25/03/2008, sono molto più speechless al mio proprio dolore. Come posso paragonare le mie sensibilità interne ai superstiti ed ai testimoni dello Shoah?
Le rotture stavano cadendo,
come una pioggia,
Come il flusso delle acque del fiume di Nyabarongo
ai cieli blu caricati della California.
Il domani non è promesso voi ed o al I.
Così, dò grazie a che cosa ho come una vita e parte che cosa posso oggi.
, Come esseri umani, non possiamo confrontare il dolore. Persino stiamo lottando con le parole per descrivere che cosa è sembrato noi parlare bello al mondo. , Qui, ci riferiamo a quei che siano stati gettati nei pozzi, colza, segnati pesante con i machetes. Non abbiamo nome ancora chiamare questo suffering. Possiamo imparare semplicemente dal dolore di ciascuno, disperazione ed ispirare la nuova speranza.
Nelle parole dell'ISTITUTO del FONDAMENTO di SHOAH, “cento anni da oggi, gli storici che fanno la ricerca circa il nostro tempo utilizzeranno il video come loro risorsa principale. In avvenire, il passato sarà visivo. “Nelle mie proprie parole, senza testimonianze del genocide, non ci è storia di esso. Ho studiato la storia ma che cosa ho imparato dal fondamento di Shoah non è qualcosa che la gente studia nell'aula dell'università. Dovete prendere questo viaggio.
Per le vostre proprie informazioni, non sto andando fare un errore a questo proposito ma ammettere semplicemente (mani nell'aria) che la scrittura del mio screenplay “la MADRE RUANDA„ è contrassegnata pesante tramite la mia chiamata al FONDAMENTO di USC SHOAH, io ho cambiato il rimorchio e l'intenzione originale della pellicola è modificata. Questa pellicola di romanzo sta andando esplorare la storia orale ed è interessata negli eventi che hanno avvenuto in Gitarama (posto), 1994 (aprile da essere specifico) e una madre particolare.
Ma in primo luogo, devo andare trovare una scuola della pellicola, lascio la mente ed il cuore riparare. Allora lotta per alzare i fondi monetari per scrivere lo screenplay e per fare la pellicola. Ho ottenuto la possibilità di turismo degli STUDI CINEMATIC di USC e sono introdotto i professori migliori in cinematografo.
I miei amici, ho visto i miei sogni GRASSETTO e validi: dieci punte e dieci barrette. Visitando la scuola e comunicando con professori, ho cominciato vedere le possibilità infinite di mio sogno di infanzia che è stato rubato e tolto stato per me. Si deve studiare che cosa lui o lei crede. Non ci sono fasciature per riparare un'anima rotta, il cuore ma le ossa ripara ed il taglio guar. Healing della parte non-fisica degli esseri umani è un processo interno con cui una persona diventa ancora una volta intera.
Con filmmaking, sto cercando i miei propri sensi riparare i miei alcoolici rotti, qualcosa dell'alimentazione di creatività. Rifiuto di andare agli ospedali. Rifiuto di prendere i ridurre in pani. Desidero provare e vedere questa medicina per il mio corpo.
Desidero la creatività essere la mia propria medicina. Desidero assumermi quella responsabilità. Ho un'impressione che a proposito ho usato il mio instinct della pellicola ho contribuito a stabilire ma amerei andare più avanti sbloccare le mie abilità limitate e in questo modo, le abilità acquistate soltanto in un'università del renown del mondo possono concludere la mia tortura dei sufferings silenziosi. Ciò non è qualcosa che la gente possa vedere e toccare, perché è all'interno. La creatività fa parte di tutti noi, ma le espressioni creative devono essere consolidate e consigliate a.
Inoltre, assassino del mio padre mi ha detto che “il vostro padre fosse il mio amico.„ Che cosa? Prima che digerisca questo, l'altro assassino nella pellicola continua a sfidarlo “che una pellicola non è realmente quella importante.„ Ho avuto soltanto ho desiderato avere una conversazione normale come cittadino civilizzato. Mi ha detto che questo dopo che gli chiederà “siete stati filmati mai nella vostra vita?„
Ora, molto di più sono interessato da questa professione che ho scoperto appena. Che cosa è il valore di fare le pellicole? Vorrei sfidare i filmmakers di questo mondo a aiutarlo a rispondere a lui. Ciò è il viaggio che desidero intraprendere. Ho una domanda seria da rispondere. Il pavimento è il nostro e la sfera è nella nostra corte, noi i filmmakers del mondo.
Un collega nella professione che ammiro, Stephen Spielberg, potrebbe avere una volta che detto “ci è una missione di salvataggio addetta ai film migliori. Una persona è conservata dal suo proprio undoing o che cosa la gente sta facendo a lui. “[James Clarke, Stephen Spielberg, Herpenden, intasca essenziale, 2004]
ÜBERFALLENES OSTERN 1994, FLIEGEND ZU L.A, USC SHOAH GRUNDLAGE INSTITUT OSTERN 2008
Automatically translated into German thanks to WorldLingo
Karfreitag, sitze ich in meinem Raum irgendwo in Springfield, Missouri… weit von mein countryland. Ich reflektiere tief mich auf den Ausgaben, die an zu meinem 80 Minuten Film „hinter diesem Kloster“ passen.
Zurück in Ruanda, paßte jemand, das ich nicht weiß, es außerdem auf. Sie emailed mich sofort, „Gilbert, dachte ich, daß Ihren leistungsfähigen Filmblicken sehr und ich an die Ironie dachte, daß ich aufpaßte sie an Karfreitag.“ Aber sie geht weiter, „ich wunderte mich eine kleine Sache, in der am Anfang die Person „nach 13 Jahren sagt, die, ich kennen möchte“ und er „Mbabarira“, wie, „es tut mir leid sagt, aber ich wissen möchte…“ und zu mir, glätten Sie die Tatsache, daß er die Wörter „mbabarira“ zu den genocidaires ist leistungsfähiger etwas verwendet, weil seine Sprache sehr höflich ist. Ich wundere mich, wenn der in den Untertiteln eingeschlossen werden kann… „
die Sache, die der Projektor nicht ist wußte, daß I, der Filmemacher, das Mörder meiner Eltern konfrontierend war.
Diese Abbildung folgend ist die einzige klare, körperliche und Sichtdarstellung, die ich mit meinen lebendigen Eltern habe. Es war ihr letztes Photo, das von Ostern 1994 gemacht wurde. Ich wurde, „Ihre Eltern bin auf diesem Foto erklärt. Sie sehen wie Ihre Mutter aus. „Niemand können die Schmerz verstehen, die er mich verursachte, als zum ersten Mal, ich ihn und Kampf sah, um zu schätzen, wem unter diesen Leuten meine Eltern waren. „Ich kenne sie, ich kenne sie, keine kenne sie besser, als ich. Ich bin ihr erster geborener Sohn. „Die gleiche Nacht, mußte ich meinen jungen Bruder Sauveur ernsthaft gegenüberstellen. Er sagte, „wie kann der sein? Sie wissen nicht. „Ich könnte nicht vor ihm schreien. Wie kann ein sechs-Jahr-alter Junge einen Genozid verstehen? Wie kann ich ihn unterrichten, ohne die Schmerz und Haß in ihm zu verursachen?
Nun da heute, ich meine Eltern auf dem Foto dennoch kenne, kannte ich sie. Jetzt weiß ich, daß I einst ich mit meinen Eltern gelebt haben und ich eine Familie hatte und ich nicht vom Himmel oder aus einem Baum heraus getragen kam. Ich bin über den so glücklich, aber wieder, wird das Lächeln weg durch die traurige Wirklichkeit und die frequentierenden Statistiken der Toten abgewischt: auf diesem Foto wieviele, die der Genozid überlebten?
1994 wurde das Ostern in Ruanda überfallen. Montag Ostern, einem Angriff folgend, laufe ich zum Fell in einigen Sümpfen in einem Platz, der „mu gishanga“, der gegenwärtige industrielle Park genannt wird. Für zwei Tage war ich in ihrem, im Wasser, nie ängstlich von den elektrischen Toren. Der Mörder meines Vaters, der auf eine Frage durch eine öffentlichkeit auf seiner Ansicht als Christ gesagt wurde „den Priestern reagiert, gab uns gute Ausbildung und Beispiel nicht, um zu folgen. Wir sollten nicht getötet haben… „
Alle Mitglieder meiner „afrikanischen“ Familie waren Christen. Ich wurde getauft und alle Sakramente empfing. Die, die kamen, uns zu töten, waren Christen auch. Sie jagten uns niederwerfen mit Stangen, Pfeilen und Granaten. Am 10. April 1994 stormed sie ein Kloster und nahmen Tutsi ungefähr 200, der Schutz innen dort suchte. Dann nahmen die Hutumörder sie hinter dem Kloster in unserem Haus und fuhren fort, ihre Leben zu dauern. Meine Mutter und diese 200 Leute wurden mit Nagelvereinen geschlagen und zerhackt mit Macheten, bevor sie in eine Grube geworfen wurden.
Dann brannten die Mörder hinunter mein Haus mit Kraftstoff und entflammten die Grube. Wenn es jedermann gab, das kaum überlebte, erstickten sie. Meine Schwester Rosine war 11 Jahre alt. Emmanuel, der Mörder, erklärt mir, „Ihr Schwester Throw selbst in die Grube, bevor wir berührten sie.“ Mein Vater und drei andere Männer überlebten der gleiche Angriff, indem sie im Vorratsraum sich versteckten, aber sie wurden sieben Tage später entdeckt und genommen vom Kloster. Der Mörder Emmanuel geht auf „uns, erstes, enthauptete Ihren Vater. Dann schlugen wir seinen Körper mit Nagelvereinen. „„Warum? “, Fragte ich ihn. „Wir waren Christen… wir waren nicht sicher, wenn er nicht wieder beleben wird und wir das stoppen wollten. „
Bin ich Stille ein Christ? Ein Kloster und eine Kirche ist ein Haus des Gottes und für das respektiert. Wir, als Menschen, sind das Haus des Gottes. Nicht sind wir verursachten ganz durch den gleichen Gott? Unser Anruf als Christen sollte, Ostern zurückzufordern sein, indem er tief an seine Bedeutung der Abzahlung in unserer heutigen Welt denkt. An dieses Ostern wieder denken ein weiteres Mal, ist Abzahlung genug? Ist Sieg groß? Wie über eine Niederlage? Hände in der Luft, im Rückzug und in der Auslieferung. Denken Sie Sieg sind groß? An welchen Kosten sollten wir den Sieg feiern? Nicht ist das Blut von Jesus genug? Was unseres Geständnisses? Ich bin nicht das einzige in der Suche der Wahrheit, Verkollkommnung und Abzahlung. Jemand im Film sagte „für einen Antrag des Verzeihens betrachtet zu werden, die Wahrheit muß erklärt werden, nicht beinahe erklärt werden oder zurückgehalten werden.“
Ich bin eine Rose, die auf einem Bett des Skeletts gewachsen wird,
was mich ist unten horrend und grauenhaft anhob,
Aber was über mir gewachsen wird, ist vibrant.
Eine Wiedergeburt.
Meine Beiträge als Filmemacher haben mich in die Vereinigten Staaten für Mai 2007 geführt und durch Präsidenten Bill Clinton und Präsidenten Kagame gefeiert. Ich komme noch einmal dieses Januar 2008 zurück und Reise dieses bestimmten Lebens wird bedeutet, um eine Wiedergeburt zu sein und da viele Freunde zu bilden, wie möglich, mir zum ressurrect zu helfen, was innerhalb ich starb. Ein neuer Freund erklärte mir, daß „Sie Poesie wirklich wieder schreiben sollten… möglicherweise ein Buch der Gedichte? „Mein Freund, dem Genozid folgend, verlor ich alles. Alles. Sogar meine Fähigkeit, ein Gedicht zu schreiben. Ein Rwandan Sprichwort Saying geht „ujya gukira indwara arayirata“, das heißt „, wenn man von einer Krankheit geheilt werden möchte, müssen er oder sie über sie zur Welt sprechen.“
Das Sichtarchiv des SHOAH GRUNDLAGE INSTITUTS auf 24 und 25/03/2008 besichtigend, bin ich zu meinen eigenen Schmerz viel sprachloser. Wie kann ich meine inneren Gefühle mit den überlebenden und den Zeugen des Shoah vergleichen?
Risse fielen,
wie ein Regen,
Wie der Fluß des Wassers von Nyabarongo Fluß
zu den belasteten blauen Himmeln von Kalifornien.
Morgen wird Ihnen und oder I. nicht versprochen.
So gebe ich dank, was ich als Leben und Anteil habe, was ich heute kann.
Wir, als Menschen, können nicht die Schmerz vergleichen. Wir kämpfen sogar mit Wörtern, um zu beschreiben, was uns geschah, schönes mit der Welt zu sprechen. Wir beziehen hier uns auf die, die in die Gruben geworfen worden sind, geraubt, schwer gekennzeichnet mit Macheten. Wir haben keinen Namen dennoch, diesen Suffering zu nennen. Wir können vom jeder des anderen Leid, Verzweiflung einfach erlernen und neue Hoffnung anspornen.
In den Wörtern des SHOAH GRUNDLAGE INSTITUTS, „hundert Jahre ab jetzt, benutzen Historiker, die Forschung über unsere Zeit tun, Bildschirm als ihr Haupthilfsmittel. Zukünftig ist die Vergangenheit sichtlich. „In meinen eigenen Wörtern, ohne Zeugnisse des Genozids, gibt es keine Geschichte von ihr. Ich studierte Geschichte, aber was ich von der Shoah Grundlage erlernte, ist nicht etwas, daß Leute im Universitätsklassenzimmer studieren. Sie müssen diese Reise nehmen.
Zu Ihrer eigenen Information werde ich nicht einen Fehler über ihn machen aber einfach zulassen (Hände in der Luft) das das Schreiben meines Drehbuches „MUTTER RUANDA“ schwer durch meinen Besuch zur USC SHOAH GRUNDLAGE gekennzeichnet wird, ich änderte den Anhänger und die ursprüngliche Absicht des Filmes wird geändert. Dieser Erfindungfilm wird die Mundgeschichte erforschen und ist an den Fällen interessiert, die in Gitarama (Platz) stattfanden, 1994 (April, zum spezifisch zu sein) und eine bestimmte Mutter.
Aber zuerst von allen, muß ich gehen, eine Filmschule zu finden, lasse den Verstand und das Herz reparieren. Dann Kampf, zum des Kapitals aufzubringen, um das Drehbuch zu schreiben und den Film zu bilden. Ich erhielt die Möglichkeit des Reisens der USC CINEMATIC STUDIEN und werde den besten Professoren im Kino eingeführt.
Meine Freunde, sah ich meine fetten und gültigen Träume: 10 Zehen und 10 Finger. Die Schule besichtigend und mit den Professoren sprechend, fing ich an, die endlosen Möglichkeiten meines Kindheittraums zu sehen, der für mich gestohlen und weggenommen wurde. Man muß studieren, was er oder sie glauben. Es gibt keine Verbände, zum einer defekten Seele zu regeln, reparieren Herz und doch Knochen und Schnitt heilt. Das Heilend des nicht-körperlichen Teils der Menschen ist ein innerer Prozeß, durch den eine Person noch einmal vollständig wird.
Durch das Filmmaking suche ich meine eigenen Weisen, meinen defekten Geist, etwas zu reparieren der Energie der Kreativität. Ich lehne ab, zu den Krankenhäusern zu gehen. Ich lehne ab, Tabletten zu nehmen. Ich möchte diese Medizin für meinen Körper versuchen und sehen.
Ich wünsche Kreativität meine eigene Medizin sein. Ich möchte diese Gefahr nehmen. Ich habe einen Eindruck, daß übrigens ich meinen Filminstinkt habe geholfen herzustellen verwendete, aber ich lieben würde, weiter zu gehen, meine begrenzten Fähigkeiten zu entriegeln und auf diese Art, die Fähigkeiten, die nur in einer WeltRenommeeuniversität erworben werden, meine Folterung der leisen Sufferings beenden können. Dieses ist nicht etwas, das Leute sehen und berühren können, weil es nach innen ist. Kreativität ist ein Teil von allen uns, aber kreative Ausdrücke sollen ernährt werden und angeregt werden.
Außerdem erklärte Mörder meines Vaters mir, daß „Ihr Vater war mein Freund.“ Was? Bevor ich dieses verdaue, fährt der andere Mörder im Film fort, mich herauszufordern, „, das ein Film ist nicht wirklich wichtiger der.“ Ich hatte wollte nur ein normales Gespräch als zivilisierter Bürger haben. Er erklärte mir, daß dieses, nachdem ich ihn „fragte, sind Sie überhaupt gefilmt worden in Ihrem Leben?“
Jetzt werde ich viel mehr durch diesen Beruf betroffen, den ich gerade entdeckte. Was ist der Wert des Bildens der Filme? Ich möchte Filmemacher dieser Welt herausfordern, mir zu helfen, auf ihn zu reagieren. Dieses ist die Reise, die ich mich aufnehmen möchte. Ich habe eine ernste Frage, zum zu reagieren. Der Fußboden ist unsere und die Kugel ist in unserem Gericht, wir die Filmemacher der Welt.
Ein Kollege im Beruf, den ich bewundere, Stephen Spielberg, konnte haben, sobald besagt „es eine Rettung Mission gibt, die in die besten Filme mit einbezogen wird. Eine Person wird von seinem eigenen Annulieren gespeichert, oder was die Leute ihn antun. „[James Clarke, Stephen Spielberg, Herpenden, stecken wesentliches, 2004] ein
EASTER HI-JACKED 1994, VOANDO A L.A, INSTITUTO EASTER 2008 DA FUNDAÇÃO DE USC SHOAH
Automatically translated into Portuguese thanks to WorldLingo
Sexta-feira boa, eu estou sentando-me em meu quarto em algum lugar em Springfield, Missouri… longe de meu countryland. Eu refleto profundamente nas edições que vão sobre com minha película de 80 minutos “atrás deste convent”.
Para trás em Rwanda, alguém que eu não sei prestava-lhe atenção também. Emailed imediatamente me, “Gilbert, eu pensei que seus olhares da película muito poderosos e eu pensei do irony de que eu lhe prestava atenção em sexta-feira boa.” Mas vai sobre, “eu quis saber uma coisa pequena onde no começo a pessoa está dizendo “após 13 anos onde eu quero saber” e diz “Mbabarira”, como, “mim é pesaroso mas eu quero saber…” e a, nivele-mim o fato que usa as palavras “mbabarira” aos genocidaires é algo poderoso, porque sua língua é muito polida. Eu quero saber se aquele puder ser incluído nos subtítulos… “
a coisa que o visor não soube é que I, filmmaker, era esse confrontando o assassino dos meus pais.
Este retrato abaixo é a única respresentação que vívida, física e visual eu tenho com meus pais vivos. Era seu último retrato feito exame por Easter 1994. Eu fui dito, “seus pais estou nesta foto. Você olha como sua mãe. “Ninguém podem compreender a dor que me causou quando para a primeira vez, eu vi o e o esforço para supo quem entre estes povos eram meus pais. “Eu sei-os, mim sei-os, ninguém sei-os mais melhor do que eu. Eu sou seu primeiro filho carregado. “A mesma noite, eu tive que seriamente enfrentar meu irmão novo Sauveur. Disse, “como pode aquele ser? Você não sabe. “Eu não poderia gritar na frente dele. Como pode um menino velho de seis anos compreender um genocide? Como posso eu o ensinar sem criar a dor e o hatred nele?
Agora que hoje, eu conheço meus pais na foto contudo mim conheceu-os. Agora, eu sei que I, uma vez em cima de um momento, mim viveu com meus pais e eu tive uma família e eu não vim do céu ou carregado fora de uma árvore. Eu sou assim feliz sobre aquele mas outra vez, o sorriso é limpado afastado pela realidade sad e pelos statistics assombrando dos mortos: nesta foto, quanto que sobreviveram o genocide?
Em 1994, o Easter hi-jacked em Rwanda. Segunda-feira Easter, seguindo um ataque, eu funciono ao hide em alguns swamps em um lugar chamado do “gishanga mu”, o parque industrial atual. Por dois dias, eu estava no seu, nas águas, nunca receosas dos portos elétricos. O assassino do meu pai que responde a uma pergunta por um público em sua vista como um cristão dito “os priests não nos deu a instrução e o exemplo bons para seguir. Nós não devemos ter matado… “
Todos os membros de minha família “africana” eram cristãos. Eu baptized e recebi todos os sacraments. Aqueles que vieram nos matar eram cristãos demasiado. Caçaram-nos tragam com lanças, setas e grenades. Abril em 10o, 1994, stormed um convent e fizeram exame do tutsi aproximadamente 200 que procurou o refúgio dentro lá. Então, os assassinos do hutu fizeram exame d atrás do convent em nosso repouso e proseguiram fazer exame de suas vidas. Minha mãe e estes 200 povos foram batidos com prego-clubes e cortados com machetes antes que estêve jogada em um poço.
Então, os assassinos queimaram-se abaixo meu repouso com combustível e inflamed o poço. Se houvesse qualquer um que sobreviveu mal, sufocaram. Minha irmã Rosine tinha 11 anos velha. Emmanuel, o assassino, dito me, “seu throw da irmã ela mesma no poço, antes que nós tocarmos nela.” Meu pai e outros três homens sobreviveram o mesmo ataque escondendo no quarto de loja mas foi descoberto sete dias mais tarde e feito exame do convent. O assassino Emmanuel vai em “nós, primeiros, beheaded seu pai. Então, nós batemos seu corpo com prego-clubes. ““Por que? ”, Eu perguntei-lhe. “Nós éramos cristãos… nós não éramos certos se não fosse resurrect e nós quiséssemos parar aquele. “
Sou eu destilador um cristão? Um convent e uma igreja são uma casa do deus e respeitada para aquela. Nós, como seres humanos, somos a casa do deus. Não somos nós criamos toda pelo mesmo deus? Nossa chamada como cristãos deve ser recuperar Easter pensando profundamente sobre seu meaning do redemption em nosso mundo de hoje. Pensar sobre este Easter uma mais vez outra vez, é redemption bastante? É a vitória grande? Como sobre uma derrota? Mãos no ar, no recuo e na rendição. Você pensa da vitória é grande? Em que custos devemos nós comemorar a vitória? Não é o sangue de Jesus bastante? Que de nosso confession? Eu não sou único no quest da verdade, perfeição e redemption. Alguém na película disse “para um pedido do forgiveness ser considerado, a verdade tem que ser dito, não parcialmente ser dito ou retido.”
Eu sou uma rosa crescida em uma cama do esqueleto,
o que me levantou é abaixo horrendous e gruesome,
Mas o que é crescido acima de mim é vibrant.
Um re-birth.
Minhas contribuições como um filmmaker conduziram-me aos Estados Unidos por maio 2007 e comemoraram-no pelo presidente Bill Clinton e pelo presidente Kagame. I voltam uma vez outra vez este janeiro 2008 e a viagem desta vida particular é significada ser um rebirth e fazer tantos como amigos como possíveis ajudar-me ao ressurrect o que morreu dentro de mim. Um amigo novo disse-me que “você realmente deve escrever a poesia outra vez… talvez um livro dos poemas? “Meu amigo, seguindo o genocide, eu perdi tudo. Tudo. Mesmo minha abilidade de escrever um poema. Um provérbio Rwandan do proverb vai do “arayirata do indwara do gukira ujya”, aquele é dizer “se um quiser healed de uma doença, ele ou deve falar sobre ela ao mundo.”
Visitando o arquivo visual do INSTITUTO da FUNDAÇÃO de SHOAH em 24 e em 25/03/2008, eu sou muito mais speechless a minha própria dor. Como posso eu comparar meus sentimentos internos com os sobreviventes e as testemunhas do Shoah?
Os rasgos estavam caindo,
como uma chuva,
Como o fluxo das águas do rio de Nyabarongo
aos céus azuis burdened de Califórnia.
O amanhã não é prometido a você e ou ao I.
Assim, eu dou agradecimentos a o que eu tenho como uma vida e uma parte o que eu posso hoje.
Nós, como seres humanos, não podemos comparar a dor. Nós estamos esforçando-nos mesmo com as palavras para descrever o que nos aconteceu falar bonito ao mundo. Nós, aqui, consultamos a esses que foram jogadas nos poços, violados, marcados pesadamente com machetes. Nós não temos nenhum nome contudo para nomear este sofrimento. Nós simplesmente podemos aprender de cada um - outro grief, desespero e inspirar a esperança nova.
Nas palavras do INSTITUTO da FUNDAÇÃO de SHOAH, “cem anos de agora, os historians que fazem a pesquisa sobre nosso tempo usarão o vídeo como seu recurso principal. No futuro, o passado será visual. “Em minhas próprias palavras, sem testimonies do genocide, não há nenhuma história dela. Eu estudei a história mas o que eu aprendi da fundação de Shoah não é algo que os povos estudam na sala de aula da universidade. Você tem que fazer exame desta viagem.
Para sua própria informação, eu não estou indo fazer um erro sobre ele mas admiti-lo simplesmente (as mãos no ar) que a escrita de meu screenplay “MÃE RWANDA” é marcada pesadamente por minha visita à FUNDAÇÃO de USC SHOAH, mim mudei o reboque e a intenção original da película é modificada. Esta película do fiction está indo explorar a história oral e está interessada nos eventos que ocorreram em Gitarama (lugar), 1994 (abril a ser específico) e uma mãe particular.
Mas primeiramente de tudo, eu tenho que ir encontrar uma escola da película, deixo a mente e o coração emendar. Então esforço para levantar fundos para escrever o screenplay e para fazer a película. Eu comecei a possibilidade de excursionar os ESTUDOS CINEMATIC de USC e seja introduzido os mais melhores professores no cinema.
Meus amigos, eu vi meus sonhos bold(realce) e válidos: dez dedos do pé e dez dedos. Visitando a escola e falando aos professores, eu comecei ver as possibilidades infinitas de meu sonho da infância que foi roubado e removido para mim. Se tem que estudar o que ou acreditam. Não há nenhum bandages para reparar uma alma quebrada, o coração no entanto os ossos emendam e o corte heals. Healing da parte non-física dos seres humanos é um processo interno com que uma pessoa se torna inteira uma vez outra vez.
Com filmmaking, eu estou procurarando minhas próprias maneiras emendar meus espíritos quebrados, algo do poder da creatividade. Eu recuso ir aos hospitais. Eu recuso fazer exame de tabuletas. Eu quero tentar e ver esta medicina para meu corpo.
Eu quero a creatividade ser minha própria medicina. Eu quero fazer exame desse risco. Eu tenho uma impressão que pela maneira que eu usei meu instinto da película ajude estabelecer mas eu amaria ir mais mais destravar minhas habilidades limitadas e nesta maneira, as habilidades adquiridas somente em uma universidade do renown do mundo podem terminar minha tortura de sofrimentos silenciosos. Este não é algo em que os povos podem ver e tocar, porque está para dentro. A creatividade é parte dtodos nós, mas as expressões creativas ought nurtured e incentivado.
Adicionalmente, o assassino do meu pai disse-me que “seu pai era meu amigo.” Que? Antes que eu digira este, o outro assassino na película vai sobre desafiar-me “que uma película não é realmente aquela importante.” Eu tive quis somente ter uma conversação normal como um cidadão civilized. Disse-me que isto depois que eu lhe perguntei “você foi filmado sempre em sua vida?”
Agora, eu sou concernido muito mais por esta profissão que eu descobri apenas. Que é o valor de fazer películas? Eu gostaria de desafiar filmmakers deste mundo ajudar-me responder-lhe. Esta é a viagem que eu quero empreender. Eu tenho uma pergunta séria a responder. O assoalho é nosso e a esfera está em nossa corte, nós os filmmakers do mundo.
Um colega na profissão que eu admiro, Stephen Spielberg, pôde ter uma vez que dito “há uma missão do salvamento envolvida nos mais melhores filmes. Uma pessoa é conservada do seu próprio undoing ou o que os povos lhe estão fazendo. “[James Clarke, Stephen Spielberg, Herpenden, Pocket essencial, 2004]
HI-JACKED PÅSK 1994 SOM FLYGER TILL L.A, FÖR FUNDAMENTINSTITUT FÖR USC SHOAH PÅSK 2008
Automatically translated into Swedish thanks to WorldLingo
Långfredag I-förmiddagsammanträde i mitt rum någonstans i Springfield, Missouri…, långtifrån min countryland. Jag reflekterar djupt utfärdar på att gå på med min 80 minuter filmar ”bak denna kloster”.
Baksida i Rwanda, någon som jag inte vet, höll ögonen på den som väl. Hon emailed omgående mig, ”Gilbert, tänkte jag att dina filmar mycket kraftiga looks och jag tänkte av ironin att jag höll ögonen på den på långfredag.”, Men hon går på, ”undrade jag ett litet ting, var i början personen är ordstävet ”efter 13 år som, jag önskar att veta”, och honom något att säga ”Mbabarira”, något liknande, ”den ledsna I-förmiddagen, men jag önskar att veta…”, even faktumet att han använder uttrycker ”mbabarira” till genocidairesna är något som är kraftig, därför att hans språk är mycket artigt, och till mig. Jag undrar, om det kan vara inklusive i undertexterna… ”
tinget som tittaren inte visste är att I, filmskaparen, var det som konfronterar min förälder mördare.
Detta föreställer nedanfört är det enda livligt, läkarundersökningen och visuellt hjälpmedelframställningen som jag har med min vid liv föräldrar. Det var deras jumbo föreställer taget av Påsk 1994. Jag berättades, ”dina föräldrar är på detta foto. Du ser den din något liknande fostrar. ”Inget kan förstå smärta som den orsakade mig då för den första tiden, sågar kämpar jag den och för att gissa vem bland dessa folk var min föräldrar. ”Vet jag dem, mig vet dem, inget vet dem som är bättre, än jag. Förmiddag I deras första födda son. ”Den samma natten, måste jag allvarligt att vända mot min unga broder Sauveur. Han sade, ”hur kan det vara? Du vet inte. ”Kunde jag inte gråta framme av honom. Hur sex år kan en gammal pojke förstå ett folkmord? Hur kan jag undervisa honom, utan att skapa, smärtar och hat i honom?
Nu, att i dag, jag vet min föräldrar på fotoet, yet mig visste dem. Nu vet jag att I, en gång på en tid, mig har bott med min föräldrar och jag hade en familj och jag inte kom från skyen eller fött ut ur en tree. Förmiddag som I så är lycklig om det men igen, leendet, torkas bort av den ledsna verkligheten och spökastatistik av deadna: på detta foto hur många som fortlevde folkmordet?
I 1994 hi-jacked påsken i Rwanda. Den Måndag påsken, efter en attack, kör jag till skinnet i några träsk i en förlägga som kallas ”mugishangaen”, den industriella strömmen, parkerar. För två dagar var jag i deras, i bevattnar, aldrig räddt av de elektriska portarna. Min fader mördare som reagerar till en ifrågasätta av en allmänhet på his beskådar, som en kristen sade att ”prästerna inte gav oss bra utbildning och exempel för att följa. Vi bör inte ha dödat… ”,
Alla medlemmar av min ”afrikanska” familj var kristen. Jag döptes och mottog alla sacraments. De, som kom att döda oss, var kristen för. De jagade oss besegrar med spjut, pilar och granater. På April 10th, 1994, stormade tog de en kloster och tutsi omkring 200 som sökte fristaden in där. Därefter tog fortsatte hutumördarna dem bak kloster i vårt hem och att ta deras liv. Mitt fostra, och dessa 200 folk sloggs med spika-klubbor och hackades med machetes, för de kastades in i en grop.
Därefter besegrar de brända mördarna mitt hem med tankar och förvärrade gropen. Om det fanns någon som fortlevde knappt, kvävde de. Min syster Rosine var 11 gammala år. Emmanuel mördare som berättas mig, ”ditt systerkast hon själv in i gropen, för oss som är berörda hon.”, Min fader och tre andra manar fortlevde den samma attacken, genom att dölja i lagerrummet, men de upptäcktes sju dagar mer sistnämnd och togs från kloster. Mördare Emmanuel går på ”oss, första, halshögg din fader. Därefter slogg vi his förkroppsligar med spika-klubbor. ””Why? ” Frågade jag honom. ”Var vi kristen…, vi var inte säkra, om han inte går att återuppväcka, och vi önskade att stoppa det. ”
Stillbild för förmiddag I en kristen? En kloster och en kyrka är ett hus av guden och respekterade för det. Vi som människor, är huset av guden. Inte är vi skapade all vid den samma guden? Vår appell som kristen bör vara att återvinner påsk vid tänkande djupt om dess menande av befrielsen i vår dagens värld. Den tänkande härom påsken en mer tid igen, är befrielsen nog? Är segern stor? Hur om ett nederlag? Räcker i lufta, reträtten och kapitulationen. som du, är funderaresegern stor? På vad bör kostar vi fira segern? Inte är blod av Jesus nog? Vad av vår bikt? Förmiddag I inte den enda i sökanden av sanning, perfektion och befrielsen. Någon i filma sade ”för en förfrågan av förlåtelse att vara ansett, sanningen måste att berättas, inte till hälften att berättas eller undanhållas.”,
Förmiddag I en ro som är fullvuxen på en säng av skelett,
vad lyftte mig beneath, är fasansfull och hemsk,
Men vad är fullvuxet ovanför mig, är vibrerande.
En re-birth.
Min bidrag som en filmskapare har ledde mig till Förenta staterna av Maj 2007 och firade vid President Bill Clinton och presidenten Kagame. Jag kommer ytterligare en gång tillbaka denna Januari 2008, och detta betyds särskilda liv resa för att vara en pånyttfödelse och för att göra så många vänner som möjlighet för att hjälpa mig till ressurrect vad dog insida mig. En ny vän berättade mig att ”du egentligen bör skriva poesi igen…, kanske en boka av poems? ”Min vän, efter folkmordet, borttappadt I allt. Allt. Även min kapacitet att skriva en poem. Ett rwandiskt proverbordstäv går ”arayirataen för ujyagukiraindwaraen”, alltså ”, om en önskar att läkas från en sjukdom, honom, eller hon måste tala om den till världen.”,
Besöka visuellt hjälpmedel arkivera av SHOAH-FUNDAMENTINSTITUTET på 24, och 25/03/2008, I-förmiddagen som mycket är mer mållös till mitt eget, smärtar. Hur kan jag jämföra min inre känslor med överlevandearna och vittnena av Shoahen?
Revor föll,
gillar en regna,
Gilla flödet av bevattnar av den Nyabarongo floden
till de behäftade blåttskiesna av Kalifornien.
Morgondagen lovas inte till dig och eller I.
Så ger delar jag tack till vad jag har som ett liv och vad jag kan i dag.
Vi som människor, kan inte jämföra smärta. Vi kämpar även med uttrycker för att beskriva vad händde till oss att tala härligt till världen. Vi, ser här till de som har kastats in i gropar som våldtas som markeras tungt med machetes. Vi har inget känt yet att namnge detta lida. Vi enkelt kan lära från varje - annan sorg, förtvivlan och inspirera nytt hopp.
I uttrycker av SHOAH-FUNDAMENTINSTITUTET, ”hundra år från nu, historiker som gör forskning om samtiden ska bruksvideoen som deras huvudsakliga resurs. I framtiden ska förflutnan är visuellt hjälpmedel. ”I mitt eget uttrycker, utan vittnesbörd av folkmordet, där är ingen historia av den. Är utstuderad historia I men vad jag läde från det Shoah fundamentet, inte något som bemannar studien i universitetarklassrum. Du måste att ta denna resa.
För din egna information markeras I-förmiddagen som inte går att göra en missförstå om den men enkelt att medge (räcker i lufta) som handstilen av min filmmanus ”FOSTRAR RWANDA”, tungt av mitt besök till FUNDAMENTET för USC SHOAH, mig ändrade släpet, och den original- avsikten för filma ändras. Denna fiktion filmar går att undersöka den muntliga historien och intresseras i händelserna, som ägde rum i Gitarama (förlägga), 1994 (april som är specifikt), och en detalj fostrar.
Men först allra, måste jag att gå att finna en filma skolar, låter vara besvärad och hjärtan laga. Kämpa därefter till lönelyftfonder för att skriva filmmanuset och för att göra filma. Jag fick möjligheten av att turnera de FILMISKA STUDIERNA för USC och introduceras de bäst professorerna i bio.
Min vänner, sågar jag min giltiga drömmar som sätta en klocka på och: tio toes och tio fingrar. Besöka skola och tala till professorerna, startade jag att se de ändlösa möjligheterna av min barndomdröm som stals och togs bort för mig. En måste studien vad han eller hon tror. Det finns inget förbinder för att fixa en bruten soul, lagar hjärta och yet ben, och snittet läker. Att läka av non-läkarundersökningen delen av människorna är ett inre bearbetar till och med vilket en person blir hel ytterligare en gång.
Till och med filmmaking I-förmiddag som söker min egna väg att laga min brutna andar, något av driva av kreativitet. Jag vägrar för att gå till sjukhus. Jag vägrar till taketablets. Jag önskar till försök och ser denna medicin för mitt förkroppsliga.
Jag önskar att kreativitet ska vara min egna medicin. Jag önskar att ta som riskerar. Jag har ett intryck att för resten jag använde mitt filmar instinkt har hjälpt att upprätta men jag skulle förälskelse att gå vidare att låsa min inskränkt expertis upp och på så sätt, expertisen som fås endast i en världsrenownuniversitetar kan avsluta min tortyr av tysta sufferings. Detta är inte något som folket kan se och handlag, därför att det är inre. Kreativitet är delen allra av oss, men idérika uttryck ought att fostras och uppmuntras.
Dessutom min fader berättade mördare mig att ”din fader var min vän.”, Vad? För jag smälter denna, går den annan mördare i filma på att utmana mig, ”som en filma inte är egentligen det som är viktig.”, Jag hade önskade endast att ha en det normalakonversation som en civiliserad medborgare. Han berättade mig att detta, efter jag frågade honom ”, du har någonsin filmats i ditt liv?”,
Nu I-förmiddag som angå mycket mer av detta yrke I som upptäcks precis. Är vad värdera av danande filmar? Jag skulle något liknande för att utmana filmskaparear av denna värld för att hjälpa mig att reagera till honom. Denna är resan som jag önskar att företa sig. Jag har ett allvarligt att ifrågasätta för att reagera. Däcka är vår, och klumpa ihop sig är i vår domstol, oss filmskaparearna av världen.
En kollega i yrket som jag beundrar, Stephen Spielberg, styrka har, när said ”det finns en räddningsaktionbeskickning som är involverad i de bäst filmerna. En person sparas från hans egna ångra eller vad annat folk gör till honom. ”[James Clarke, Stephen Spielberg, Herpenden, fick- nödvändigt, 2004]
HI-JACKED EASTER 1994, ЛЕТАЯ К L.A, ИНСТИТУТУ EASTER 2008 УЧРЕДИТЕЛЬСТВА USC SHOAH
Automatically translated into Russian thanks to WorldLingo
Хорошая пятница, я сижу в моей комнате где-то в Springfield, Миссури… far from мое countryland. Я глубоки отражаю на вопросах идя дальше с моей пленкой 80 минут «за этим convent».
Назад в Руанде, кто-то, котор я не знаю наблюдало ее также. Она немедленно emailed я, «Гилберт, я думал вашим взглядам пленки очень мощным и мне думал ироничности что я наблюдал ее на хорошей пятнице.» Но она идет дальше, «я интересовал одной малой вещью где в начале персона говорит «после 13 лет, котор я хочу знать» и он говорит «Mbabarira», как, «я огорченн но я хочу знать…» и к мне, выровняйте факт что он использует слова «mbabarira» к genocidaires что-то мощным, потому что его язык очень вежливо. Я интересую если то можно включить в субтитры… «
вещь, то телезритель не знал что I, filmmaker, было одним confronting убийца моих родителей.
Этим изображением ниже будет единственное vivid, физическое и визуально представление, котор я имею с моими родителями живыми. Было их последний сфотографированный Easter 1994. Я был сказан, «ваши родители нахожусь на этом фотоем. Вы смотрите как ваша мать. «No one могут понять боль, котор они причинили меня когда for the first time, я увидел его и схватку для того чтобы угадать среди этих людей было моими родителями. «Я знаю их, я знаю их, no one знаю их более лучше чем я делаю. Я буду их первым рожденным сынком. «Такая же ноча, я должен серьезно смотреть на моего молодого брата Sauveur. Он сказал, «как может то быть? Вы не знаете. «Я не смог заплакать перед им. Как может мальчик 6 лет старый понять genocide? Как могу я научить ему без создавать боль и ненависть в ем?
Now that сегодня, я знаю моих родителей на фотоем но я знал их. Теперь, я знаю что I, однажды, я жило с моими родителями и я имел семью и я не пришел от неба или после того как я принесен из вала. Я настолько счастлив о яно снова, усмешка обтерта прочь унылой реальностью и haunting статистик умерших: на этом фотоем, которые выдержали genocide?
В 1994, Easter был hi-jacked в Руанде. Понедельник Easter, следуя за нападением, я бегу к мостовью в некоторых топях в вызванном месте «gishanga mu», в настоящее время промышленный парк. На 2 дня, я находился в их, в водах, никогда испуганных электрических портов. Убийца моего отца отвечая к вопросу публикой на его взгляде как сказанное Кристиан «священникам не дала нам хорошие образование и пример для того чтобы последовать за. Мы не должны убить… «
Всеми членами моей «африканской» семьи были христианки. Я был окрещен и получил все таинства. Те пришли убить нас были христианками слишком. Они поохотились мы опускают с копьями, стрелками и гранатами. 10-ого апреля 1994, они stormed convent и приняли tutsi около 200 которое изыскивало убежище внутри там. После этого, убийцы hutu приняли их за convent в нашем доме и продолжили принять их жизни. Моя мать и эти 200 людей были ударены с ногт-клубами и прорублены с machetes прежде чем их бросили в яму.
После этого, убийцы сгорели вниз с моего дома с топливом и воспламенили яму. Если было любое, то чуть-чуть выдержало, они задушили. Моя сестра Rosine была 11 лет старый. Emmanuel себя, сказанная убийца, мне, «ваш ход сестры в яму, прежде чем мы коснулись ей.» Мой отец и 3 других люд выдержали такое же нападение путем прятать в кладоваи но они были открыны 7 дней более поздно и приняты от convent. Убийца Emmanuel идет на «нас, первое, обезглавила вашего отца. После этого, мы ударили его тело с ногт-клубами. ««Почему? », Я спросил ему. «Мы были христианками… мы не были уверенн если он не идет воскресить и мы хотели остановить то. «
Буду я тишиной христианка? Convent и церковь будут домом бога и уважаемой для того. Мы, как люди, будем домом бога. Не мы совсем создались таким же богом? Наш звонок как христианки должен должны быть reclaim Easter путем думать глубоки о своей смысли выкупления в нашем сегодняшнем мире. Думать о этом Easter одно больше времени снова, будет выкуплением достаточно? Победа больш? Как о поражении? Руки в воздухе, отступлении и surrender. Вы думаете победа больш? На что ценах должны мы отпраздновать победу? Не кровь Иесус достаточно? Из нашей исповеди? Я не буду единственное одним в quest правды, завершенностью и выкуплением. Кто-то в пленке сказало «для запроса прощения быть рассмотренным, правда должно быть сказано, наполовину сказано или задержано.»
Я буду розой, котор выросли на кровати скелета,
подняло меня внизу horrendous и gruesome,
Но растется над мной vibrant.
Re-birth.
Мои вклады как filmmaker водили меня к Соединенным Штатам к маю 2007 и праздновали президентом Билл Клинтон и президентом Kagame. Я еще раз come back это январь 2008 и этим определенным путешествием жизни намеревается быть rebirth и делать так много друзья как по возможности для того чтобы помочь мне к ressurrect умерло внутри меня. Новый друг сказал мне «вы реально должны писать поэзию снова… возможно книга стихотворений? «Мой друг, следуя за genocide, я потерял все. Все. Даже моя способность написать стихотворение. Rwandan высказывание пословицы идет «arayirata indwara gukira ujya», that is to say «если одно хочет быть излеченным от болезни, то, он или она должны talk about она к миру.»
Посещающ визуально архивохранилище ИНСТИТУТА УЧРЕДИТЕЛЬСТВА SHOAH на 24 и 25/03/2008, я очень более безмолвен к моей собственной боли. Как могу я сравнить мои внутренние ощупывания с survivors и заверителями Shoah?
Разрывы падали,
как дождь,
Как подача вод реки Nyabarongo
к ым голубым небесам California.
Завтрао не пообещано к вам и или I.
Так, я даю спасибо я имею как жизнь и доля я могу сегодня.
Мы, как люди, не можем сравнить боль. Мы даже боремся с словами для того чтобы описать случилось к нам поговорить красивейшее к миру. Мы, здесь, refer to одни которые были брошены в изнасилованные ямы, тяжело маркированные с machetes. Мы не имеем никакое имя но назвать это страдание. Мы просто можем выучить от каждого - другую печаль, despair и воодушевить новое упование.
В словах ИНСТИТУТА УЧРЕДИТЕЛЬСТВА SHOAH, «100 лет from now, historians которые проводят исследование исследование о нашем времени будут использовать видеоего как их главным образом ресурс. In the future, прошлый будет визуально. «В моих собственных словах, без свидетельствований genocide, не будет истории ее. Я изучил историю но я выучил от учредительства Shoah не что-то что люди изучают в классе университета. Вы должны принять это путешествие.
Для вашей собственной информации, я не иду совершить ошибка о ей но просто впустить (руки в воздухе) который сочинительству моего screenplay «МАТИ РУАНДЫ» тяжело маркируют моим посещением к УЧРЕДИТЕЛЬСТВУ USC SHOAH, я изменил трейлер и цель пленки первоначально доработана. Эта пленка небылицы идет исследовать устно историю и заинтересованн в случаях осуществили в Gitarama (месте), 1994 (апрель, котор нужно быть специфически) и определенная мать.
Но первым делом из, я должен пойти найти школу пленки, препятствую разуму и сердцу исправить. После этого схватка для того чтобы поднять фонды для писания screenplay и для того чтобы сделать пленку. Я получил возможность путешествовать ИЗУЧЕНИЯ USC CINEMATIC и был введен самым лучшим профессорам в кино.
Мои друзья, я увидел мои сновидения смелейшие и действительные: 10 пальцев ноги и 10 перстов. Посещающ школу и говорящ к профессорам, я начал увидеть бесконечные возможности моего сновидения детства которое было украдено и take away для меня. Одно должно изучить он или она верят. Не будет повязк для того чтобы зафиксировать сломленную душу, сердце and yet косточки исправляют и отрезок излечивает. Healing non-физической части людей будет внутренний процесс через персона будет всей еще раз.
Через filmmaking, я ищу мои собственные дороги исправить мои сломленные духи, что-то из силы creativity. Я отказываю пойти к стационарам. Я отказываю принять таблетки. Я хочу попытаться и увидеться эта микстура для моего тела.
Я хочу creativity быть моей собственной микстурой. Я хочу принять тот риск. Я имею впечатление что by the way я использовал мой инстинкт пленки помогал установить но я полюбил пойти более далее открыть мои лимитированные искусства и в этой дороге, искусства приобретенные только в университете renown мира могут закончить мою пытку молчком страданий. Это не что-то люди могут увидеть и коснуться, потому что они внутрь. Creativity будет часть all of us, но творческие выражения ought быть воспитаны и ободрены.
Кроме того, убийца моего отца сказала мне «ваш отец был моим другом.» ? Прежде чем я усваиваю это, другая убийца в пленке идет дальше бросить вызов я «, котор пленка не реально то важное.» Я имел только хотел иметь нормальный переговор как цивилизованный гражданин. Он сказал мне это после того как я спросил ему «вы всегда будете сняты в вашей жизни?»
Теперь, я очень больше отношусь этой профессией, котор я как раз открыл. Будет значением делать пленки? Я хотел был бы бросить вызов filmmakers этого мира для того чтобы помочь мне ответить к ему. Это будет путешествие, котор я хочу предпринять. Я имею серьезный вопрос, котор нужно ответить. Пол ours и шарик находится в нашем суде, мы filmmakers мира.
Коллега в профессии, котор я восшхищаю, Стефан Спилберг, мог иметь как только сказанн «будет полет спасения, котор включили в самые лучшие киноих. Персона сохранена от его собственный расстегивать или людях делают к ему. «[Джеймс Clarke, Стефан Спилберг, Herpenden, карман необходимый, 2004]
GEKAAPTE PASEN 1994, DIE AAN L.A, HET INSTITUUT PASEN 2008 VLIEGT VAN DE STICHTING USC SHOAH
Automatically translated into Dutch thanks to WorldLingo
Goede Vrijdag, zit ik in mijn ruimte ergens in Springfield, Missouri… verre van mijn countryland. Ik overdenk diep kwesties die met mijn min film 80 „achter dit convent“ gaan.
Terug in Rwanda, iemand weet ik niet op het eveneens lette. Zij verstuurde me met de elektronische post onmiddellijk, „Gilbert, dacht ik uw film zeer krachtig kijkt en ik aan de ironie dacht dat ik op het op Goede Vrijdag.“ lette Maar zij gaat, „ik was één klein ding benieuwd waar in het begin de persoon zegt „na 13 jaar heb willen die ik het weten“ en hij „Mbabarira“ zegt, als, „ik ben droevig maar ik wil het weten…“ en aan me, zelfs is het feit dat hij de woorden „mbabarira“ aan genocidaires gebruikt krachtig iets, omdat zijn taal zeer beleefd is. Ik ben benieuwd of kan dat in de ondertitels… het „
Ding worden omvat geen dat de kijker wist is dat I, de filmmaker, die de moordenaar van mijn ouders confronteert was.
Dit beeld is hieronder de enige levendige, fysieke en visuele vertegenwoordiging die ik met mijn levende ouders heb gehad. Het was hun laatste beeld dat door Pasen 1994 wordt genomen. Ik werd verteld, „uw ouders zijn op deze foto. U kijkt als uw moeder. „Niemand kan de pijn begrijpen het me veroorzaakte toen voor het eerst, ik het zag en worstel om te veronderstellen wie onder deze mensen mijn ouders waren. „Ik ken hen, ken ik hen, kent niemand hen beter dan ik. Ik ben hun eerste geboren zoon. De „zelfde nacht, moest ik mijn jonge broer Sauveur ernstig onder ogen zien. Hij zei, „hoe dat kan zijn? U weet niet het. „Ik kon niet voor hem schreeuwen. Hoe kan een zes jaar oude jongen een volkerenmoord begrijpen? Hoe kan ik hem zonder pijn en haat in hem te creëren onderwijzen?
Nu vandaag, ik mijn ouders op de foto maar toch ken kende ik hen. Nu, ken ik die I, eens, ik heb geleefd met mijn ouders en ik had een familie en ik kwam niet uit de hemel of geboren uit een boom. Ik ben zo gelukkig over dat maar opnieuw, wordt de glimlach afgeveegd weg door de droevige werkelijkheid en het achtervolgen van statistieken van de doden: voor deze foto, hoeveel wie de volkerenmoord overleefden?
In 1994, werd de Pasen gekaapt in Rwanda. Maandag Pasen, na een aanval, loop ik aan huid in sommige moerassen in een plaats genoemd „mu gishanga“, het huidige industriële park. twee dagen, was ik in hun, in de wateren, nooit bang van de elektrische havens. De moordenaar die van mijn vader aan een vraag door een publiek op zijn mening antwoordt aangezien een Christen de „priesters zei gaf ons geen goed te volgen onderwijs en voorbeeld. Wij zouden niet moeten gedood hebben… „
Alle leden van mijn „Afrikaanse“ familie waren christenen. Ik werd gedoopt en ontving alle sacramenten. Zij die ons kwamen doden waren ook christenen. Zij joegen ons neer met spears, pijlen en granaten. Op 10 April, 1994, stormden zij convent en namen Tutsi ongeveer 200 die toevluchtsoord in daar zocht. Dan, namen de Hutu moordenaars hen achter convent in ons huis en gingen te werk om hun leven te nemen. Mijn moeder en deze 200 mensen werden geraakt met spijker-clubs en werden binnendrongen in een beveiligd computersysteem met machetes alvorens zij in een kuil werden geworpen.
Dan, de die onderaan mijn huis met brandstof worden gebrand en ontstoken moordenaars de kuil. Als er iedereen waren wie nauwelijks overleefde, verstikten zij. Mijn zuster Rosine was 11 jaar oud. Emmanuel, de moordenaar, vertelde me, „uw zuster werpt zich in de kuil, alvorens wij haar.“ raakten Mijn vader en drie andere mensen overleefden de zelfde aanval door in de opslagruimte te verbergen maar zij werden ontdekt zeven dagen later en werden genomen uit convent. De moordenaar Emmanuel gaat op „wij, eerst, onthoofdde uw vader. Dan, raken wij zijn lichaam met spijker-clubs. „„Waarom? “, vroeg ik hem. „Wij waren Christenen… wij waren niet zeker als hij niet gaat doen herleven en wij wilden dat tegenhouden. „
Ben I nog een christen? Convent en een kerk zijn een Huis van God en geëerbiedigde voor dat. Wij, als mensen, zijn het Huis van God. Niet zijn wij gecre�ërd allen door de zelfde God? Onze vraag als Christenen zou moeten zijn Pasen terug te winnen door diep over zijn betekenis van afkoop in onze wereld van vandaag te denken. Denkend over deze Pasen één meer tijd opnieuw, genoeg afkoop is? Is de overwinning groot? Hoe een ongeveer nederlaag? Dient de lucht, de terugtocht en de overgave in. Denkt u de overwinning groot is? Aan welke kosten zouden wij de overwinning moeten vieren? Niet is het bloed van genoeg Jesus? Wat van onze bekentenis? Ik ben niet enige in zoektocht van waarheid, perfectie en afkoop. Iemand in de film bovengenoemd „voor een verzoek van vergiffenis om worden overwogen, de waarheid moet worden verteld of, niet half worden ingehouden verteld.“
Ik ben roze gekweekt op een bed van skelet,
wat me eronder horrendous en gruwelijk is ophief,
Maar wat boven me wordt gekweekt is trillend.
Een wedergeboorte.
Mijn bijdragen als filmmaker hebben me tot de Verenigde Staten tegen Mei 2007 geleid en door President Bill Clinton en President Kagame gevierd. Ik kom nogmaals terug dit Januari 2008 en de reis van dit bepaalde leven moet een wedergeboorte zijn en zoveel mogelijk vrienden maken om me aan ressurrect te helpen wat binnen me stierf. Een nieuwe vriend vertelde me „u werkelijk opnieuw zou moeten poëzie schrijven… misschien een boek van gedichten? „Mijn vriend, na de volkerenmoord, verloor ik alles. Alles. Mijn zelfs capaciteit om een gedicht te schrijven. Het Rwandese gezegde zeggen gaat „indwaraarayirata van ujyagukira“, d.w.z. „als één van een ziekte wil worden geheeld, moet hij of zij over het aan de wereld spreken.“
Bezoekend het visuele archief van het INSTITUUT van de STICHTING SHOAH op 24 en 25/03/2008, ben ik speechless aan mijn eigen pijn. Hoe kan ik mijn binnengevoel met de overlevenden en getuigen van Shoah vergelijken?
De scheuren vielen,
als een regen,
Als de stroom van de wateren van rivier Nyabarongo
aan de belaste blauwe hemelen van Californië.
Morgen wordt niet beloofd aan u en of I.
Zo, geef ik dank aan wat ik als leven en aandeel heb wat ik vandaag kan.
Wij, als mensen, kunnen de pijn vergelijken niet. Wij worstelen zelfs met woorden om te beschrijven wat aan ons gebeurde om mooi aan de wereld te spreken. Wij, hier, verwijzen naar degenen die in verkrachte kuilen zijn geworpen, zwaar duidelijk met machetes. Wij hebben geen naam om dit het lijden nog te noemen. Wij kunnen eenvoudig van elkaars zorg leren wanhopen en nieuwe hoop inspireren.
In de woorden van het INSTITUUT van de STICHTING SHOAH, „honderd jaar van nu, zullen de historici die onderzoek over onze tijd doen video als hun hoofdmiddel gebruiken. In de toekomst, zal het verleden visueel zijn. „In mijn eigen woorden, zonder verklaringen van volkerenmoord, is er geen geschiedenis van het. Ik bestudeerde geschiedenis maar wat ik van de Stichting leerde Shoah is niet iets die de mensen in universitair klaslokaal bestuderen. U moet deze reis nemen.
Voor uw eigen informatie, ga ik geen fout over het maken maar laat eenvoudig toe (dient de lucht in) dat het schrijven van mijn screenplay „MOEDER RWANDA“ zwaar door mijn bezoek aan de STICHTING USC SHOAH wordt gemerkt, ik de aanhangwagen veranderde en de film originele bedoeling wordt gewijzigd. Deze fictiefilm gaat de mondelinge geschiedenis onderzoeken en is geinteresseerd in de gebeurtenissen die in Gitarama (plaats) plaatsvonden, 1994 (april om specifiek te zijn) en een bepaalde moeder.
Maar eerst en vooral, moet ik gaan een filmschool vinden, de mening en het hart laten herstellen. Dan worstel om fondsen op te heffen om screenplay te schrijven en de film te maken. Ik kreeg de mogelijkheid om de STUDIES USC CINEMATIC te reizen en word geïntroduceerda de beste professoren in bioskoop.
Mijn vrienden, zag ik mijn gewaagd en geldige dromen: tien tenen en tien vingers. Bezoekend de school en sprekend aan de professoren, begon ik de eindeloze mogelijkheden van mijn kinderjarendroom te zien die werd gestolen en voor me werd weggehaald. Men moet bestuderen wat hij of zij gelooft. Er zijn geen verbanden om een gebroken ziel, hart te bevestigen en toch herstellen de beenderen en snijden heelt. Het helen van het niet-fysische deel van de mensen is een binnenproces waardoor een persoon nogmaals geheel wordt.
Door het filmmaking, zoek ik mijn eigen manieren om mijn gebroken geesten, iets van de macht van creativiteit te herstellen. Ik weiger om naar de ziekenhuizen te gaan. Ik weiger om tabletten te nemen. Ik wil deze geneeskunde voor mijn lichaam proberen en zien.
Ik wil creativiteit mijn eigen geneeskunde zijn. Ik wil dat risico nemen. Ik heb een indruk die door de manier ik mijn filminstinct gebruikte heeft helpen om te vestigen maar ik zou houden van verder te gaan mijn beperkte vaardigheden openen en op deze wijze, kunnen de vaardigheden die slechts op een wereldrenown universiteit worden verworven mijn marteling beëindigen van het stille lijden. Dit is niet iets die de mensen kunnen zien en raken, omdat het binnen is. De creativiteit maakt deel uit wij allemaal, maar de creatieve uitdrukkingen zouden moeten worden gevoed en worden aangemoedigd.
Bovendien, de moordenaar van mijn vader vertelde me „uw vader mijn vriend.“ was Wat? Alvorens ik dit verteer, gaat de andere moordenaar in de film me een „uitdagen film is niet werkelijk belangrijk dat.“ Ik had slechts een normaal gesprek als beschaafde burger willen hebben. Hij vertelde me dit nadat ik hem „heb u ooit filmed in uw leven?“ vroeg
Nu, word ik veel meer betroffen door dit beroep dat ik enkel heb ontdekt. Wat is de waarde van het maken van films? Ik zou filmmakers van deze wereld willen uitdagen om me te helpen om aan hem te antwoorden. Dit is de reis die ik heb willen om ondernemen. Ik heb een ernstige vraag om te antwoorden. De vloer is van ons en de bal is in ons hof, wij de filmmakers van de wereld.
Een collega in het beroep dat ik, Stephen Spielberg heb bewonderd, zou eens kunnen gezegd hebben „er een reddingsopdracht betrokken bij beste movies is. Een persoon wordt gered van zijn het eigen ongedaan maken of wat andere mensen aan hem doen. „[James Clarke, Stephen Spielberg, Herpenden, essentiële Zak, 2004]
[هي-جكد] [إستر] 1994, يطير إلى [ل.ا], [أوسك] [شوأه] أساس معهد [إستر] 2008
Automatically translated into Arabic thanks to WorldLingo
[غود فريدي], يجلس أنا في غرفتي في مكان ما في سبرينغفيلد, [ميسّووري]… [فر فروم] [كونترلند] ي. أنا بعمق أعكس على إصدارات يذهب فوق مع ي 80 [مين] فيلم "خلف هذا [كنفنت]".
إلى الخلف في روندا, راقب أحد ما أنا لا أعرف كان هو أيضا. هو فورا [إميلد] ي, "جلبيرت, فكّر أنا ك فيلم نظرات جدّا قوّيّة وأنا فكّرت من السخرية أنّ أنا كان راقبت هو على [غود فريدي]." غير أنّ يذهب هو فوق, "أنا تساءلت واحدة شيء صغيرة حيث في البداية الشخص يكون يقول "بعد 13 سنون أنا أريد أن يعرف" وهو يقول "[مببريرا]", مثل, "أنا أكون آسفة غير أنّ أنا أريد أن يعرف…" ساويت وإلى ي, الحقيقة أنّ هو يستعمل الكلمات "[مببريرا]" إلى ال [جنوسديرس] شيء قوّيّة, لأنّ لغته يكون جدّا مهذّبة. أنا أتساءل إن أنّ يستطيع كنت تضمّنت في العنوان فرعيّ… "
الشيء أنّ المشاهدة لم يعرف يكون أنّ كان أنا, المنتج أفلام, الواحدة يجابه واجداتي قاتلة.
هذا صورة [بلوو] الوحيدة مشرقة, طبيعيّة وتمثيل بصريّة أنا أتلقّى مع والدي حيّة. هو كان صورتهم متأخّرة يؤخذ ب [إستر] 1994. أنا كان قلت, "واجداتك على هذا صورة. أنت تنظر مثل أمك. "لا أحد يستطيع فهمت الألم هو سبّبني عندما [فور ث فيرست تيم], رأى أنا هو وكفاح أن يخمّن الذي بين هذا الناس كان واجداتي. "يعرفهم أنا, أنا يعرفهم, لا أحد يعرفهم على نحو أفضل من أنا أتمّ. أنا هم أولى [بورن] إبنة. "ال نفسه ليلة, أنا اضطرّ بجدّيّة واجهت أخي شابّة [سوفيور]. هو قال, "كيف يستطيع أنّ كنت? أنت لا تعرف. "أنا استطاع لم يصرخ أمام ه. كيف يستطيع ستّة [ير ولد] فتى فهمت إبادة جماعيّة? كيف يستطيع أنا علمته دون يخلق ألم وكراهية في ه?
[نوو ثت] اليوم, يعرف أنا والدي على الصورة مع ذلك أنا عرفتهم. الآن, يعرف أنا أنّ أنا, [أنس وبون ا تيم], أنا قد عاش مع واجداتي وأنا تلقّيت أسرة وأنا لم آت من السماء أو [بورن] من شجرة. أنا هكذا سعيدة حول أنّ غير أنّ ثانية, مسحت الابتسام بعيدا بالحزينة حقيقة ويلازم إحصائيّة من الموتى: على هذا صورة, [هوو مني] الذي بقي الإبادة جماعيّة?
في 1994, [هي-جكد] [إستر] كان في روندا. يوم الإثنين [إستر], يتبع هجوم, يركض أنا إلى جلد في بعض مستنقعات في مكان يدعى "[مو] [جشنغ]", المتنزهة حاليّة صناعيّة. لاثنان أيام, كان أنا في هم, في المياه, أبدا يخشى من المين كهربائيّة. أبي لم يعطنا قاتلة يستجيب إلى سؤال بجمهور على منظرته كمسيحية يقال "الكاهن جيّدة تربية ومثال أن يتبع. نحن سوفت لا يتلقّى قتلت… "
كان كلّ أعضاء من ي "[أفريكن]" أسرة مسيحيات. أنا كان عمّرت واستلم [ألّ ث] سرّ مقدّس. كان أنّ الذي أتى أن يقتلنا مسيحيات أيضا. هم اصطادوانا ينزل مع أرماح, سهام وقنبلة يدويّة. في أبريل - نيسان [10ث], 1994, عصف هم [كنفنت] وأخذ حوالي 200 [تثتس] الذي بحث مأوى داخل هناك. بعد ذلك, ال [هوتث] أخذهم قاتلات خلف ال [كنفنت] في منزلنا وباشر أن يأخذ حيواتهم. ضربت أمي وهذا 200 الناس كان مع [نيل-كلوبس] وخرطت مع مناجل قبل أن هم كان رميت داخل حفرة.
بعد ذلك, [بورنت] القاتلات نزولا إلى منزلي مع وقود وألهب الحفرة. إن هناك كان أيّ شخص الذي بشقّ النّفس بقي, خنق هم. كان أختي [روسن] 11 [ير ولد]. [إمّنول], القاتلة, يقالني, "ك أخت رمي بنفسي داخل الحفرة, قبل أن لمسه نحن." بقي أبي وثلاثة أخرى رجال ال نفسه هجوم ب يخفي في المخزن غرفة غير أنّ هم كان اكتشفت سبعة أيام فيما بعد وأخذت من ال [كنفنت]. يذهب القاتلة [إمّنول] على "نحن, أولى, ضرب أبك. بعد ذلك, ضرب نحن جسمه مع [نيل-كلوبس]. ""لماذا? ", سأله أنا. "كان نحن مسيحيات… نحن [ب] لم يوقن إن هو يكون لا يذهب أن يبعث ونحن أردنا أن يتوقّف أنّ. "
أكون أنا سكون مسيحية? [كنفنت] وكنيسة منزل من إلهة ويحترم ل أنّ. نحن, كأناس, المنزل الإلهة. لسنا نحن جميعا خلق ب ال نفسه إلهة? دعوتنا كمسيحيات سوفت كنت أن يطالب [إستر] ب يفكّر بعمق حول معنىه الإسترداد في عالمنا هذه الأيّام. يفكّر حول هذا [إستر] واحدة كثير وقت ثانية, إسترداد بكفاية? يكون نصرة عظيمة? كيف حول هزيمة? أيادي في الهواء, إنسحاب واستسلام. أنت تفكّر نصرة يكون عظيمة? في ما تكاليف سوفت نحن ب احتفل النصرة? ليس الدم من يسوع بكفاية? ماذا من إعترافنا? أنا لست الوحيد واحدة في بحث الحقيقة, كمي وإسترداد. قال أحد ما في الفيلم "لطلب المغفرة أن يكون اعتبرت, الحقيقة يضطرّ كنت قلت, لا نصفا قلت أو احتجزت."
أنا وردة ينمى على سرير الهيكل,
ماذا رفعني تحت يكون مريعة وشنيعة,
غير أنّ ماذا يكون نمات فوق ي مهتزّة.
[ر-بيرث].
قد قادني مساهمتي كمنتج أفلام إلى الولايات المتّحدة الأمريكيّة بشهر ماي 2007 وب احتفل برئيس [بيلّ كلينتون] ورئيس [كغم]. أنا [أنس غين] أعاود هذا يناير - كانون الثّاني 2008 وهذا حياة خاصّة عنيت سفر أن يكون ولادة من جديد وجعلت [أس مني] صديقات بما أنّ يمكن أن يساعدني إلى [رسّورّكت] ماذا مات في ي. قالني صديقة جديدة "أنت حقّا سوفت كتبت شعر ثانية… ربّما كتاب القصائد? "صديقتي, يتبع الإبادة جماعيّة, خسر أنا كلّ شيء. كلّ شيء. حتّى قدرتي أن يكتب قصيدة. روانديّ مثل يذهب مثل "[أوجا] [غكيرا] [إيندورا] [أريرتا]", [ثت يس تو سي] "إن واحدة يريد أن يكون شفيت من مرض, هو أو هو ينبغي [تلك بووت] هو إلى العالم."
يزور المحفوظ بصريّة من ال [شوأه] أساس معهد على 24 و25/03/2008, أنا كثير أكثر صامتة إلى ي خاصّة ألم. كيف يستطيع أنا قارنت أحاسيسي داخليّة مع الباقيات والشواهد من [شوأه]?
سقط دموع كان,
مثل مطر,
مثل الدفق من المياه من [نبرونغو] نهر
إلى ال يحمّل [بلو سكي] كاليفورنيا.
لا يوعد الغد إلى أنت وأو [إي.].
هكذا, يعطي أنا شكور إلى ماذا أنا أتلقّى كحياة وسهم ماذا أنا أستطيع اليوم.
نحن, كأناس, يستطيع لا يقارن الألم. نحن حتّى نكافح مع كلمات أن يصف ماذا حدث إلى نا أن يتكلّم جميلة إلى العالم. يحيل نحن, هنا, الأحد الذي يتلقّى يكون رميت داخل حفرات, يغتصب, بثقل يعلم مع مناجل. نحن نتلقّى ما من اسم مع ذلك أن يعيّن هذا ألم. نحن ببساطة يستطيع علمت من حزن [إش-وثر'س], قنوط وألهمت أمل جديدة.
في الكلمات من ال [شوأه] أساس معهد, "[أن هوندرد] سنون [فروم نوو], سيستعمل مؤرخات الذي يتمّ بحث حول وقتنا فيديو كموردتهم رئيسيّة. [إين ث فوتثر], سيكون الماض بصريّة. "في ي خاصّة كلمات, دون شهادات الإبادة جماعيّة, هناك ما من تاريخ من هو. أنا درست تاريخ غير أنّ ماذا أنا علمت من [شوأه] أساس ليس شيء أنّ الناس يدرسون في جامعة قاعة الدرس. أنت يضطرّ أخذت هذا سفر.
ل ك خاصّة معلومة, لا يذهب أنا أن يجعل غلطة حول هو غير أنّ ببساطة اعترفت (أيادي في الهواء) أنّ الكتابة من سيناريوي "أم روندا" يكون بثقل علمت بزيارتي إلى ال [أوسك] [شوأه] أساس, أنا غيّر المقطورة والفيلم قصد أصليّة عدّلت. هذا تخيل يذهب فيلم أن يستكشف التاريخ شفويّة وراغبة في الحادثات أنّ تمّ في [جترما] (مكان), 1994 (أبريل - نيسان أن يكون خاصّة) وأم خاصّة.
غير أنّ أولى من كلّ, أنا يضطرّ ذهبت أن يجد فيلم مدرسة, يترك العقل وقلب صلحت. بعد ذلك كفاح أن يرفع أموال أن يكتب السيناريو وجعلت الفيلم. أنا حصلت الإمكانية من يجول ال [أوسك] دراسات سينمائيّة ويقدّم الأستاذات جيّدة في سينما.
صديقاتي, رأى أنا حلمي يبسل وشرعيّة: عشرة إصبع قدم وعشرة أصابع. يزور المدرسة ويتحدّث إلى الأستاذات, بدأ أنا يرى الإمكانيات لانهائيّة من ي طفولة حلم أنّ كان سرقت وانتشلت ل ي. واحدة يضطرّ درست ماذا هو أو هو يصدق. هناك ما من ضمادات أن يثبت روح مكسورة, يصلح قلب [أند ت] [بونس] وقطعة يشفي. يشفي من الجزء [نون-فسكل] من الأناس عملية داخليّة من خلال أيّ شخص يصبح كاملة [أنس غين].
من خلال [فيلمّكينغ], يبحث أنا ي خاصّة طرق أن يصلب [سبيريتس] ي مكسورة, شيء من القوة الإبداع. أنا أرفض أن يذهب إلى مستشفيات. أنا أرفض أن يأخذ قروص. أنا أريد أن يحاول ورأيت هذا الطبّ لجسمي.
أنا أريد إبداع أن يكون ي خاصّة الطبّ. أنا أريد أن يأخذ أنّ خطر. أنا أتلقّى إنطباع أنّ بالمناسبة استعمل أنا ي فيلم غريزة يساعد أن يؤسّس غير أنّ أنا أحبّت أن يذهب أبعد أن يفتح مهاراتي محدودة وفي هذا طريق, المهارات يكتسب فقط في عالم شهرة جامعة يستطيع أنهيت تعذيبي من يسكت آلام. هذا ليس شيء أنّ الناس يستطيع رأيت ولمست, لأنّ هو يكون داخلا. إبداع جزء من كلّ من نا, غير أنّ تعبيرات مبتكرة ينبغي أن يكون رعى وشجّعت.
فضلا عن ذلك, أبي قالني قاتلة "أبك كان صديقتي." ماذا? قبل أن يهضم أنا هذا, الأخرى قاتلة في الفيلم يذهب فوق أن يتحدّىني "فيلم ليس حقّا أنّ مهمّة." أنا تلقّيت فقط أراد أن يتلقّى محادثة عاديّة ك يمدّن مواطنة. هو قالني هذا عقب سأله أنا "يتلقّى أنت في أيّ وقت يكون صوّرت في حياتك?"
الآن, تعلّقت أنا كثير أكثر ب هذا مهنة أنا فقط اكتشفت. ماذا يكون القيمة من يجعل أفلام? أنا أحبّت أن يتحدّى منتج أفلام من هذا عالم أن يساعدني أن يستجيب إلى ه. هذا السفر أنا أريد أن ب قام. أنا أتلقّى سؤال جدّيّة أن يستجيب. الأرضية خاصّتي والكرة في محكمتنا, نحن المنتج أفلام من العالم.
زميلة في المهنة أنا أعجب, إسطفان [سبيلبرغ], أمكن يتلقّى ما إن يقول "هناك يكون إنقاذ مهمة يتضمّن في الأفلام جيّدة. شخص أنقذت من ه خاصّة يفكّ أو ماذا أخرى الناس يكون يتمّون إلى ه. "[استولى على جيمس [كلرك], إسطفان [سبيلبرغ], [هربندن], أساسيّة, 2004]
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New documentary film Rwanda's genocide.
available in: (original) | | | | | | | | |
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Rwandan filmmaker, Gilbert Ndahayo, uses film to keep the memory of the Genocide alive and heal his own heart...
Here is a reporting by the UN radio after the screening of excerpt of this upcoming documentary at the UN in May 2007:
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
You can view the 5 min. trailer of the film on youtube:
http://www.youtube.com/watch?v=SBfE5UH5e88
Parler à l'ONU avec l'extrait d'un documentaire sur le génocide du Rwanda.
Automatically translated into French thanks to WorldLingo
Réalisateur de film rwandais, Gilbert Ndahayo, film d'utilisations pour maintenir la mémoire du génocide vivante et pour guérir son propre coeur…
Voici un reportage par la radio de l'ONU :
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
Discurso en la O.N.U con el extracto de un documentary en el genocidio de Rwanda.
Automatically translated into Spanish thanks to WorldLingo
Cineasta Rwandan, Gilbert Ndahayo, película de las aplicaciones para mantener la memoria del genocidio viva y para curar su propio corazón…
Aquí está una divulgación al lado de la radio de la O.N.U:
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
Parlando al NU con il brano di un documentary sul genocide della Ruanda.
Automatically translated into Italian thanks to WorldLingo
Filmmaker Rwandan, Gilbert Ndahayo, pellicola di usi per mantenere la memoria del Genocide viva e per guarire il suo proprio cuore…
Qui è una segnalazione via radio di NU:
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
Sprechen an der UNO mit dem Excerpt eines Dokumentarfilms auf Genozid Ruandas.
Automatically translated into German thanks to WorldLingo
Rwandan Filmemacher, Gilbert Ndahayo, Gebrauchfilm, zum des Gedächtnisses des Genozids lebendig zu halten und seines eigenen Herzens zu heilen…
Ist hier ein Bericht durch den UNO Radio:
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
Discurso nos UN com o excerpt de um documentary no genocide de Rwanda.
Automatically translated into Portuguese thanks to WorldLingo
Filmmaker Rwandan, Gilbert Ndahayo, película dos usos para manter a memória do Genocide viva e para heal seu próprio coração…
Está aqui um relatório pelo rádio dos UN:
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
Tala på UNNA med utdraget av en dokumentär på Rwanda folkmord.
Automatically translated into Swedish thanks to WorldLingo
Den rwandiska filmskaparen, Gilbert Ndahayo, bruk filmar till uppehället minnet av det vid liv folkmordet och läker hans egna hjärta…,
Här är anmäla vid UNNA radiosände:
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
Говорить на ООН с выдержкой репортажноого-документальн на genocide Руанды.
Automatically translated into Russian thanks to WorldLingo
Rwandan filmmaker, Гилберт Ndahayo, пленка польз для того чтобы держать память Genocide живо и излечивать его собственное сердце…
Здесь сообщать радиоим ООН:
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
Het spreken bij de V.N. met het uittreksel van een documentaire op de volkerenmoord van Rwanda.
Automatically translated into Dutch thanks to WorldLingo
Rwandese filmmaker, Gilbert Ndahayo, gebruiksfilm om het geheugen van de levende Volkerenmoord te houden en zijn eigen hart te helen…
Hier is een rapportering door de radio van de V.N.:
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
يتكلّم في المنظّمة الأمم المتّحدة مع المقتطف من برنامج وثائقيّ على روندا إبادة جماعيّة.
Automatically translated into Arabic thanks to WorldLingo
منتج أفلام روانديّ, جلبيرت [ندهو], إستعمالات فيلم أن يحافظ الذاكرة من [جنوسد] حيّة وشفيت ه خاصّة قلب…
هنا يفيد بالمنظّمة الأمم المتّحدة راديو:
http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
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| January 15, 2008 | 6:17 PM |
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TIME TO TELL
Related to country: Rwanda
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VIDEO TESTIMONY PROJECT FOR RWANDAN GENOCIDE
Written by JM Itangashaka
“If you knew me, and if you really knew yourself, then you would not have killed me” (Felicien Ntagengwa, survivor of Rwanda’s genocide)
In the footstep of storytelling of Felicien Ntagengwa, his mother's uncle, the survivor Gilbert Ndahayo has embarked on collecting testimonies of survivors of Rwanda's genocide. The collection of nearly 50 video testimonies was compiled into his debut 45 min. heart rendering documentary titled "Behind this convent".
Silence has never helped anyone especially in the eras of ethnic cleansing and genocide. The story of Rwanda is unique. Acts of genocide were committed by Rwandans on Rwandans and within 100 days, one millions lives have perished.
Every year in April, survivors are telling their stories. The post-genocide government dedicated the mouth of April to bury in dignity the dead bones that are being discovered where they were thrown. This situation continues today.
Gilbert Ndahayo's family was murdered in his home courtyard after being taken from the convent where they sought refuge. They were killed together with other two hundred tutsi. "When the killers came, I led the line. It was over", testifies Albert Murekezi who was saved by a soldier he used to drive. His family, ten people in total, was killed in there. "I told my sisters to hurry to quicken our death; nobody was killed by a bulled. They were burnt alive after being hit with hoes", he added. The filmmaker Gilbert lived with the bones and remains of his parents for twelve years until last year when they were buried in the dignity at Gisozi Memorial site.
Mr. Gilbert Ndahayo's first confession in the making of his documentary came in March 2007. "Rwanda has suffered a lot. I have suffered a lot. I want to express it," says Gilbert Ndahayo to the BBC reporter Abby D'Arcy. Read more at http://news.bbc.co.uk/1/hi/world/africa/6530227.stm
Indeed, the first collection of testimonies undertaken by Educational Arts and Media did not receive any single financial funding. The idea sounds of a great importance. "The making of this film was a really hard thing to do," he said. "But I used it to try to heal myself."
Earlier, Mr. Ndahayo has written a project "A tale of Genocide film" that was hosted by Rwanda Cinema Centre during its 3rd Annual film festival. The project brought together scholars, filmmakers, activists and survivor’s organizations to share their reflections on how to embark on video testimonies collection and preservation. The project brought scholars of USC Shoah Foundation Douglas Greenberg, Beth Meyerowitz and Donald Miller to share their experiences with Rwanda. Douglas who led the workshop said that Shoah Foundation is eager to work with survivors. "It was a blessing and also rewarding experience since we learnt from the advanced", says Ndahayo.
Survivors honor today their beloved ones and burry them in dignity. Educational Arts and Media Project was established by the filmmaker Gilbert to collect and preserve those stories, those memories and "disseminate voices that will never be silent." So far, the collection of 50 video testimonies collected within the last two years were compiled into an extraordinary journey into the Rwanda's genocide.
Opportunities for partnership
Mr Ndahayo established SHEMA FILMS and NDAHAYO FOUNDATION shortly after he finished editing the documentary film "Behind this convent". NDAHAYO FOUNDATION is a circle of youth, activists, artists and educators working together to promote social, economic and environment human rights of youth in Rwanda. Our purpose is to create an info-art works-video tool to share, exchange and disseminate information and alternatives to pressing issues youth and children face around the world today.
NDAHAYO FOUNDATION has devoted entirely on collecting video testimonies from survivors of genocide and other witnesses including politicians and human rights activists. This collection is now stored on dv tapes. "We are not intending to confiscate these testimonies. These stories belong to Rwanda. They belong to humanity", says Mr Ndahayo after the screening of the documentary in a rundown DESA conference room on the 13th floor of the DC-2 building on May 22nd, 2007 during a UN Permenant Forum on Indigenous People. He described the difficulty of making his film, "Behind this convent," with little to no outside help.
Read more on http://www.innercitypress.com/unarts052107.html
To listen to the UN radio: http://webcast.un.org/radio/english/mp3/2007/07060100-2.mp3
This film was acclaimed by many in Kigali when it was screened during "A tale of genocide film" alongside with films such as A Sunday by the Pool in Kigali, Schindler's List. "In Rwanda, we consider him as our Spielberg" says Yves Kamuronsi, the head of Documentation Department at Gisozi Memorial Center. Gisozi Memorial Center provided the filmmaker little support to the making of the film. Yves says "A dv tape costs almost the price of a pizza. Gilbert had no resources to make his film, no camera, nothing. He had the idea. I personally authorized him to get some tapes from our centre. I knew he was going to make it and I wasn't wrong now." This film will be running in the memorial center. Gilbert confessed that he had no equipment and he "had this need of telling the tale." "In the near future, our fertile red soil will once again flourish. Dead bodies thrown on the roads, in latrine pits and other scars of genocide won't be visible. People would be coming to the memorial centers to learn the history of genocide".
Today, children and youth take part of activities of commemorations as well as honoring the victims of genocide, a sequence explored by the filmmaker. The filmmaker went on to reveal, "the tradition is now broken. I was not allowed to go to funerals but after the genocide, I spent twelve years living with the remains of my parents and the two hundred people killed in our home behind the convent. I was only 13 years old." "There is no way people could hide our recent history."
A fundamental part of Mr. Ndahayo's idea is the pledge not only to collect the testimonies but also to preserve the memories of Rwanda's genocide through time and to make it accessible to others. That means making sure that as the video technology evolves, testimonies collected and stored would be transferred to the latest format. Mr. Ndahayo has never been at a film school and said "it's nobody's fault if Rwanda has no film school. All my applications to film schools abroad were never been responded. I have stories to tell and I do what I have to do to tell the stories. I teach myself and learn from others like Spielberg. I also think others will learn from me."
Mr. Ndahayo has learnt the trade of film storytelling from Rwanda Cinema Centre where he worked as the chief editor until early 2008. In 2006, his screenplay for a feature film titled "Scars of Silver" has been selected by Maisha Film Lab, a foundation in East Africa by the Hollywood acclaimed filmmaker. It was "inspiring being taught by the big boys (and girls) like hollywood editor Kris Boden and Mira Nair. I applied my knowledge while editing the documentary. Some more taste to the film were added to fit the way stories are being told."
NDAHAYO FOUNDATION is currently making a call to individuals, NGOs to:
*update the knowledge of volunteers who are part of collecting and preserving the Rwanda's genocide;
*donate equipments and money for collection and preservation of video testimonies;
help build a center for storage, studio work and maintenance of tapes recorded.
Training can be offered in archive updating and systems used, transferring collection of digital tape to a state-of-the-art disk storage technology for easier retrievable.
Mr. Ndahayo donated his parents' houses as parcel for the centre. The backyard that was burnt in the genocide and the pits where they threw the victims will be built to accommodate the center since the place tells the story itself, it can help to keep it for more accessibility. Ndahayo estimates he will have to raise an average of about 500,000 US $ to build the centre for NDAHAYO FOUNDATION and about 50,000 US $ a year to run the costs of the personnel and technology to collect, preserve and disseminate the story of Rwanda's genocide.
Mr. Ndahayo says the archive is valuable for research in different fields including unknown areas. "I knew my old uncle was killed in the genocide but I did not know how. A woman stood up and testifies 'I remember old man Kahabayi was forced to drink cans of white paints until he suffocated. The killers were singing drink this, this is your milk.' I hold hard the camera. I couldn't cry", nubs the filmmaker who stopped speaking for a while. He goes on, "without testimonies of genocide, there is no history of it. Our history is also oral."
Opportunities for largest collection in the world
Survivors' organizations have started less or more initiatives in the collecting video testimonies but the survivor filmmaker’s initiative wants to go beyond that. For one, it will have to distribute the content without letting it into hands of people who might hack into the stories and misuse/distort them. It is probably too soon for enlarging access for survivors interviewed privacy if certain security measures are not yet in place.
Genocide constitutes a daily reality in Rwandan lives. "Everyday for a survivor of genocide is a challenge for him and his surroundings" says the filmmaker regretting for not having interviewed his uncle Felicien Ntagengwa who died recently. Mr Felicien Ntagengwa, my uncle, was a poet and outspoken speaker, the author of the words remembered at Kigali Memorial site “If you knew me, and if you really knew yourself, then you would not have killed me”. Mr Felicien survived the killings of tutsi that took place for more than 35 years including the deportation of tutsi in Bugesera, an area that was ravaged by tse-tse flies. This shows that a lot of wisdom is taken away from Rwanda’s society, the people who could testify will no longer be with us in the next ten years or so. If we have to do that, it is now. Otherwise, it will be once again to later.
The testimonies of survivors are powerful teaching aids for the world to overcome prejudices and invaluable sources on some genocide not well documented or studied. Genocide is not different from other form of historical event.
Within the last two years, NDAHAYO FOUNDATION collected 50 video testimonies. Our main plan was to produce a self-explanatory documentary on Rwanda story of genocide. The 45 min. documentary "Behind this convent" is a representative sample of testimonies compiled and packed on dvd format so that the loud message can reach to the world out there.
Studying memories
Testimonies of Rwanda’s genocide would be used in different ways. These materials that can produce a number of multimedia products and various universities, NGOs, human rights activists can develop curricula on tolerance, unity and reconciliation using testimonies from the survivors and other witnesses of the genocide. Mr. Ndahayo plan to enroll for his lifetime in this mission.
As a promising filmmaker and survivor of genocide, Mr. Ndahayo says he expects that fundraising would be much easier especially with a product that speaks for itself. Those who will see voices and faces of Rwanda’s genocide will take his initiative much more serious that it has been for others. “A lot of people come here, they shoot our stories and go. I live here and see how things evolve”, confesses the filmmaker during the New York’s 2007 Tribeca Film Festival that featured of his short film “Scars of my days”, a screening that was attended by President Paul Kagame and Bill Clinton. President Clinton earlier, before Gilbert speaks, confessed once again his personal failure to do what he could to stop the genocide in 1994. The filmmaker has found his way to Hollywood.
The filmmaker is now ready to develop partnership with various stakeholders and welcomes donors about gifts to endowment and those who maybe interested in giving money for building the center and its supports to its program.
The 26 years old filmmaker is considered as a pioneer in Rwanda’s film industry.
Gilbert’s shift into producing video testimonies is the only way he can contribute to alleviate the world’s injustices to a less or more extent but allowing the outside world to comprehend the incomprehensible that is the Rwanda’s genocide. The Rwanda’s genocide is a lesson and another warning. “I would have survived for nothing. For nothing. If I don’t tell my story, nobody else will. The same is applicable to all survivors of genocides in the entire world.”
Today, with rapid pace of globalization and digital media, it is much easier to resource people who want to chronicle the Rwanda’s genocide and other tragedies around the globe. “Researchers, activists, NGOs or just any individuals who would love to find connectivity from the current events in Sudan to the first genocide on the African continent that took place in Rwanda or reflect to the events in Auschwitz” says the survivor filmmaker who plans his next film as follows “a place where I was hiding”, without disclosing where.”It is the topic of my coming film tentatively entitled Victory over Vampires”,the filmmaker confesses.
The filmmaker also says the activities will be expanded chronologically, geographically and by topic as his larger mission is to document the experiences of Rwandan people in the last 21st century that people in subsequent centuries will understand what was like. “Survivors want to tell me their stories, this creates a huge burden for me.” Gilbert confessed. “I did not know what to do with their testimonies in the beginning. Their call nobody can shut it down.” There is also a room to help those who are still in the precipices of genocide, whose lives are no longer the same.
To view Ndahayo videos go to: http://www.youtube.com/watch?v=SBfE5UH5e88
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Tags:
spielberg, rwanda, genocide, reconciliation, remembering, killers, witnesses, victims, survivor, filmmaker, gilbertndahayo
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Living by memory: Help to remember
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I am told that today’s information society is making miracles happen but I am not so sure if I have the right to tell you this here. After reading this message, you’ll probably understand, I hope, how important you are for my community.
My name is Gilbert Ndahayo and I live in Kigali, the capital city of Rwanda. Though today I live in the city, I was born in a small rural village and when I was seven, my parents came to live in town to escape from ethnic oppression that was on the menu in various villages of Rwanda, we left then behind our uncles and aunts, and our beautiful land. The idea of my father was to go to a place where none could recognise us, he later went for higher education and become a lawyer, a decent and honourable job – at least more than cultivating the land – as he used to say. From the money he made from his job, he built to us a nice house and sent us to school, that is what people called it ´development’ but from the village, I learnt that my country have a long history full of authentic myths on how it came about and evolved, before it turned into what was labelled total mayhem in 1994.
What happened in 1994?
My parents and my young daughter were killed together with some of our neighbours who were hiding in the convent behind our compound. The killers brought them down to the road outside and from there; they were brought behind our house and killed. It is from the road that a selection took place and those who were children were allowed to return to the convent not because they were children but because they were mixed with the perpetrators’ children and during this mess, it would take much of their time in screening them with also a probably of making mistakes. Amongst the children who survived were my four younger siblings.
After the killers realised that I wasn’t among the people they killed, they searched for me in vain, they searched everywhere but I was nowhere to be found. They then angrily went to our house and burnt it with fuel. I, in the end of genocide in Rwanda, inherited four children without a shelter. Those who did this to us: some are in jail, others are still roaming around in the neighbourhood. Can I forget this? No, it would be an insult to the memory of my parents and all those who perished in genocide.
What is there today?
Today, there are two concrete topped mass graves where more than 100 people’s remains were reburied. They are exactly ten meters from my parents’ house.
Today, we are told that due to activities of development including building roads and other public infrastructures, we have to EXHUME AGAIN our parents, who were thrown in rubbish pit but since have been exhumed for reburial. Parts of various weapons used in killing them were also exhumed from the pit.
Development and memorial activities?
In April 2006, there is no doubt about that, our parents’ corpses will be re-exhumed and taken to Gisozi, the National Genocide Memorial Site, for reburial. But due to the fast pace of the country’s development, understand me very well I am not against that but
- Our neighbours will be deprived for their local mourning service that used held at our hill.
- Our grandchildren will not know what happened to their ancestors. Our stories will be distorted by time and storytellers’ interests
- Our parents’ disastrous fate, at all cost, will be reduced to meagre corpses statistics somewhere in a ‘national exhibition’ without care, without inconvenience and without compensation to the concerned.
Our little community tried to stop this event to take place. We have been engaged in various discussions with local authorities for the past six years but we are tired now, we are no longer strong that we used to be. A lot of our supporters and elders are now tired of this endless debate on to re-exhume or not, some died others left the country because they couldn’t stand in front of what their lives saw, because they couldn’t bear living among the people that hunted them for years to kill them.
How can you help us?
It is said that civilisation lives by memory and that a civilisation without conscience of its past leads to the vain glory and total decay because evil cannot be defeated by people’s tendency to forget. I don’t want our dead bodies to constitute an obstacle to the country’s development and to forget what happened to our people who perished in genocide is an insult to them, that’s why I cannot forget either.
I underwent a serious film training, directed and edited my first featured film which is considered to be the greatest art work ever made by a Rwandese youth. I believe the only way to help us to commemorate and document on our lives is to have a serious film. I hope you understand how much this is important for the future generation. I am helpless because I have no money to hire the equipments while I can use the skills I have acquired in cinema to do so. My discussion with a film industry was resumed in a single phrase ‘ we understand your sorrow but we can’t do anything for you if you don’t have money’ that’s why I am posting this message on this website.
The cost to make this video documentary is only 5, 500 Euros and that will help an entire village to remember. A local film crew, some of whom we went to the same training are willing to help me in doing this video documentary. And your financial assistance will help to:
- Have a local experienced film crew going to the field and do their work (transport and accommodation);
- Hire a Sony HD-V FX 1 e (and its accessories) which is the worldwide latest camera;
- Hire a Macintosh Apple G5, an acclaimed software for loading, cutting and mixing. I will edit the video documentary myself (online editing, final mix, music search and mix);
- Shooting up to seven hours a day for at least 15 days; and
- Artistically produce a nice documentary (editing for 10 days or so : voice over artist, translation, copyright, graphics, mastering submission)
To me, as a filmmaker, it sounds so simple. Why not shoot our happiness and sadness, what we do for living and our aspirations. But again it is so complex and difficult because I do not have money to do so, what makes most of images on the lives of genocide survivors we see on tv more dramatised, depersonalised and commercialised. This reality of things stresses once more the importance of this video documentary on the ´not known side´ of the aspect of our lives. This opportunity should be an alternative way of providing a different side of the story.
If you or your community can help us, please contact me directly on this phone number (+250) 0849 05 01.
Please make a financial donation to the following bank account
Bank name: BANQUE DE KIGALI, S.A
Swift code: BKIGRWRW
Adress: Banque de Kigali,
P.O Box 176 Kigali
City: KIGALI
Country: RWANDA
Account number: 040-0043080-45/RWF
Bank sort code: BKIGRWRW
Account holder: Gilbert NDAHAYO
Adress: Gilbert NDAHAYO
P.O Box 6086 Kigali City
RWANDA
I appreciate your kind and generous assistance in advance.
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| December 12, 2006 | 3:10 AM |
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The Path of Peace
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The genocide that took place in Rwanda in April 1994 is not the first in the history of humanity but it is different from other genocides. Its uniqueness lies simply on the fact that atrocities were committed by Rwandans on Rwandans.
The genocide took place in the whole country. However, in the sandwiched-hilly place of Biseseo in Kibuye province, what happened is beyond belief. Bisesero saw the killings of thousands of tutsi, barbariously decimated.
“INZIRA Y’UMUHORA W’AKABABARO” is the name of the monument build in this place today in memory of those who perished in the atrocities that were committed there during the genocide.
In April 2005, a group of 66 youth, boys and girls, from youth organisations and civil society visited Bisesero memorial genocide site of resistance during the workshop entitled “THE PATH OF PEACE”.
We are here touring and marching in the name of peace. What can you say about what you have seen here in relation to this march?
We have organised such a visit to put the youth from civil society to meet the youth of Kibuye to educate them together on the culture of peace and human rights. On this genocide site, we came with the objective of witnessing how human rights were violated in 1994 genocide. We therefore aim at sensitising the youth about human rights due respect. Instead of being separated by their ethnic tribes, they should work hand in hand in order to overcome general problems they face. Unity and cooperation is the key for development instead of disunity that destroy the achievements of years of work.
What were the youth association that you have come with?
We have come with MEMOS association which has its head office at Kimisagara in Kigali, UMUSEKE association, SCOUTS and GUIDES. This visit is sponsored by ARDHO and the youth that hosted us are also grouped in local human rights clubs found by ARDHO.
At their arrival at Bisesero memorial site, those youth from different parts of the country were received by genocide survivors who explained to them about this path “INZIRA Y’UMUHORA W’AKABABARO”.
This path is called “UMUHORA”.
The place down there we have passed, there will be put pictures of people who were killed during the genocide and their killers, those who are known. Then here, each district of Kibuye province is represented and has its own room. Kibuye had nine communes before the war. Where we are now, this room represents three communes. The site was built before the government set up new districts. For example, let’s say that this house down there represents Gisyita district, the one down there is Gisovu while sa we go up, there is a room for Rwamatamu. On the other side uphill, there are other houses representing other districts. When you visit any room, you get to know where the bodies you have visited are from because people who perished here were from different districts and this is why we have given names to these rooms: Umuhora w’akababaro.
Are these bodies here of people who got killed in this hill or were they collected from other places and brought here?
People were killed everywhere in the surrounding hills, there is no hill that was spared. However, this hill is memorial because we could gather together and when weakened that’s when we could be spilt all over the hill. Then, people got killed on the way trying to escape.
Running away from killers?
Yes.
Have their bodies been found?
Some were found but others are still missing.
Why are there very few bodies?
Bodies found were buried up there, that is where cemetery is. There is a common grave.
This is where photos of people who were killed and their known killers will be posted.
Are there killers who are known?
Yes, some are known. People like Clement Kayishema, Musema and others.
The youth visiting the site showed a thirst to know what happened in relation to how the killings of tutsi in Bisesero took place and how they tried to resist.
What do you remember that you can tell us about social life during the genocide?
It was horrible. They destroyed houses and killed people until we came to live in this hill naked.
Were killers involved in looting personal properties or steal domestic animals you owned?
They stole and looted our properties. Starting with a chicken, goats up to cows. They removed iron sheets from roofs of houses. For tiles, they just broke them.
While fleeing from your house, could you be able to flee with some domestic animals, or they all remained in your homes?
We fled with them up hills in Muyira where we sought refuge before they took them away. We stayed with our properties for three days. In the first place, they did not kill many people, they were busy taking away our animals until they were all taken. We must confess that our cows saved our lives for a short period.
Where those Interahamwe?
They took cows before taking our lives. We faced big attacks when the cows after our cows were all finished.
Where is the Muyira hill then?
It is over there (pointing the hill).
On this hill, it is where attacks came from in all directions focusing this place where we are standing. We could then be surrounded. We were sandwiched here.
Is this hill called Muyira? How about that one?
It is called I… Muyira is that big hill which has plantations.
Is this road the path used by the killers during that time?
Yes, it is the road they used with their cars.
Whose cars?
Cars carrying Interahamwe from different places.
WereInterahamwe also with government soldiers?
Yes, in a very big number.
Where else were attacks coming from?
What I am sure of is they all came towards us here on this hill.
What about UN Peacekeeping troops?
I never saw them.
We used to hear that French army came here and met the authorities of the province. And also that we they came to see you the next day, that is when the biggest attacks came. Is that true?
Exactly. When the French army came in their cars, we all came out of the bush where we were hiding because we felt safety with their presence. We stood in front of them and told them how we were being killed. They told us that they would come back to assist us. I think, two days after they visited us, we faced a series of attacks. That time is memorial because a lot of people among us were killed by those attacks.
It seems they saw you were still many, and a lot of work had to be done.
They saw how many we were, they probably said that we were still many and a lot has to be done to finish off all the tutsi.
Were they really French soldiers?
Yes, they were French soldiers.
Were they alone?
No, they were together with one Interahamwe called Twagirayezu who guided them. He was a teacher and a resident of this zone of Bisesero.
He was a primary school teacher.
He is the one who was with those French soldiers.
What was he doing with them then ?
He was their interpreter. But when they asked him who had destroyed our houses, he said that tutsi were the ones who destroying hutu’s houses.
So, he was not telling the truth?
Of course, he was telling lies. He was an interahamwe. Before the war, we lived together in the village but our social relationship was not that good because there were always conflicts. Every time we were killed.
The tutsi from Bisesero did not die like sheaps, but they tried to resist and defend themselves although the interahamwe outnumber them and were supported by the former government.
When did the killings start in this area?
The killings started the night after the death of Habyarimana.
What happened exactly during that night?
During that night, they burned houses of tutsi somewhere far from here. We fled towards the hill over there in Muyira.
The police commander is the one we killed last. He was shot dead at the end of the month of June just the end of the war.
What about other authorities who lived here?
We killed them too, some of them. To give a good example they were at the forefront of the attacks and we killed them all. Like all the policemen from Gisovu and Gishyita, we killed all of them with their guns which they got from French troops and we took their guns. Their police chief could send them until he himself comes to see why they have not returned. Every counsellor could come with his policemen. We targeted mainly policemen because they had guns. There was a counsellor who was a tutsi and he was here in Bisesero: they told him to go for an administrative meeting and he never returned back. They killed him.
Survivors of genocide were from down that side in Mubuga and others were on this hill. The killers were from here backwards until a bridge found over there where there is water which is the natural boarder with Gishyita.
So, you came from that hill of Muyira?
We went over that hill thinking that it is good strategy because they could finish us from here as you see you can’t see the surroundings. We were on this hill in order to stop the attacks from up and at that time we were still a big number. Then, because we did not know their number, we decided to shift from here to there.
The youth also were interested in knowing how hutu and tutsi lived together and how their children studied before genocide.
How did you live together before the genocide?
You know you could not realise that there was a problem in our living.
Could you testify that they were intermarriage or hutu and tutsi did business together?
There was no problem. For example, there are people my father gave cows as sign of friendship according to the culture but they are the ones who hunted us and those who kept my cows during the war, I paid them. We used to see on how we could not be inferiour to them to save our dignity. They just changed overnight and that was all, in the morning we became their enemy number one. It was obvious no tutsi was to survive. Like at home, I am the only one who survived while we were twelve children. There is no single tutsi who was hidden by a hutu. No one. Whoever will give such testimony will be telling lies.
First, you have told us you used to cohabitate harmoniously but you never thought of going to a hutu to seek refuge. Did any hutu want to give you protection or rather warn you about the attacks?
No one. It never happened in this hill of Bisesero. They are now here, they can prove me wrong if I am telling lies. The person you thought could save you was actually the one hunting you.
How about those you related to through intermarriages?
No. There was no intermarriages at all. We never gave our daughters to them … only cows so that… we only attended weedings on both sides. We never married their daughters and we never give our daughters to them and for this chapter, I am 100% sure. Even those cows, we gave them as a form of bribery for our lives to go on. They were mainly given to authorities but not between poor peasants. For example, your employer or the counsellor, or the person like Joseph Habyarimana who was the Director of Redemi. Those are the people who received cows.
Realistically, we can say that there was no harmonious relationship …
Yes, there was no friendship; it was all done for personal relationship …
That implies that you were always insecure … tjere was no trust between hutu and tutsi …
Actually, in my childhood, I always heard from my parents that we were supposed to die in any form or fashion. They said that it happened in 1959, I was not yet born. In 1973, other tutsi died and we also heard that there will be a time when all tutsi will be killed.
Could people say that openly?
Yes.
Who? Parents or youth of the same age?
Like our parents, they used to say that no matter what will happen, if Habyarimana dies we will all die. Even authorities could say so. I remember when I was a little boy looking after the cattle, I used to say that when the war breaks out I will hide in the bush. It was always in my mind. That is to say I sent a little pray to God to save us from death.
How old were you when the war broke out?
I was 21.
Do you mean in 1994?
Yes, I was 21 during the genocide.
Had there been other conflicts in this area before the genocide, let’s say 1993 and 1992?
Yes, by then I was working in the tea factory. It was in 1990s and tutsi were threatened by that time. Listening carefully to songs by Bikindi on RTLM, no doubts there were plans to kill us. Another proof is that the Director of the tea factor at that time, Musema took loaves of bread and avocados and hid them in the bush not far from here. Then, he said that tutsi rebels had attacked Bisesero and said those were their provisions. He wanted us to be killed. It was in 1992 after the killings of Bagogwe and killings in Bugesera.
Are there people who got killed at that time?
Yes, in Rwamatamu and Ntembe people died. Killings took place in all areas and at any time. Other places like Gishyita, Rwamatamu, Mabanza: people were killed progressively over time. At any time.
Starting from what time?
Since 1962, that is when they started killing people. Slowly, provoking us, provoking and killing us. But here, this place was feared, that is why this area was not much affected. Even the killers said they feared this place.
So tutsi of Bisesero were not killed simply because they were feared?
The reason here we were not killed, expect only in 1962, but still we were waging war with them though they killed a few. After, killings continued and houses were burned in other places in the country except here. They killed us in 1994, we were attacked but also we were feared.
How old were you in 1962? Which attacks do you still remember very well when you were mature?
In 1973, I was a man but in 1962 I was a youth like some of you (pointing a member of the group).
Let’s take an example of 1973. Did you know what was happening? Were you married?
I knew it very well. I was married.
Were there attacks in this area?
There were not attacks as such. They came and then a man called Joseph advised us “ Go and burn your houses. If you burn them, none will attack you”. We did so.
In 1973, a man called Munyambibi had sworn to put Bisesero on fire. He took his gun but was warned byby his neighbours that he can get killed if he dares. He persisted. We injured him by a machete. The machete stuck into his shoulder and he ran away with it. He survived in the end.
Were tutsi killed here in 1959?
No. Those who died, it was in 1962.
Let’s now talk about 1973?
In 1973, I did not see anyone being killed.
Nobody?
Nobody. It is not that they had spared us but we fought and chased them.
When they came to kill the tutsi, were attacks organised like a village attacking another one or there was a specific ethnic group which was targeted?
All those coming from this side could say “let’s attack Bisesero”, those from Rwamatamu could also say “let’s attack Bisesero” and those from other mountains could say so.
Why could all attacks directed towards Bisesero?
The reason is simple in that there were many tutsi in Bisesero and so many heads of cows.
Was it like their zone? A zone of wealthy tutsi able to protect themselves?
Yes and the fact that all tutsi from attacked areas like Gishyita and other places sought refuge. The killers said tha”all tutsi have been finished off but those over there are strong, Bisesero is their own town.”
Have you lived in this area since 1973?
I have lived here all my life.
After 1973, were there any other problems?
There were injustice, looting, corruption like bribing by giving our cows and sometimes we were charged a fine or beaten when it happened our cows grazed on other people’s land. They banned us from taking cows to the forest for grazing. We were always giving them money to do that. This was their way of threatening and provoking us but they were afraid to come here to kill us, they stayed where they were.
As when those educated people say that genocide had been prepared for a long time, do you understand it clearly at once since you are the ones who experienced it?
It was well prepared long time ago. But on this hill, genocide was prepared since Habyarimana took power. All arrangements were systematic and efforts to kill us were coordinated.
When RPF Inkotanyi attacked the country in 1990, were tutsi been killed again?
Tutsi were accused of collaborating with the rebels and they jailed us in our respective communal prisons.
They imprisoned teachers and farmers saying they are ‘ibyitso’ (spies) of ‘inyenzi’ (cockroaches) accusing us of having the capacity to support the rebels.
I would like to ask about your children. Could they go to school or they were discriminated among other children? Did you send them to school anywhere or they were left in this zone looking after cows?
Do not talk about schooling! The children couldn’t go to school. For instance during the time of my schooling, even if one of ours could pass all exams, he or she could be replaced by a hutu child. In my case, I received a letter from the former Minister of Education, Colonel Aloys Nsekalije. The letter said “Mister Anastase Kalisa from Bisesero Primary School is allowed to repeat the final year in the respect of ‘iringaniza’. In our class, we were 30 students in the final year and our school did not use to perform well due to marginalisation and inaccessibility. Luckily, at that time four people had been admitted to go to High School. I used to be the third in my classroom. However, I was not among those taken to go further studies. Up to now, I believe I received that letter simply because I had passed and I had to be replaced by a hutu student who used to be the 24th while I was the 3rd in class performance.
Do you remember his name?
How can I forget him! His name is Sibomana. He lives nearby in Kizibaziba. He is the one whom I think replaced me.
How did you relate with your colleagues at school?
Our schoolmates knew all that. They knew they had to go to secondary school in our places no matter what would happen. Look, in a class of 30 students with only 7 hutus, 3 of hutus were selected and one tutsi was selected too, unexpectedly. Unfortunately, he was expelled later on from Nyamishaba secondary school. His name was Athanase Hitimana. Another one who went to secondary school in Rubengera got killed when he arrived there.
Who killed him, his colleague students?
At school, we knew that this one is a hutu and the other one is a tutsi.
So, he was killed by his schoolmates?
Yes, that’s what happened for sure because his colleagues in primary school he met there are the ones who killed him.
Before the end of that trip organised in the workshop “THE PATH OF PEACE”, the participants questioned the genocide survivors about their vision for the future life.
After what Rwanda went through, some genociders are in jail, others outside. Those in jail had left their families, wives and children at home. How do you relate with those people these days especially that the traditional justice system ‘gacaca’ is in its process.
Well, our relationship is now good in respect to the government policies of unity and reconciliation. There were sensitizations, traditional courts were well prepared, people were involved and they are now supposed to tell the truth. Also, the national commission for unity and reconciliation plays a very big role in helping us come together and heal the wounded hearts. Actually, we are now starting a new life, but it is only the beginning. We have now hope for a bright tomorrow. Nobody is coming here to threaten us, all children go to school and jobs opportunities are open to all due respect to individual capacity. I feel safe now, there is no more trouble like before.
Okay. That’s true. But let’s talk about this particular hill of Bisesero. You have told us that you grew up here, therefore you experienced all the events, the way they occurred and bore responsibilities on your shoulders. There is another person we have interviewed and he said that he does not see any fruit from gacaca and that he has no trust in it. As the proverb says that an old man is like an oracle, do you share his views? What are your prophetic words to the youth?
Today, very many people do not tell the truth as they try to hide it. Except a young man from that side who said everything openly in the public and said names of those who tell lies in the following words “even you, you are telling lies while you were about to kill me just yesterday because I hid a tutsi lady. It is your colleagues that condemned me but I was saved by a long time friend as he had mercy for me.”
Does this make you optimistic about a better future?
Well, we are happy for that. I wish if all the people were like this young man, things would be fine.
Please, allow me to ask you this. It is known everywhere even overseas that people who were in Bisesero showed heroism and courage. You fought people who had guns and won them. As young people, we are eager to know and we are like that we can share your experiences as a person who had been at the other side of the road of the resistance mountain. We had about your fighting strategies to resist the attacks of killers. Could you tell briefly the youth and other people how you managed that?
We fought with interahamwe without rest. They burnt our houses, chassed us everyday in all hills and mountains, they hunted us everywhere like animals and we couldn’t even breath. We first sought refuge in the mountains and fought with them. Then in the middle of genocide, we decided to stop fighting back thinking that they would stop pursuing us. We fled and then, they pursued us, surrounding us in all directions. We stayed, sandwiched in this hill, and we fought back. Ngo
I would like to ask probably my last question. What are your wishes or what I can call what you hope that can people do to stop genocide to happen again in Rwanda? What we have learnt here is that genocide started long time in the past but live goes on for the future generations meaning that this event is part of the youth heritage and we have to accept it. We think that what disunited people in Bisesero was a social life that was not harmonious. As a survivor, what can you give us as a message?
My wish is that people who had killed our relatives tell the truth and ask for forgiveness with all their hearts. It is “unbearable” living with them when they hide the truth. For sure, if one asks for forgiveness, one gets forgiven. If one comes and say “I am sorry, I am a sinner. I did worse to you but it is not my fault, it is due to the bad leadership.” We would close our eyes on that and we would be happy . It is shocking meeting the one who killed your family everyday on the road, who hides the truth thinking that you are unaware of his deeds while all we need now is the truth instead of silence.
In short, what is needed for genocide survivors is sincerity and truth?
Yes, I should add one thing since we are lucky that you have asked such a question. Discrimination in schools should be abolished in all its forms or fashion. We wish youth not to discriminate, learn your subjects, develop the country without discriminating tutsi, hutu and twa. Like the way you come here in a group … I think it is a mixed group. If you put your effort together as youth, our country will develop but if you start separating, you will be showing bad examples to your younger brothers and sisters the path to war and more sufferings. I have never gone to secondary school like most of you but I tell you : “Be exemplary and everything will be alright as time goes by.”
Among the youth participants in the visit, we received an opinion on what can be done to say “Never Again” to what happened to tutsi of Bisesero
After visiting this site, really it has been so stressful and frightening. It has been so sorrowful. And they tried to fight on their lives even if very few are saved by their heroic acts but we think everybody and every Rwandan should emulate on this action of Bisesero people. After having interviewed them, after having discussed with them they have told us that at least about seventy or sixty thousands people perished in this site. We are brought here, we bid but all of us are the youth, you see. We should emulate on this action of Bisesero people.
This young lady, present in the workshop entitled “The Path of Peace”, has something more to say, what she has learnt from this visit to Bisesero. Bisesero genocide memorial site is the monument of genocide survivors and resistance in Rwanda.
I have seen with my own eyes what happened and Bisesero people told us how it happened. If we continue this “Path of Peace”, sensitizing more youth like it is done in Kigali, this will help. As you have heard, they still talk about tutsi and hutu like it was in the past. I think this peace education should start at the lower level among the youth and teach them equal human rights. This is the only way to the development.
Our last question. What are your personal plans to make peace and harmony be part and parcel of our society?
My plan is to keep on sensitizing the youth from all corners of the country about peace, its aspects and effects. This is my plan so that things never be the same again as they have been.
After the tour in the name of "THE PATH OF PEACE", the youth observed one minute’s silence in the memory of innocent lives perished in Bisesero and everywhere in the country.
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