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Stories from Rwanda: Academic, Creative, Applied

卢旺达的故事：学术、创意、应用

基本信息

批准号：
AH/P00492X/1
负责人：
Zoe Norridge
金额：
$ 25.78万
依托单位：
King's College London
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2017
资助国家：
英国
起止时间：
2017 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FP00492X%2F1
关键词：
Stories Rwanda Academic Creative Applied

项目摘要

How do you see Rwanda? In the aftermath of the genocide that shook the world, how do you picture this small East African country? And who has shaped these images? Who are the photographers, storytellers, reporters, editors and filmmakers who have influenced your imagination? My research examines how Rwanda has been 'curated' for international audiences - the visual and verbal stories told about genocide and its aftermath and the ways in which they have been disseminated globally.In 1994 between 800,000 and a million people were killed in Rwanda in just one hundred days. Many of these killings took place in people's homes or nearby public spaces. After genocide survivors often returned to where they lived before, to the sites where they lost hundreds of friends and family members. These killings and the process of rebuilding life after genocide, are grounded in an intimate knowledge of a particular place. However, during genocide and its aftermath many Rwandans were displaced. And the first international stories about Rwanda were told by foreigners mostly travelling to the country for the first time. Familiarity with place then, in Rwanda, is intimately tied to the question of authorship. Survivors giving testimony about genocide recollect sites of killings, the places where people hid, routes out of the country. Accounts by influential visiting journalists and novelists by contrast dwell on the strangeness of the landscape and disorientation. To understand experiences of genocide we need to listen to local people who lived through the events and are still grappling with their consequences. But to understand how Rwanda has been perceived internationally we must also pay attention to the narratives of outsiders. This fellowship begins with two writing projects that study and contest these dynamics. My monograph Rwanda: The Testimony of Place, examines how the field of testimony has been shaped and is changing the further we move from 1994. My translation of Yolande Mukagasana's testimony La mort ne veut pas de moi will bring a key Rwandan voice to English-speaking audiences for the first time. I then develop these themes of place and authorship building on my existing networks established while making the BBC documentary Living with Memory in Rwanda and curating the AHRC-funded exhibition Rwanda in Photographs (2014). Exploring my Rwandan colleagues' observation that Rwandans have little control over narratives circulating about them internationally, I will map ways in which stories about Rwanda are consistently mediated by outsiders from the Global North, and challenge these dynamics through interventions designed to foreground Rwandan voices. In 2018 I will convene a workshop facilitated by photographer-activist Marcelo Brodsky (Argentina) and writer-editor Billy Kahora (Kenya), bringing together Rwandan photographers and writers with NGOs based in Rwanda. The workshop aims to demonstrate that NGOs can benefit from working with local artists as opposed to flying in foreign journalists for their communication campaigns, and offers valuable training and networking for participants. Slideshows in Kigali and London will share the results and selected work will be published in a journal special issue.Accompanying the workshop are three further interventions: A policy briefing for photo editors outlining the business and ethical case for commissioning photography locally rather than internationally; A quantitative study co-authored with social psychologist Dr Keon West showing why this is important for humanising the people depicted; And a visually-rich website drawing together my own research and images generated over the past five years of engagement activities.This fellowship will establish me as an emerging leader in post-conflict cultures, providing time to complete two key publications and funding to forge new ways forward through projects that combine both academic research and cultural activism.

你怎么看卢旺达？在震惊世界的种族灭绝之后，你如何描绘这个东非小国？是谁塑造了这些形象？谁是影响你想象力的摄影师、故事讲述者、记者、编辑和电影制作人？我的研究考察了卢旺达是如何为国际观众“策划”的--讲述种族灭绝及其后果的视觉和口头故事，以及它们在全球传播的方式。1994年，卢旺达在短短100天内就有80万至100万人被杀害。其中许多杀戮发生在人们的家中或附近的公共场所。在种族灭绝之后，幸存者经常回到他们以前居住的地方，回到他们失去数百名朋友和家人的地方。这些杀戮和种族灭绝后重建生活的过程，都是基于对特定地点的深入了解。然而，在种族灭绝期间及其后果，许多卢旺达人流离失所。第一个关于卢旺达的国际故事是由第一次来到这个国家的外国人讲述的。在卢旺达，对地方的熟悉与作者身份问题密切相关。幸存者提供关于种族灭绝的证词，选择杀戮地点，人们躲藏的地方，离开该国的路线。相比之下，有影响力的来访记者和小说家的叙述则专注于景观的陌生感和迷失方向。为了了解种族灭绝的经历，我们需要倾听经历过这些事件并仍在努力应对其后果的当地人的声音。但是，要了解国际上如何看待卢旺达，我们还必须注意局外人的叙述。这个奖学金开始于两个写作项目，研究和竞争这些动态。我的专著卢旺达：地方的证词，审查如何证词领域已经形成，并正在改变我们从1994年进一步移动。我翻译的Yolande Mukagasana的证词La mort ne veut pas de moi将首次为讲英语的观众带来卢旺达的关键声音。然后，我在制作BBC纪录片《卢旺达的记忆生活》和策划AHRC资助的展览《照片中的卢旺达》（2014）时建立了我现有的网络，并在此基础上开发了这些地点和作者身份的主题。我的卢旺达同事观察到，卢旺达人对国际上流传的关于他们的故事几乎没有控制权，我将探讨有关卢旺达的故事始终由来自全球北方的局外人调解的方式，并通过旨在突出卢旺达声音的干预措施来挑战这些动态。2018年，我将召集一个由摄影活动家Marcelo Brodsky（阿根廷）和作家兼编辑比利卡霍拉（肯尼亚）主持的研讨会，将卢旺达摄影师和作家与卢旺达的非政府组织聚集在一起。该讲习班旨在表明，非政府组织可以受益于与当地艺术家的合作，而不是外国记者飞来进行宣传活动，并为与会者提供了宝贵的培训和网络。基加利和伦敦的幻灯片将分享结果，精选的作品将发表在期刊特刊上。伴随研讨会的还有三个进一步的干预措施：为照片编辑提供政策简报，概述委托当地而不是国际摄影的商业和道德案例;与社会心理学家Keon West博士共同撰写的定量研究，说明为什么这对描绘的人的人性化很重要;这个奖学金将使我成为冲突后文化的新兴领导者，为我提供时间来完成两个关键出版物，并提供资金，通过联合收割机结合学术研究和文化活动的项目开拓新的前进道路。