Lesson from a famous Rwandan musician and court jester and a genocidaire complicit Simon Bikindi, whom politicians and tribal lords used,

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Lesson from a famous Rwandan musician and court jester and a genocidaire complicit Simon Bikindi, whom politicians and tribal lords used, died like dogs in his role in the 1994 genocide.
Dear Artists and Musicians, do not allow politicians and tribal lords to use your content, music, and platform to build walls rather than bridges and germinating hate and division. Refuse, to spread hate, refuse to apply tribalism for anyone just because they are your tribesmen. Refuse to segregate your fans, friends, and neighbors along the political and tribal divide. Spread peace, love, and unity. Your Tribe is The Gambia, and your vote belongs to the leader of your choice, not to the one your tribesmen are massively voting for. Your voice and vote are private and independent. Not ‘tribal and continue spreading your message of peace, love, and unity.
Here is the sad story of Simon Bikindi, a very popular musician who died of brokenness and regret after being used by politicians and tribal lords. I published it in 2019.
Fatoumatta: Simon Bikindi died a lonely man somewhere in Benin last year.
I say lonely because he was the chief musical court jester for the late President Juvénal “Kinani” Habyarimana and the National Republican Movement for Democracy and Development at the height of his career. At the height of his fame, Bikindi was once referred to as Rwanda’s “Michael Jackson” by his admirers.
Bikindi was a famous Rwandan musician whose songs were staples of political rallies and the extremist Radio Télévision Libre des Mille Collines that were instrumental in inciting the 1994 genocide. For this, he became the first musician in history to be tried and convicted for war crimes. He served 15 years and was released in 2016. His music is still censored in Rwanda.
He started out singing “wedding songs” before he ventured into political praise-singing. His song “Twasazareye” became the rallying anthem for dissatisfied Hutus during the pre-genocide period. The music found itself into the playlist of national radio and was played over 15 times a day during the 100 days of the genocide.
Then came “Nanga abahutu” (“I hate these Hutus”), released in 1993. This work contains hidden meanings through the in-depth composition of the Kinyarwanda poetry structure. Bikindi’s lyrics promoted hate towards moderate Hutus considered disloyal to Habyarimana.
In “Nanga abahutu,” Bikindi sings:
“I hate these Hutus, these de-Hutuized Hutus, who have renounced their identity, dear comrades.
I hate these Hutus, these Hutus who march blindly, like imbeciles.
This species of naive Hutus join a war without knowing its
I hate these Hutus who can be brought to kill and who, I swear to you, kill Hutus, dear comrades.
And if I hate them, so much the better.”
In “Intabaza,” Bikindi uses Rwandan folklore to bring forth a vision of apocalyptic war through the incorporation of a children’s choir and lyrics such as “people will be killed by the spear…..,” along with themes and ideas of children being orphaned and brothers becoming traitors, about moderate Hutus.
Fatoumatta: It was not that Bikindi merely wrote and performed this
music that made his actions potentially criminal. Instead, it was the song’s message, combined with their presentation amidst calls for outright genocide on the airwaves and at gatherings of the “Interahamwe” militia, that made Bikindi’s music so deadly. Bikini sung, people died.

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