At most, however, participants acknowledged these written texts had a limited audience in Rwanda. Rwanda is a primarily oral society. As a result, most people traditionally do not seek or receive written information. After publication, excerpts from several of the texts were adapted to the stage in Rwanda by Koulsy Lamko, a Chadian dramatist. Is there a body of artistic work we can refer to as theatre of the Rwandan genocide? If so, what would be its role?
On the literature of genocide, of disaster and catastrophe, Rubina Peroomian reminds us that we should understand it as a “unique body of artistic creations triggered by a traumatic, unprecedented collective experience in the history of [the Rwandan people].” It is my observation that theatre is present in Rwanda and is perhaps the most visible form of artistic expression. The subject matter often relates to the question of recon- ciliation as well as other economic, health, and social issues in post-1994 Rwanda. The idea of enacting genocide raises ethical questions such as how do you “create a spectacle” based on disastrous events?