Season of Blood: A Rwandan Journey by Fergal Keane (1995)

‘It should be an interesting few weeks, old boy.’
(The words of David, Fergal Keane’s tall, elegant, 60-year-old BBC producer, as they arrive at the border of Rwanda, page 42)

Fergal Keane, reporter and moral superstar

Keane is an award-winning BBC foreign correspondent and writer. This is a short 190-page book which recounts the journey undertaken by him, his 3-man BBC TV news crew, with a couple of South African security guys  (Glen and Tony) and two African drivers (Edward and Moses), as they crossed into north Rwanda from Uganda. It follows this team as they drove through the devastated countryside only weeks after it had been pacified by the invading Rwandan Patriotic Front (RPF), and saw for themselves the corpses produced by the Rwandan genocide (April to July 1994). They saw hundreds and then thousands of dead bodies, clogging rivers, littered across the countryside and packed into buildings, houses and churches in villages and towns.

However, although the book contains many descriptions of bodies hacked to pieces, of mothers trying to protect their children who had their skulls cleaved open by machetes, children’s bodies cut clean in two, and so on – a kind of Pompeii of corpses caught in all manner of strange, poignant and horrifying postures as the murderers did their work – the horror is mixed with another element which I couldn’t  help finding irritating at first and then broadly comic, which is Keane’s humourless self-importance.

Keane the sensitive reporter is front and centre of the entire account, which opens not with any African or Rwandan voices, stories, facts or history or events, but with pages and pages of Keane impressing on the reader how he is such a sensitive man that even now, a year after his journey, as he writes his book, he is still haunted by dreams and nightmares of what he saw; how he struggles to put it into words, how he struggles to make sense of the horror of mass killing and so on.

My dreams are the fruit of my journey down the dirt road to Nyarubuye. How do I write this, how do I do justice to what lies at the end of this road? As simply as possible. This is not a moment for fine words. (p.76)

But the fact that he even has to tell us that he is agonising about how to write it, how to describe the scene, and shares with us his heroic decision not to use ‘fine words’, this is all grandstanding, showboating, foregrounding his wonderful scrupulousness as a Man and as a Writer. He may claim not to use ‘fine words’ (although, in fact, he often does) but he certainly uses fine feelings.

He could have just described what he saw and been a simple, factual, objective observer. But Keane is incapable of keeping himself out of the picture and swamps everything with his first-hand impressions, all recounted in a lulling Irish brogue.

This self-promotion extends beyond himself to encompass his BBC news crew (producer, cameraman, soundman) and fixers (the two SA security men), describing them as the best in the world, top of their trade, ace professionals – sensitive (very sensitive), creative, reliable, hard working – a great bunch of guys!

These passages dwelling at length on what a caring, sensitive fellow Keane is, and what a fantastically hard-working but sensitive crew he was privileged to work with – made me smile and occasionally burst out laughing at their self-importance, their lack of self-awareness, their complete inappropriateness in what purports to be a record of one of the worst mass murders of the 20th century.

So Season of Blood can be broken down into three elements:

  1. The syrup-thick self-congratulation and oh-so-sensitive descriptions of how Keane felt, at the time and for months after the journey was over, which start and end the text and feature liberally throughout.
  2. The series of incidents which made up his actual journey across Rwanda: names of the people they met (generally from the RPF, sometimes the UN) who showed them sites of numerous atrocities where the bodies were still piled up in streets and fields, houses and churches, and interviews with (often very badly injured) survivors, and the genocidal Hutu authorities who dismissed it all as exaggeration and the inevitable casualties of war.
  3. Historical background – Keane’s solid reworking of the standard history I’ve read in all the other accounts.

1. A song for the sensitive

On the 1974 album ‘Monty Python Live at Drury Lane’, Neil Innes introduces his song ‘How sweet to be an idiot’ by whispering, ‘And now…a song for the sensitive’, to much laughter from those with a sense of humour. This phrase kept echoing round my head as I read the confessional parts of Keane’s text.

I thought New York journalist Philip Gourevitch had done a good job of showing how sensitive and deep he was in his 1998 book about the Rwandan Genocide, We Wish to Inform You That Tomorrow We Will Be Killed With Our Families: Stories from Rwanda, but he is blown clean out of the water by BBC journalist-superstar and softly-spoken Irishman, Fergal Keane. Here is the opening paragraph of Keane’s Rwandan Journey, for best effect to be intoned in a mellifluous Irish accent, very quietly and very sensitively:

I do not know what dreams ask of us, what they come to collect. But they have come again and again recently, and I have no answers. I thought that after the bad nights of last summer the dead had abandoned me, had mouldered into memory. But the brothers and sisters, the mothers and fathers and children, all the great wailing families of the night are back, holding fast with their withering hands, demanding my attention. Understand first that I do not want your sympathy. The dreams are part of the baggage on this journey. I understood that from the outset. After all, four years in the South African townships had shown me something of the dark side, and I made the choice to go to Rwanda. Nobody forced or pressurised me. So when I tell you about the nights of dread, understand that they are only part of the big picture, the first step backward into the story of a journey that happened a year ago. (page 1)

Personally, I think it was very considerate of the Rwandan people to stage an epic bloodbath in order to provide Mr Keane with a splendid backdrop against which to display his sensitive soul, his simple but poetic prose, his knowledge of ‘the dark side’ (guffaw) and his fine moral scruples. Just recently I notice the arrival in the language of the phrase ‘humble-bragging’, which means:

the action of making an ostensibly modest or self-deprecating statement with the actual intention of drawing attention to something of which one is proud.

So when Fergal says he doesn’t want our sympathy, it was hell but he’ll be OK, no, no, he really doesn’t want our sympathy, not at all, really he doesn’t, the dreams, the dreams are sometimes hard to bear, but, shucks, he was just doing his job, no, no sympathy thank you — it’s hard not to burst out laughing at his self-important humble-bragging.

And not just him. He says there were many of ‘us’ who went there, many tip-top international journalists like Fergal. Some claim they don’t have bad dreams, but Fergal knows better. They, all of them, this band of brothers, this close-knit community of sensitive reporters, according to Fergal, they still ‘mourn the dead of Rwanda’. They still suffer at nights from that special feeling. What special feeling? Well:

How can I best describe it? It is a mixture of dread fascination, sorrow for what we learned and lost in the short few weeks of chaos, a mind weariness that feeds itself by replaying the old tapes over and over. We reach for the off switch but in the darkness cannot find it. (p.3)

Portentous and pretentious, humourless self-importance. Note the deliberately ‘poetic’ language. Given the choice between the ordinary functional word and the archaic, poetic equivalent, Fergal always plumps for the latter. He and his crew don’t get up at the start of the day; they ‘rise to start another day’ (p.44). The crooks they meet with in Nairobi are ‘rogues’ (p.48). The rains don’t prompt new growth, they ‘bring forth’ great tangles of vegetation, as if touched by the staff of Moses (p.49). David doesn’t start crying when he thinks about his daughter back home; he is ‘in the thrall of this fatherly emotion’ (p.35). Every page is blessed with a gem of pretentious and high-sounding diction.

And the journey itself is not just any hack’s trip to cover another grim African tragedy: it is a knight of the round table on a quest, it is a pilgrim’s progress, it is the odyssey of a Great Spirit, greater, finer, more sensitive than the humble likes of you and I.

My journey into Rwanda was about following the lines of blood and history; about sleeping with the smell of death, fear and hatred; about exhaustion and loss and tears and in some strange ways even love. For me to make sense of that journey, however, I cannot write in terms of facts alone. So bear with me when the road runs down into the valleys of the heart and mind and soul… (p.3)

What a wanker. And the Rwandans? The genocide? You want to know about them? Hang on, first there’s another fifty pages while we follow the road down into the valleys of Fergal’s heart and mind and soul…

Padding

So Keane comes over, fairly regularly, as a self-important so-and-so. But the emphasis on the personal nature of his text and the amount of time he spends describing his travelling companions may have a more banal cause. For he tells us early on that he only spent a few weeks in Rwanda (p.4) and later on that his brief trip started in early June 1994 (p.123).

This may explain why so much of the text describes his fine feelings, his doughty companions and the details of their itinerary rather than the history or politics of Rwanda. A lot of the preening might simply be padding for a book which barely stretches to 190 pages. In fact it’s only on page 48 of the 190 pages that he and his team cross into Rwanda and the journey proper begins. So the actual travelogue of Rwanda is barely 140 pages long. It’s an often intense but, ultimately, quite thin and superficial account.

Top chaps

Fergal went to Rwanda with a BBC team to make a film for Panorama and what a team he took with him! He is accompanied by one of the BBC’s most respected producers ‘whose bravery in dangerous situations was remarkable’; by a soundman who is also a novelist; by a cameraman who ‘mixed rugged good sense with extraordinary sensitivity’. Goodness! What special people Fergal surrounds himself with! What heroes! What legends!

And it takes one top chap to know another top chap. Thirty seconds on Fergal’s Wikipedia page tells us that Keane attended the Presentation Brothers College in Cork, a private, fee-paying Catholic school which is ranked the number one boys’ secondary school in Ireland. Maybe this is where his overweening sense of superiority comes from, his indestructible confidence in what are, in the end, pretty banal observations written in humble-bragging prose.

Rather snipingly, Fergal points out that most other TV journalists and crews are mercenary hacks who fly wherever the bodies piling up, knock out superficial stories about a situation they barely understand and then, as soon as the fighting stops, move on – the cynical, superficial hacks!

Where television is concerned, African news is generally only big news when it involves lots of dead bodies. The higher the mound, the greater the possibility that the world will, however briefly, send its camera teams and correspondents. Once the story has gone ‘stale’ i.e. there are no new bodies and the refugees are down to a trickle, the circus moves on. (p.7)

TV news is sensationalist and superficial!? This must be why the BBC pays its top correspondents the big bucks, for coming up with wonderful insights like this.

But then Saint Fergal goes out of his way to emphasise that he is not like all those other TV correspondents and his crew are not like all those other horrible mercenary crews. No, his crew includes a sound man who is also a novelist; and a cameraman who ‘mixed rugged good sense with extraordinary sensitivity’; and a producer ‘whose bravery in dangerous situations was remarkable’. And they work for the BBC so they must be the best! And they are fronted by a sensitive soul who still has dreams, all these months later, of the terrible things he saw but no, thank you, no, he doesn’t need your sympathy. Very kind, but he’s man enough to take it.

Admittedly, this band of heroes only flew into Rwanda when the story began to involve lots of bodies – exactly like the other crews he criticises. Admittedly, they only stayed for a few weeks – exactly like those other crews he criticises. Admittedly, his team also moved on once the story had gone stale –exactly like those other crews he criticises. But his crew did it in a specially sensitive and rugged and heroic way, in a noble BBC way, which completely separates them from all the other media riff-raff. This isn’t just any old reporter and his camera crew; this is an M&S reporter and his camera crew.

David the producer is tall, silver haired and works harder than anyone Fergal has ever met! He is steady as a rock, ‘not given to exaggeration or panic’, who arranges for them to meet an RPF minder. Whatever situation they find themselves in David can always fix it, with a few discreet words and a shrewd wink. What a top chap!

David never reveals his feelings because he’s that kind of steady, dignified, old-fashioned type of fellow. Right up until, one day barrelling along in their Land Rover, Fergal shares the Yeats poem, ‘Prayer For My Daughter,’ with him, at which point a quiet tear comes to David’s eye, as he thinks of his dear beloved daughter back home in Blighty (p.35). Poetry! Yeats! A quiet tear! Yes, what a fine and sensitive chaps he is, they all are!

Perhaps more than anything I admired his old-fashioned journalistic honesty. David believed in going to places and finding out what was happening, talking to as many sides as possible, and only then making up his mind. In this he was different from many producers who arrived with their own predetermined ideas of what the story should be and then sought out the voices to support their theories. He wasn’t a glamorous media figure, nor was he political in the sense of fighting internal battles within the BBC. Although it is hard to guess at the true motives of a colleague, I liked to think that David Harrison was moved ultimately by the oldest and most noble journalistic aspiration of all: to seek the truth and report it whatever the consequences. (p.67)

Shucks. Saint Fergal and noble David are travelling with old Africa hands Tony and Glenn. Tony is a short story writer and novelist who went to ‘one of Johannesburg’s top public schools’. He was his college rowing champion. Glenn, by contrast, worked his way up from a tough, deprived and petty criminal background, via a spell in the South Africa Defence Force, on to become ‘one of the best news cameramen in the country’ and ‘the most sensitive cameraman I have ever worked with’ (p.40). The sensitivity and camaraderie ooze out of this book like ectoplasm.

Carlsberg doesn’t make news crews but if they did…

Basically, Saint Fergal is trying to write a novel, except it is a novel full of hilariously portentous and symbolic moments (before they leave Kenya for Rwanda, a fellow journalist gets drunk in a hotel bar in Nairobi and ominously warns Keane that he is heading towards a realm of ‘spiritual damage’, p.43), featuring a cast of noble, high-minded chaps (top public school, best cameraman in the country, champion rower, noble producer etc) and written in a pretentious mash-up of late Victorian diction (‘we rose to begin our journey’ – that’s actually what he writes on page 44) and the Bible (‘The rains had brought forth a great tangle of vegetation’). The prose reads like the stained glass windows in the chapel of his elite Catholic boarding school – simple, over-coloured, larger than life, sentimental and repellently high-minded.

Buried in this short book is some excellent reportage, some vivid encounters and some stomach-churning scenes – but all swamped by a kind of rehashing of a Victorian, boys own adventure novel.

2. Rwandan history

Fergal tells the same outline history I’ve read in David van Reybrouck, Philip Gourevitch and Jason Stearns. Nobody really knows their origins, but eventually Rwandan society came to be split between three ethnic groups, the Hutu from the west (85%), the Tutsi from the north (15%) and smattering of the Twa, descendants of the pygmies who probably lived in the Rwanda-Burundi region first but are now marginalised.

In the mid-nineteenth century, when Europeans first arrived, they discovered a society where the Tutsi formed a cattle-rearing elite, ruled by a Tutsi king, who lorded it over the four-fifths of the population who were Hutu peasant farmers. The stereotype has it that the Tutsi are tall and thin, with thin lips, long noses and lighter skins, while the Hutu are shorter, stockier with more classical ‘Negro’ features – although, like all the other writers on the subject, Fergal emphasises that, after centuries of intermarriage, plenty of the population was impossible to assign to one group or the other.

The German colonisers in the 1890s, then the Belgians who were allotted Rwanda after Germany lost World War One, both these European colonisers sided with the aristocratic Tutsi. In the 1930s the previously fluid demarcation between the ethnic groups was destroyed when the Belgians issued identity cards which required you to specify which racial group you belonged to.

At this point Fergal does what Gourevitch does: he speeds over the history of ethnic tension between the two groups because he is concerned to make the genocide seem unique. In its scale it certainly was, and in the way it was very deliberately planned, managed and organised by Hutu extremists it certainly was, and in its aim at total extermination of the enemy, it was. And yet the insistence of both Gourevitch and Keane on making it sound exceptional is a little undermined by the facts. Because as both writers concede, there had been a long history of inter-communal violence before 1994, which continued well after 1994.

Thus when the Tutsi monarch Mwaami Rudahigwa died in 1959, the Hutus rose in rebellion against Tutsi rule and between ten and one hundred thousand Tutsis were massacred. The rivers were full of bodies. That’s a lot of people. It begins to undermine the claim of the genocide to complete uniqueness.

In neighbouring Burundi the Tutsi held on to power through the 1960s and, to forestall a Hutu revolt, in 1973 the Burundi army murdered nearly a quarter of a million Hutus. A quarter of a million. That’s a lot of people, isn’t it? Once you start reading Rwandan history you realise the genocide may have been unique in conception and ambition, but it is, at the same time, part of a continuum of massacres and pogroms which go back at least as far as independence if not before.

Gourevitch and Keane both come on as if the 1994 genocide was a one-off, uniquely wicked and evil event, and it is its perceived uniqueness which prompts in both writers a great deal of hand-wringing and virtue signalling. Why oh why did they…? What oh what made them…? How could anybody behave like this…? and so on.

But hang on – isn’t massacring 100,000 Tutsis in 1959 also a bit, you know, evil? And what about the murder of nearly a quarter of a million Hutus? Also, pretty violent and pretty evil, too.

Why aren’t there books about those massacres? Does a hundred thousand not register? Is quarter of a million not enough? Is it as simple as the fact that back then, in the 60s and 70s, there was less TV coverage, less satellite technology to flash footage round the worlds, that it was harder to travel to these remote countries, so the massacres didn’t get covered and so… they don’t count?

Keane goes on to explain that by 1990 the kleptocratic crony regime of Rwandan dictator Juvénal Habyarimana was so corrupt that it found it very convenient to use the century-old bogeyman of the Tutsi oppressor to stir up the Hutu masses in order to stay in power, where it could carry on happily creaming off aid money and World Bank loans into its personal Swiss bank accounts.

Keane totally supports the theory the Hutu president Habyarimana’s plane wasn’t shot down, killing all on board, by Tutsi wrong-doers but by extremists within his own Hutu government. Habyarimana’s sudden death allowed Hutu supremacists to seize power and within just one hour of the president’s death to start issuing orders to implement the plan for the total extermination of the entire Tutsi population of Rwanda (maybe 1.5 million people) which senior members of Hutu Power had been carefully working on for years.

I take the point that what sets the 1994 massacres apart was the entirely political nature of the genocide, and the existence of a detailed plan, and the use of all the levers of the state to mobilise people to the killing, and the fact that the stated ambition was total annihilation of the Tutsis…

But I feel uneasy that Keane, like Gourevitch, devotes two hundred pages and a lot of hand-wringing to the killing of 800,000 people, but skims over the murder of 250,000 people or 100,000 people in a sentence – as if their murders don’t matter so much because they weren’t massacred in such an organised way.

Are some campaigns of mass murder more important, more meaningful than others? Are the dead in one mass murder campaign less important than the dead in another one? The short answer appears to be yes.

3. What Fergal saw

Keane and his crew cross the border and are met with polite and intelligent RPF soldiers, part of the well-disciplined force which has driven the Hutu army from the country. David the noble producer had contacted the RPF from Belgium and so an army liaison officer, Lieutenant Frank Ndore, is waiting for them at the first checkpoint inside Rwanda. From here onwards, Frank will be their polite and helpful guide.

Frank takes them to meet Rose Kayitesi who’s switched from being a rebel fighter to setting up a refuge for 50 or so orphaned children aged 6 to 8 in an abandoned hotel (p.68). Some of them tell their stories, like the young girl who describes seeing her entire family hacked to death by the Interahamwe, herself is badly injured but left under a pile of corpses where she remains still till the attackers have left. Their guide, Frank explains why the Interahamwe were so keen to exterminate all children and hid in wait for them or silently listened out for whimpers and crying before moving in for the kill (p.71). Resulting in some children withdrawing, refusing to eat and dying of grief (p.72).

Fergal sees the river clogged with corpses (p.74). Many rivers were clogged with bodies. Lake Victoria became so polluted with corpses that Ugandan fishermen dragged them out and buried them to stop them killing off the fish (p.75).

Frank takes them to the town of Nyarubuye where some 3,000 people were hacked to pieces in and around the parish church (p.76). Lots of human bodies which have been hacked to death from every possible angle, displaying every possible wound.

They meet small groups of refugees on the road, clustering together for safety, each one generally the sole survivor of the massacre of their family, their village, their community.

The offices of the mayor of Rusomo have been converted into a makeshift hospital for survivors with terrible wounds. There is no medicine, no painkillers. The mayor or bourgmestre was Sylvestre Gacumbitsi and many of the poor Tutsis of the town turned to him for help as the atmosphere became tense on the buildup to the genocide. Not only did he turn them away, but a few days later he led Hutu death squads round the homes of Tutsis and directed the mass murder, using the identity cards he had in his filing cabinets in the office. Flora Mukampore only survived, badly cut and bleeding, because she hid under a pile of fresh corpses (p.89).

On the spur of the moment they decide to try and track down this genocidaire and mass murderer Sylvestre Gacumbitsi and so drive east, across the border into nearby Tanzania, and to one of the biggest refugee camps which sprang up as hundreds of thousands of terrified Hutus fled the advancing RPF, Benaco. The camp is a vast mudbath, organised into ‘roads’ between groups of tents made from tarpaulin supplied by the UN and aid agencies. They spend the night and then assiduous questioning does in fact lead them to Sylvestre Gacumbitsi. He is surrounded by young men with machetes who are carrying out his orders as he manages the distribution of rice to refugees from his canton. Keane questions him as hard as possible, putting to him the accusations of eye witness who saw him (Sylvestre Gacumbitsi) directing the killing. But the big man denies it, dismisses it all as Tutsi propaganda, and his surly followers mutter agreement.

In a flash Keane realises the génocidaires have brought their entire social system into the camps, recreated their networks of clientilism and patronage and intimidation. And the international community is going along with it, funding them, feeding them, allowing them to recreate the murderous militias (p.107).

Keane realises the international community which did sweet FA to prevent the genocide has been only too happy to jump into action when confronted with a huge refugee crisis. Setting up camps, flying in vast amounts of food, faces of happy aid workers helping happy refugees, this is what everyone wanted. Keane thinks well-armed Western soldiers could have easily identified leading génocidaires and arrested them. Their failure was a complete moral failure. The international community was ‘giving comfort to butchers’ (p.110).

That same night they drive back over the bridge by the Rusomo Falls into Rwanda. They see soldiers looting refugees. Reading this, it occurs to me that most of the world is like this. Bullies preying on smaller bullies who prey on the absolutely helpless.

Drunk Tanzanian soldiers try to stop them crossing the bridge and then to confiscate their camera, but like their fairy godmother Lieutenant Frank appears, and gets the RPF soldiers his side to pay the drunk Tanzanian soldiery a few hundred dollars and a tricky situation is defused. Really makes me want to go to Africa (p.113).

Lieutenant Frank organises a tour of the abandoned and ransacked presidential palace. (This is reminiscent of Michela Wrong in the abandoned and ransacked palace of Joseph Mobutu or Philip Gourevitch in the abandoned and ransacked palace ditto. It’s a kind of standard element or trope of ‘the overthrow of dictators’ journalism.)

They are staying at the UN offices along with all the other correspondents, journalists and news crews. They do tend to stick together. Keane is in Kigali when half the city was still in government hands and the RPF was shelling and mortaring its way into the government half. At short notice they are invited to visit a Red Cross hospital. To nobody’s surprise a hospital in a war zone is packed with terribly injured soldiers and civilians. He sees a small Tutsi boy whose arm has been cut off. Details like that, snapshots, say more than all Keane’s editorialising.

When they leave to drive back through roadblocks to the rebel side of Kigali, they are hustled into smuggling with them two European missionaries who have escaped from a mission up country because Brother Otto’s arm was wounded and he needed treatment. Nerve-racking moments as they smuggle the two missionaries out. Later, Keane hears their story. To seek out help they left behind a mission full of Tutsi children they had been protecting. The children knew it was coming. They asked to be locked in a room. A week later the militia came and slaughtered all 50 of them. Brother Henri tells Keane all this though tears.

That night they get drunk with their faithful guide Lieutenant Ndore who insists, like all the RPF they’ve met, that it’s not about ethnicity, it’s about power and politics. A political cabal and their clients had made personal fortunes creaming off the nation’s wealth and turning the civil service into a party machine (p.20). They wanted to carry on doing so under the dictatorship and so didn’t want to be forced to accept a multi-party, multi-ethnic constitution which the ‘international community’ was forcing Habyarimana to accept.

Without political power the whole system of patronage and clientelism would collapse. (p.23)

The politics of ethnicity

Throughout the book Keane repeats the same notion, which is that the genocide may have been defined in terms of ethnicity but it was at bottom politically motivated. It took expression in ethnic cleansing but it was about one group, one party, the extreme wing of the president’s MRND party and its extended clients, clinging on to power and consolidating its power for ever.

Keane’s insistence can be interpreted several different ways: one is that he is sticking to a humanistic conviction that ethnicity isn’t the be-all and end-all because this optimistic conviction allows him to hope that ethnicity can be overcome and so that the genuinely multi-ethnic state which the RFP promises can be brought into existence.

But it is possible to devise a kind of reverse interpretation of the same set of facts, which is: what if, in many countries, ethnicity is politics? In the 25 years since Keane wrote this book ethnicity hasn’t disappeared as a defining factor in political cultures around the world, it has grown, particularly in the last decade. All round the world we have seen the rise of nationalist leaders waving their national flag and liable to attack minorities: the BJP demonising Muslims in India; the military junta in Myanmar ethnically cleansing the Rohingya; China brutally clamping down on the Xinjiang Muslims. And anti-immigrant rhetoric becoming widespread across the West.

Keane’s book was written before any of this happened but, at various points, it emphasises that these kinds of divisions between ethnicities are not inevitable but are always stirred up by politicians with essentially political motivations i.e. using ethnic differences in order to stir up their base and remain in power. And in the money.

Back to the journey

Anyway, back in the narrative, it’s time to say goodbye to the helpful, intelligent Lieutenant Ndore and so Fergal gives him the edition of Yeats he’s been carrying round, as a thank you present (p.141).

He writes a half-page note about visiting the Amohoro stadium which the UN forces managed to secure and where they protected thousands of terrified refugees.

And the second half of the same page records a visit to the Milles Collines Hotel, also guarded by a small contingent of UN soldiers, where hundreds of refugees live in terror that the Interahamwe lounging at the roadblocked entrance will one day simply walk in and hack everyone to pieces, the hotel which was to become famous because of the movie, Hotel Rwanda (p.142).

Keane and his crew are assigned a new RPF minder named Ernest to replace Lieutenant Frank, but he is a kid, unreliable and always wants to sleep. He is to guide them on the route south into Burundi. They get into their Land Rovers and drive to the town of Kabuga, which saw heavy fighting. Every building is damaged, bodies, not just of humans. A dead cow is wedged into a doorway (p.145).

Ernest then tells them he knows the route to the border with Burundi and sets them off down a road which gets smaller and more jungley until they pass two wrecked vehicles and realise the road is landmined. As this is sinking in, they see two figures ahead burying something and hurriedly turn round and drive all the way back to Kabuga.

After recovering back in Kabuga, they set off south again, this time by a different route. Hours of nervous tension driving through jungle with one of the crew’s two Land Rovers making bad sounds as if it’s about to break down. They arrive at the village of Zaza, held by the RPF, who are guarding several hundred Hutu prisoners. Keane quotes an African Rights report which estimates 800 people were murdered in the commune of Zaza, and quotes one woman survivor who watched the children being hacked to death and was, again, buried under a pile of bodies, covered in blood and so thought dead by the attackers (p.154).

It is a nerve-racking night, given a few rooms in an abandoned house by the RPF officer, who commands just 15 men to hold a remote village filled with 300 or more Hutu prisoners, while everyone knows the Interahamwe are out there in the jungle.

Next day, 12 June 1994, they finally make it to the Burundi border and are checked through by drunk Tutsi Burundi soldiers. They say goodbye to the two Ugandan drivers, Edward and Moses, who have to turn round and drive the length of the country and back across the northern border, into Uganda, before it gets dark.

They are met by Rizu Hamid, a South African born Asian who’s worked as Fergal’s fixer in South Africa. She is, of course, ‘tough and dedicated’. He is awestruck by her ability to smooth talk even the most difficult, dangerous soldiers at roadblocks (p.167). But then, everyone Fergus works with is an epitome. Rizu has arranged for a young government soldier named Sergeant Patrice to be their minder as they penetrate into the government-held area to meet and interview, well, murderers.

After a series of nerve-wracking encounters at no fewer than 30 roadblocks, they arrive in Butari and put up in a basic hotel. David and Fergal interview the Rector and Vice-Rector of Butare University. Like others they’ve already met, this couple are far from stupid, but believe the government’s line entirely: that the nation was under threat from the RPF’s 1990 invasion, that war was the only way to defend themselves, that the RPF seek to reassert Tutsi paramountcy and restore Hutu serfdom of pre-1959.

Next day they go to interview the town prefect, Sylvan Nsabimana. They ask him about the fate of the last few hundred Tutsi left alive in the whole region who are being held in a camp right outside the prefect’s office. Nsabimana is all reassurance and tells them that, in fact, he is planning to evacuate the children to nearby Burundi, the following day.

Keane presses him on the murders, on the genocide but, like every government official they meet, Nsabimana repeats the government line that there was no genocide, that the government was protecting the country against attack by the RPF, who intend to restore their oppressive rule. If confronted with examples of actual killings he gives the stock answer that, alas and alack, casualties happen in time of war.

The next day Fergal, Rizu, David and the rest attach themselves to the convoy of lorries carrying Tutsi children to freedom in Burundi. A whole series of nerve-racking roadblocks, which Nsabimana himself negotiates their way through and then, finally, they cross the border and Keane’s Rwandan journey is at an end.

Thoughts

How long did Fergal’s Journey last in total, then? Two weeks? Three weeks? Less than two weeks? Not long and he didn’t really get to talk to that many people, 20 to 30 maximum. Compare and contrast with Philip Gourevitch who visited Rwanda for a total of something like nine months and gives the impression of having spoken to hundreds of people.

Keane’s book is shorter but it is much more intense. The descriptions of his anxiety in long trips through the jungle and his terror at roadblocks manned by drunken soldiery are very vivid. And his first-hand account of seeing the actual bodies piled up in streets and fields and offices and churches is powerful. Almost powerful enough to make you forget the preening opening of the book.

For all his feeble inability to really grasp the genocide, Philip Gourevitch’s book is a lot better. It has far more history and context than Keane’s and he includes testimony and interviews from far more people, including lots of UN officials and, crucially, the brains behind the RPF, Paul Kagame.

And Gourevitch also continues the story on past the genocide itself, for quite a few years, up till 1998, so he gives a far better sense of the ongoing political importance of the huge refugee camps in Zaire, and how they came to trigger the first Congo War – a depth of perspective which is necessarily missing from Keane’s account which, in essence, boils down to vivid reportage of a hurried, stressful 2-week visit to the country in June 1994, smack bang in the middle of its combined civil war and genocide.

He didn’t have to go

The very force of Keane’s candidly described terror keeps prompting the same thought. He undergoes ordeals of tension and stress, bursts out swearing at the drivers, has to get drunk at night to obliterate the sights he’s seen or take sleeping pills. He thinks forlornly of his family. He wishes he were back home. The rector of Butare university invites him to his house to watch Ireland play in the World Cup, in New York, and Keane desperately, desperately wishes he was there.

Well OK, the reader thinks: so go, then. Leave. Hire a taxi, get driven clean out of the danger zone, catch a plane home, be with your family. Tell the BBC you’d like to be the Westminster correspondent. Or work on Strictly Come Dancing. If you don’t like it so much, if it means you end up seeing too many corpses, meeting too many evil people, having too many nightmares, here’s an idea – quit being a foreign correspondent and go home.

No-one is forcing him to repeatedly travel into war zones and risk getting casually murdered by drunk soldiers at a roadblock in the middle of nowhere. This is the choice he has made.

When he keeps telling us how wretched and awful and terrifying and lonely and damaging it is to be in such terrifying zones and see so many corpses and confront so much evil, the reader thinks: well, don’t do it, then. But don’t willingly and voluntarily choose this line of work, hustle for the job, undertake the assignments – then bleat about how horrible it all is and expect my sympathy.

The shameful record of the Americans

The US administration of Bill Clinton did its best to ignore the genocide. America (and Belgium) insisted on reducing the UN presence from 2,500 to 250 on the eve of the genocide, guaranteeing the UN could not intervene, and reinforcing that with a mandate which stipulated no military intervention. Even when they could see Tutsis being hacked down from their offices. ‘Never again must we…. All it requires for evil to flourish is good men to do nothing…We must never forget the victims of the Holocaust… blah blah blah.’ Bullshit.

Once alerted to the killings, the Americans deliberately delayed sending what UN troops remained a consignment of arms and armoured cars, insisting on charging full market rate to the UN which the UN couldn’t afford (p.123).

On President Bill Clinton’s orders the Americans refused at every level of government to use the word ‘genocide, for in that case it would be legally obligated to intervene and America did not want to intervene.

When the victims of a genocide were being murdered in front of their eyes, the Americans did everything in their power to avoid giving any help. Beyond shameful.

French support for the genocidal regime

The French continued to support the genocidal Hutu regime partly because they spoke French, and opposed the Tutsi RPF which ended the genocide at the time and for years afterwards, partly because they spoke English. Seriously.

The French had long supported Habyarimana and had no wish to see him driven from power by the rebels. The pro-Habyarimana faction in Paris was led by François Mitterand’s son Jean-Christophe, who saw Rwanda as part of a Francophone Africa under threat from the encroachments of the English-speaking nations to the north and east i.e. Uganda and Tanzania. Among Jean-Christophe’s gifts to the Rwandan president was the personal jet which was shot out of the sky on 6 April. The implication of this friendship was clear: if the price for maintaining some degree of French influence was the preservation of despots and kleptocrats, then Paris was always more than willing to pay.

In contrast to Habyarimana the leaders of the RPF were largely English-speaking. The long years of exile in Uganda had forced them to abandon the French language. For their part the French maintained a military mission and a sizeable detachment of intelligence officers in Rwanda. With their contacts inside the army and at every level of government and the state media, Paris could not have been ignorant of the genocidal intentions of many of the senior officers and officials. For the French to suggest otherwise would be a lamentable comment on the abilities of their own intelligence services and diplomats. (p.26)

As part of a sustained effort to discredit the invading RPF and continue support for the genocidal Hutu Power regime, a French security agent claimed he had the black box from Habyarimana’s shot-down jet which proves it was the RPF who fired the missiles. But he provided no actual evidence and soon disappears from view (p.117).

[President Habyarimana’s] brother-in-law Protais Zigiranyirazo was up to his neck in the trade in endangered species. Protais was a founder member of the Zero Network and an original shareholder in Radio Milles Collines. A book David has brought with him on our journey, Murder in the Mist, alleges that Protais was involved in the murder of American naturalist Dian Fossey because of her attempts to save the gorillas of the Rwandan rain forest. To date he has not even issued a rebuttal, much less attempted to sue the author. Protais is currently enjoying the sanctuary provided by the government of France, along with his sister Agathe and several other family members. It is not likely that they will see the [presidential] palace again, but they have the security of foreign bank accounts and the sympathy of the Quai d’Orsay (French Foreign Ministry) to console them in exile. I can see what sickens Frank. (pages 119 to 120)

That last sentence refers to the way the entire RFP up to its leader Paul Kagame were sickened at the absolute inaction of the ‘international community’ to prevent the genocide. The inaction was led by America which blocked every attempt to intervene, and France, which energetically supported the genocidal regime, gave it arms and weapons even as the genocide was taking place and set up safe havens in the west of the country for genocidal Hutus fleeing the advancing RPF. At the RPF rolled through the country and brought the genocide to an end, the French government flew the genocidal regime’s leaders to safety in Paris, where they’ve been leading lives of luxury ever since, right up to the present day, 2021. What’s not to despise?

Mistaking genres

Lastly, maybe my negative reaction to Keane’s book is my fault. Maybe I’m being dim. Maybe I’m getting my genres mixed up. Maybe I’m expecting the objectivity of a history from a text which, right from the start, declares it is going to be an entirely subjective account. Only right at the end of the book did it occur to me that this kind of subjective journalism is maybe a variety of confessional literature.

When Keane writes at length about the nightmares he’s suffered ever since his Rwanda trip, about his drinking, about how scared he was at numerous points, about how he lost his temper with the driver and came to loathe their irresponsible RPF guide Albert, how much he missed his wife and how much he wished he could just go home – I found all this tediously subjective, but maybe I’m being an idiot for expecting anything else. It is titled a journey and clearly states right from the start that it is going to be a highly subjective account of one man’s experiences and feelings of a nightmare situation.

And, after all, maybe Keane’s prolonged descriptions of his feelings and psychological struggles are a deliberate strategy to take you with him right into the belly of the beast, to make you feel the fear and see the bodies, designed to be an immersive experience which combines historical background and political analysis with stomach-churning descriptions of what it was like.

I still didn’t like this book, but maybe my allergic reaction is my fault because I was continually judging it by the wrong criteria, assessing a work of confessional journalism as if it was a factual history. Anyway, I’ve given you enough evidence to make up your own mind.

Credit

Season of Blood: A Rwandan Journey by Fergal Keane was published in 1995 by Viking. All references are to the 1996 Penguin paperback edition.


Africa-related reviews

History

Fictions and memoirs set wholly or partly in Africa

Exhibitions about Africa

Turner prize 2018 @ Tate Britain

The Turner Prize has been running since 1984. It is awarded annually to an artist born or based in Britain. Each year four artists are shortlisted by a jury for an outstanding exhibition or public presentation of their work in the previous year. This year, for the first time since its inception, all four finalists are video film-makers, namely the organisation Forensic Architecture, and three individual artists: Naeem Mohaiemen, Charlotte Prodger and Luke Willis Thompson.

You go through the exhibition glass doors into a big light lounge-type space dominated by a big square table ringed by grey sofas. On the table are books for visitors to read on the exhibition’s themes. These are gender and identity, race and sexuality, politics, repression and resistance. Pretty standard, down the line, mainstream art school stuff ideology, then.

Turner Prize lounge, sofas, table and books

Turner Prize lounge, sofas, table and books

From this comfortable if antiseptic space four black doorways lead off. Beside each is a set of wall panels explaining the work and biography of each artist. You read about them, then walk into the black space which, in each case is in fact a short corridor which leads to a corner, turning into a pitch-black projection space, the corridor and turn being to ensure the projection space is as dark as a cinema.

Naeem Mohaiemen

Mohaiemen was born in 1969 in London and grew up in Bangladesh. Now, inevitably, he lives and works in New York. In the opinion of the jury his works ‘explore post-colonial identity, migration, exile and refuge’. He presents three works

Tripoli Cancelled is a fictional film which follows the daily routine of a man who has lived alone in an abandoned airport for a decade. It is 93 minutes long.

Two Meetings and a Funeral recreates key meetings from 1973 and 1974 during which the Non-Aligned Movement, set up after the Second World War to represent newly independent former colonial countries, began to reject socialism and move towards religion as a uniting force. It is 89 minutes long.

Still from Two Meetings and a Funeral by Naeem Mohaiemen

Still from Two Meetings and a Funeral by Naeem Mohaiemen

Volume eleven (flaw in the algorithm of cosmopolitanism) is a pamphlet.

Luke Willis Thompson

Thompson lives and works in London. He makes silent 35mm films which are projected by an enormous and noisy film projector onto a huge wall, rather than a screen. In the words of the jury, he ‘investigates the treatment of minority communities and the way objects, places and people can be imbued with violence.’

He presents a trilogy of films which ‘reframe histories of violence enacted against certain bodies, and offers counter-images to the media spectacle of our digital age.’

Cemetery of uniforms and liveries (2016) is 9 minutes 10 seconds long and features doleful portraits of the descendants of two women hurt in London by the police. Brandon is the grandson of Dorothy ‘Cherry’ Groce, who was shot by Metropolitan Police in 1985 when they raided her home looking for her son Michael. The shooting, which left Dorothy Groce paralysed, led to the 1985 Brixton riot. Graeme is the son of Joy Gardner, a 40-year-old Jamaican mature student living who died as the result of being bound and gagged by police who had raided her home intending to deport her in 1983. None of the officers involved in these women’s deaths were convicted. Brandon and Graeme face the camera in stark black and white, unmoving, unspeaking, with serious, grim, maybe mournful expressions.

Still from Cemetery of Uniforms and Liveries (2016) by Luke Willis Thompson

Still from Cemetery of Uniforms and Liveries (2016) by Luke Willis Thompson

autoportrait (2017, 8’50”) I saw this at the Photographers’ Gallery where it had won the Deutsche Börse photography prize in May of this year. In July 2016 Diamond Reynolds filmed and live-streamed the moments after the fatal shooting of her partner Philandro Castile by American police, the footage of her then and subsequently distributed round the world being of a hysterical crying woman. Thompson approached her with the idea of recording her image as she chose to present it, in clothes of her choosing, expressionless, aloof, in control.

Still from autoportrait by Luke Willis Thompson © the artist

Still from autoportrait by Luke Willis Thompson © the artist

_Human (2018, 9’30”) There is a long essay about this film on the Frieze website:

It examines the small sculpture the late British artist Donald Rodney made, using scraps of his own shed skin, and held together with dressmaking pins, as he lay ill with sickle cell anaemia.

Forensic Architecture

Unlike the other three entries, Forensic Architecture is not an individual: it is an international research agency that uses innovative technological and architectural processes to investigate allegations of state violence. It’s a well-funded and organised body, with members including architects, archaeologists, artists, filmmakers, journalists, lawyers, scientists, software developers and theorists.

They work with internationally reputable charities such as Human Rights Watch, the United Nations and Amnesty International. You might well ask yourself what they are doing in an art exhibition.

Well, their typical working method is to be called in when deaths have occurred, often caused by state actors, and to investigate the events using state of the art techniques they have pioneered.

The big example here relates to an incident which took place on 18 January 2017, when Israeli police attempted to clear an unrecognised Bedouin village so the area could have an Israeli settlement built on it. During the confused armed confrontation between the villagers and the police, local Yakub Musa Abu al-Qi’an and a Israeli policeman Erez Levi were killed.

The Israeli police at first claimed he was a terrorist, amid a set of evidence which presented a narrative justifying the police behaviour. But pro-Bedouin Israeli activists were present and filmed some of the events and took photos.

Drone footage incorporated in The long duration of a split second by Forensic Architecture

Drone footage incorporated in The long duration of a split second by Forensic Architecture

Bringing to bear the full panoply of modern forensic reconstructive technology, the agency’s experts were able to assemble a detailed timeline into which the scrambled footage, scattered audio, stills taken by the activists and the police themselves could be used to reconstruct what really happened. The Forensic Architecture website gives a detailed breakdown of the series of events as they eventually established and proved them.

As a visitor what you experience is: 1. in a dark room the hectic hand held footage captured by a reporter who, at the sound of shots falls to the ground, and you get a lot of scrabbled shots of the rocky ground. 2. But you can walk through the projection room and into a normal white gallery space: along one wall is the timeline of events I’ve just linked to, and then a separate, related work, Traces of Bedouin Inhabitation, which is a really characteristic piece of Forensic Architecture. The Israeli government claims it has the right to move Bedouin off the land since they are only temporary settlements. However Forensic Architecture experts have gone back and found the original aerial maps of the area produced by the British in 1945, and been able to prove that Bedouin settlements existed then, i.e. are older than the state of Israel.

Installation view of Traces of Bedouin habitation 1945-present showing headphones which give commentary and explanation

Installation view of Traces of Bedouin habitation 1945-present showing headphones which give commentary and explanation

This is fascinating, worthwhile and cutting edge forensic, legal, scientific and image manipulation work being done by an international team of experts. The installation also includes details of workshops the organisation held where people could go along and find out more about aspects of their work (and maybe get involved).

I’ve left till last the fourth installation which, on 4 December, was announced as the winner of the 2018 Turner Prize.

Charlotte Prodger’s Bridgit

Prodger is a Scottish lesbian. She has been working with the moving image for over 20 years during which time she has experimented with the changing technologies we use to capture images. In the words of the jury, she ‘deals with identity politics, particularly from a queer perspective. Using a range of technologies from old camcorders to iPhones, Prodger’s films build a complex narrative exploring relationships between queer bodies, landscape, language, technology and time.’

Bridgit is her most autobiographical work to date. It was shot on her iphone over the course of a year, capturing scenes around her including (the ones I saw) her cat lying on her bed, some impressive standing stones in a field with a mountain in the background, and the back of a ferry recording the white wake continually unfurling across the sea behind.

Over this are ‘found’ sounds like the radio on in the background, cars, planes, the rain. But also Prodger reading out excerpts from her journal in which she talks about coming out, working in a care home, and the experience of going under anaesthetic.

The work’s title comes from the neolithic goddess, Bridgit, whose name and associations have altered across time and location. She is not only a sort of presiding spirit over some of the Scottish locations Prodger films, but an example of the way ‘identity’ is unstable and fissiparous.

Still from Bridgit by Charlotte Prodger

Still from Bridgit by Charlotte Prodger

I walked in just as Prodger was reading part of her journal:

Names themselves weren’t codified as personal descriptors until the Domesday book. The idea behind taking a name appropriate to one’s current circumstance was that identity isn’t static. The concept of one’s public and private self, separately or together, changes with age or experience (as do the definitions of public and private); and the name or label or the identity package is an expression of that concept.

Now, 1. I’m not sure that’s true about Domesday. I just happen to have been looking at the Domesday book a few weeks ago in the British Library’s fabulous exhibitions about the Anglo-Saxons and whereas Anglo-Saxon churls may not have recorded names, I’m pretty sure the Norman aristocracy had very clearly defined names, and names, and nicknames, which often defined their roles. William the Conqueror.

And 2. It was just like being back at school with a teacher at the front of the room lecturing me. Or in a lecture hall back at college, and being lectured about the ideology of queerness and identity politics.

It always amuses me how the more PC art curators and artists will accuse the Victorians of heavy-handed moralising – but then praise to the skies the kind of art included in this show as radical and subversive when, quite clearly, it is equally committed as the Victorians to promoting, sustaining and forwarding the values of the day, the ideologies of our era – jam packed with ‘important’ and urgent social and moral messages.

The content may change but the Urge To Preach is an enduring feature of a certain kind of art, and is lapped up by a certain type of critic.

Thoughts

The most obvious conclusion from the show is that ‘art’ is being swallowed by ‘news’.

What was once the specialist field of news and current affairs journalism is now slap bang centre stage in three of the four works shortlisted for Britain’s biggest art prize.

The judges and some critics I’ve read called this ‘a political show’, maybe ‘the most political selection the Turner has ever made’.

I think that flatters both artists and jury. They can attend their gala champagne prize-winning dinner, funded by Banque National Paris (the eighth largest bank in the world), hand out the cheques for twenty-five grand, and still be under the flattering delusion that they are ‘radicals’ who are ‘changing the world’.

But there is a very big difference indeed between politics and news. News flashes onto our TV screens, laptop and mobile phone screens in a blizzard of outrage and anger. Twitter storms. Social media hurricanes. Trump says something stupid. Corbyn says something sexist. Black man shot in Los Angeles. Riots in Paris. Brexit latest. Ukraine latest. Jose Mourinho latest.

News is about making a big splash with sensational or tricksy coverage of essentially ephemeral incidents. News is here in a great flurry of excitement and then… gone, forgotten, yesterday’s tittle-tattle, only good for wrapping up chips.

Politics, on the other hand, is defined as:

the activities associated with the governance of a country or area, especially the debate between parties seeking or trying to maintain power

Politics requires long-term planning to organise large bodies of people behind mass movements working for well defined social and economic ends, usually laid out in a manifesto or campaign pledges. It takes a lot of planning and involves mobilising millions of people.

If there is a spectrum with news at one end and serious, mass movement politics at the other, all the exhibits in this show are at the news end.

Moreover, when it comes to the use of video as a medium, the movement of news reporting away from newspapers and magazines, and its dominance by television coverage, has been one of the notable aspects of the past fifty years (with much lamentation from old-school journalists). Flashy footage of missiles taking off or people rioting has, during my lifetime, replaced the more sober analysis of events which you used to get in newspapers and news magazines. (They still exist, obviously, but their readerships have steadily declined.)

In this respect too – by virtue of the simple fact that all four entries consisted almost entirely of video footage – the Turner Prize hasn’t become more political – it has become more like the news.

Therefore, for what it’s worth, in my opinion this year was not particularly political. It was intensely newsy. It made big headlines with tricksy and inventive ways of covering essentially ephemeral stories.

In fact, even as news, the stories fall short.

The subjects tackled in these videos may epitomise long-running political issues – American police are racist, refugees have a hard time, the Israeli security forces can get away with killing unarmed Arabs – but none of these stories actually is news. They are the opposite of news. They are in fact very old stories. They were well-established tropes when I was growing up in the 1970s.

Given all this, you could sum up the Turner Prize exhibition as a selection of yesterday’s news.

Even though there are good moments in all the presentations, even though Thompson’s hauntingly silent black victims, or Forensic Architecture’s amazingly detailed and techno-savvy reconstructions, or Naeem Mohaiemen’s airport man or Charlotte Prodger’s standing stones all have their moments – there’s something about the medium of video itself which feels insubstantial, cheap, and unrewarding.

It may be all-consuming while you watch it — but then is almost immediately forgotten. Just like the TV news. Watch it, be horrified by this, scandalised by that, chuckle at the final comedy item, go to bed – forget all about it.

Prodger’s very personal film was the exception, so maybe that’s why she won. Footage of beautiful Scottish scenery. Footage of her cat. Footage of a sea ferry. All shot very badly with her fingers over the lens half the time. Edited deliberately clumsily. And with a voiceover telling us identity is flexible and fluid and that people have to be free to express themselves.

Maybe it was the very familiarity of these tropes which made the piece seem so already-seen, like a hundred other home-made art-school efforts lecturing us about queer identity – which gave the judges such a reassuring sense of familiarity. The stretches of it which I watched were certainly very restful.

Videos of the four finalists

There are short videos devoted to each of the four finalists.

Naeem Mohaiemen

Forensic Architecture

Luke Willis Thompson

Charlotte Prodger

A brief promo video for the whole show.


Related links

Reviews of other Tate exhibitions

%d bloggers like this: