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The Rwandan genocide occurred between 7 April and 15 July 1994 during the Rwandan Civil War. During this period of around 100 days, members of the Tutsi minority ethnic group, as well as some moderate Hutu and Twa, were slaughtered by armed militias.
The Genocide Archive of Rwanda was established by the archive and documentation department of the Aegis Trust Rwanda, a non-governmental organization that strives to prevent mass atrocity and genocide through education.
Inflammatory hate speech catalyzes mass killings including genocide, according to scholars, survivors and, notably, some former perpetrators. By teaching people to view other human beings as less than human, and as mortal threats, thought leaders can make atrocities seem acceptable – and even necessary, as a form of collective self defense.
This paper draws together the authors’ independent past work on dangerous speech and the ideological dynamics of mass atrocities by offering a new integrated model to help identify the sorts of speech and ideology that raise the risk of atrocities and genocides
This part of the exhibit explores the theme of mass media, in particular, print, radio and film.Because media is so diverse, it is impossible to generalize its impact, its role or its intent. However, the people behind the media (journalists, publishers and editors, photographers, documentary filmmakers, etc.) always interact with power.
Political leaders in Nazi Germany, Rwanda, and other pre-genocidal societies prepared civilian populations to condone genocide, by using certain techniques to make mass killing seem first acceptable, and then necessary. This article describes those techniques, and includes them in a new six-prong model for incitement to genocide.
What are the stakes of cultural production in a time of war? How is artistic expression prone to manipulation by the state and international humanitarian organizations? In the charged political terrain of post-genocide Rwanda, post-civil war Uganda, and recent violence in the Democratic Republic of Congo, Laura Edmondson explores performance through the lens of empire.