WBEZ | genocide http://www.wbez.org/tags/genocide Latest from WBEZ Chicago Public Radio en Remembering the Rwandan genocide http://www.wbez.org/programs/worldview/2014-04-07/remembering-rwandan-genocide-109980 <img typeof="foaf:Image" src="http://llnw.wbez.org/main-images/Rwanda.jpg" alt="" /><p><p>Twenty years ago today marks the beginning of one of the worst genocides of the 20th century. Estimates put the dead from the 100-day slaughter at close to one million people. We deconstruct what happened with former General Romeo Dallaire, head of U.N. peacekeepers in Rwanda in 1994.</p><div class="storify"><iframe allowtransparency="true" frameborder="no" height="750" src="//storify.com/WBEZ/worldview-remembering-the-rwandan-genocide/embed?header=false" width="100%"></iframe><script src="//storify.com/WBEZ/worldview-remembering-the-rwandan-genocide.js?header=false"></script><noscript>[<a href="//storify.com/WBEZ/worldview-remembering-the-rwandan-genocide" target="_blank">View the story "Worldview: Remembering the Rwandan genocide" on Storify</a>]</noscript></div></p> Mon, 07 Apr 2014 11:28:00 -0500 http://www.wbez.org/programs/worldview/2014-04-07/remembering-rwandan-genocide-109980 Protests continue in Ukraine http://www.wbez.org/programs/worldview/2014-02-03/protests-continue-ukraine-109626 <img typeof="foaf:Image" src="http://llnw.wbez.org/main-images/Ukraine photo.jpg" alt="" /><p><p>President Viktor Yanukovych returned to work in Ukraine on Monday after taking a four-day sick leave. Despite his absence, protesters continued to demand his resignation. We&#39;ll get an update from Kiev.</p><div class="storify"><iframe allowtransparency="true" frameborder="no" height="750" src="//storify.com/WBEZ/worldview-ukraine-s-protests-continue/embed?header=false" width="100%"></iframe><script src="//storify.com/WBEZ/worldview-ukraine-s-protests-continue.js?header=false"></script><noscript>[<a href="//storify.com/WBEZ/worldview-ukraine-s-protests-continue" target="_blank">View the story "Worldview: Ukraine's protests continue" on Storify</a>]</noscript></div></p> Mon, 03 Feb 2014 10:41:00 -0600 http://www.wbez.org/programs/worldview/2014-02-03/protests-continue-ukraine-109626 College president who hired Rwandan professor accused of genocide tries to uncover truth http://www.wbez.org/blogs/bez/2012-08/college-president-who-hired-rwandan-professor-accused-genocide-tries-uncover-truth <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/AP10090611527.jpg" title="The president of Rwanda Paul Kagame, raises his hand as he takes oath of office , during his inauguration in Kigali, Rwanda, Monday, Sept. 6, 2010. (AP/John Liebenberg)" /></div><div class="image-insert-image ">When the <a href="http://scholarrescuefund.org/pages/intro.php">Scholar Rescue Fund</a> suggested that Leopold Munyakazi, a former political prisoner in his native Rwanda, come to Maryland to teach French at <a href="http://www.goucher.edu/" target="_blank">Goucher College</a> in 2008, the school president Sanford Ungar welcomed him with open arms, thinking it would boost Goucher&rsquo;s liberal arts bona fides.</div><div class="image-insert-image ">&nbsp;</div><p>In a <a href="http://nymag.com/news/features/leopold-munyakazi-goucher-2012-7/" target="_blank">recent article</a> for <em>New York </em>magazine, Ungar writes that bringing academics like Munyakazi was an &ldquo;increasingly fashionable way for colleges and universities to give shelter to intellectuals from around the globe threatened by government repression, civil strife, war or the pinch of intellectual and political cultures less accommodating than their own.&rdquo;</p><p>He continues: &ldquo;We flattered ourselves that we had done that rare thing, a purely good deed, striking a blow for the cause of intellectual freedom while bringing an honorable man to campus.&rdquo;</p><p>To be sure, Munyakazi brought attention to the school but of a different kind: He was arrested and accused of links to the Rwandan genocide of 1994. The allegations caused a <a href="http://www.foxnews.com/story/0,2933,488764,00.html" target="_blank">minor media storm</a> four years ago, including, notoriously, <a href="http://www.nytimes.com/2009/02/11/business/media/11network.html?pagewanted=all">NBC</a>.</p><p>Munyakazi strongly denies any wrongdoing. No formal charges have ever been filed, but he lost his job at Goucher over the controversy. While he remains in Maryland, Munyakazi has struggled to make ends meet ever since.</p><p><iframe frameborder="no" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F55515512&amp;show_artwork=true" width="100%"></iframe></p><p>Today on <em>Worldview, </em>Ungar shares his quest to uncover the truth about Leopold Munyakazi and examines what his case says about the murky politics of genocide.</p><p>Incidentally, before he became Goucher&rsquo;s president, Ungar ran the government news agency Voice of America. In 2001, he met with Rwandan officials to bring VOA content to the country&rsquo;s airwaves. The experience left him with the impression that the Paul Kagame government had healed the country.</p><p>After investigating Munyakazi&#39;s background, he&rsquo;s less certain. Kagame has severely curtailed freedom of the press. People that don&rsquo;t strictly adhere to his government&rsquo;s line on the genocide often end up behind bars.</p><p>Ungar says that even the term &ldquo;genocide&rdquo; is tricky. While Ungar certainly doesn&rsquo;t dispute that Hutus massacred Tutsis in 1994, the designations themselves are arbitrary. &ldquo;It&rsquo;s like saying people on the North Side of Chicago are Hutu and people on the South Side are Tutsi.&rdquo;</p><p>His four-year obsession has led him to muse about the nature of humanitarianism and whether you ever can do something uncomplicatedly good. &ldquo;Reluctantly, I&rsquo;m coming to the conclusion that there are always complications,&rdquo; he said.</p></p> Tue, 07 Aug 2012 11:45:00 -0500 http://www.wbez.org/blogs/bez/2012-08/college-president-who-hired-rwandan-professor-accused-genocide-tries-uncover-truth Africa-themed films like 'Hotel Rwanda' fail to give full historical context http://www.wbez.org/blogs/bez/2012-07/africa-themed-films-hotel-rwanda-fail-give-full-historical-context-101097 <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/hotel%20rwanda%20AP.jpg" title="From right: Don Cheadle, Sophie Okonedo and Antonio David Lyons star as Paul, Tatiana, and Thomas in United Artists' drama ‘Hotel Rwanda.’ (PRNewsFoto/SHOWTIME,Bid Alsbirk)" /></div><p><iframe frameborder="no" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F53938961&amp;show_artwork=true" width="100%"></iframe></p><p><em>Many film scholars and critics observe that in the post-apartheid era, Hollywood&#39;s portrayal of Africa and Africans generally miss the mark, foregoing opportunities to teach us profound truths about the African continent and its people &mdash; all for the sake of popularity and profit.&nbsp;Here, one of those critics,&nbsp;<a href="http://www.joyceash.com/2008/09/dr-joyce-ashunt.html">Joyce Ashuntantang,&nbsp;</a>looks at one prime example: How the film&nbsp;</em>Hotel Rwanda<em>&nbsp;ignored complexity and context in dealing with the 1994 Rwandan Genocide:</em></p><div class="image-insert-image ">In recent years, Hollywood has produced films dubbed &ldquo;human rights&rdquo; films, like <em>Hotel Rwanda</em> (2004), <em>The Constant Gardener</em> (2005), <em>Blood Diamond</em> (2006), and <em>Catch a Fire</em> (2006). The appellation &ldquo;human rights film&rdquo; itself is debatable, since Hollywood movies must negotiate between presumed audience preferences and box office figures, Factors that in turn may trump the very rights the films are meant to uphold.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">Despite <em>Hotel Rwanda&rsquo;s</em> success in sparking debate about the politics of international human rights and the contradictions of national governments that claim to value those rights, Terry George&rsquo;s representation of human rights in the film bears the marks of what is wrong not only with the human rights movement itself, but the way human rights are constructed and disseminated with reference to Africa. These include: the projection of the savage/victim/savior dialectic; the danger of assigning labels to victims and perpetrators; ignoring historical and cultural contexts of human rights abuses; and downplaying the severity of genocide in order to obtain maximum entertainment value for the film. &nbsp;</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image "><img alt="" class="image-original_image" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/Sometimes in April.jpg" style="height: 200px; width: 300px; float: left; " title="Actor Idris Elba appears in a scene from the HBO film ‘Sometimes in April,’ which Ashuntantang considers a more robust and objective re-telling of the Rwandan Genocide. (AP/HBO)" />In <em>Hotel Rwanda</em>, the Tutsis are represented as victims and the Hutus as savages. Simplistically framing the conflict along the lines of &ldquo;good guys/bad guys&rdquo; does not help the cause of human rights, but refuels anger, reinforces polarizing dichotomies, and makes conflict-resolution difficult. In the midst of this victim/savage dichotomy is the metaphor of the savior compelled to come and rescue the victims. <em>Hotel Rwanda</em> castigates the non-arrival of the savior, but nonetheless the savior image is constructed through the western journalists and United Nations general, played by Nick Nolte.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">Lack of complexity in certain aspects of the film grossly distorts the context &mdash; essential to understanding the genocide. Terry George provides short, vague snippets of the socio-politico context of the genocide between &ldquo;suspenseful&quot; scenes of Paul Rusesabagina&#39;s many attempts to stop the &ldquo;wild&rdquo; Hutu interahamwe from gaining access to the Hotel Des Mille Collines. George&rsquo;s choice of Rusesabagina as hero and the representation of one individual&rsquo;s story of perseverance, unintentionally undermine the struggle of an entire nation. Not centralizing the historical context of the genocide in the film does a disservice to the audience.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image "><em>Hotel Rwanda</em> manipulates the cinema medium, transforms the image of the genocide to a Hollywood product, and creates the illusion that this medium can successfully interpret the genocide to the world. Though fictionalized, <em>Hotel Rwanda</em> is based on a true and graphically disturbing story. As a Hollywood film, it reaches millions of people who will arguably view the film as their historical source of record on this genocide. One cannot deny that the question of accuracy will always plague any film that purports to be historical, but a film paraded as a human rights film must be sensitive to facts, for by not representing the facts objectively, the film perpetrates anger and resentment.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image "><strong>A good film alternative:</strong></div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">A film that more objectively represents the Rwandan Genocide is Raoul Peck&rsquo;s <em>Sometimes in April. </em>Peck&rsquo;s film takes colonialism into account in his re-telling of the Genocide. He also refrains from demonizing any groups of people.</div><p><br /><em>Joyce Ashuntantang&nbsp;is a professional actress and assistant professor of English/Literature at Hillyer College-University of Hartford, and an associate to the UNESCO Chair and Institute for comparative Human Rights at the University of Connecticut. She&nbsp;contributed to the forthcoming&nbsp;MaryEllen Higgins-edited volume&nbsp;<a href="http://www.ohioswallow.com/book/Hollywood%E2%80%99s+Africa++after+1994">Hollywood&#39;s Africa After 1994</a>.&nbsp;</em></p><p><em>This story is part of Worldview&#39;s occasional series&nbsp;<a href="http://www.wbez.org/series/images-movies-and-race">Images, Movies and Race</a>, produced in conjunction with WBEZ&rsquo;s&nbsp;<a href="http://www.wbez.org/series/race-out-loud/">Race: Out Loud</a>&nbsp;series. Read more on film contributor Milos Stehlik&#39;s conversations with filmmaker <a href="http://www.wbez.org/blogs/bez/2012-07/godmilow-western-films-about-africa-only-glorify-west-101129">Jill Godmilow</a>&nbsp;and&nbsp;</em><em>author/scholar&nbsp;<a href="http://www.wbez.org/blogs/bez/2012-07/hollywoods-representation-post-apartheid-africa-101126">MaryEllen Higgins</a><strong>&nbsp;</strong></em><em>about how modern Hollywood films on Africa hide racist overtones within heroic, feel-good stories.</em><em>&nbsp;</em></p></p> Tue, 24 Jul 2012 09:30:00 -0500 http://www.wbez.org/blogs/bez/2012-07/africa-themed-films-hotel-rwanda-fail-give-full-historical-context-101097 Worldview 12.21.11 http://www.wbez.org/episode/worldview-122111 <img typeof="foaf:Image" src="http://llnw.wbez.org/episode/images/2011-december/2011-12-15/mexico2.jpg" alt="" /><p><p>You wouldn’t know it from the rancorous national debate, but the flow of immigrants from Mexico to the U.S. has slowed to a halt. <em><a href="http://www.wbez.org/episode-segments/2011-09-21/mexican-economy-improving-fewer-cross-border-92275" target="_blank">Worldview</a></em> talks to Douglas Massey, co-director of Princeton University’s <a href="http://mmp.opr.princeton.edu/" target="_blank">Mexican Migration Project</a>, who says the reasons have as much to do with improved education and economic prospects in Mexico as they do beefed up security on the border. Also, an exhibit at the <a href="http://cai.maaillinois.org/" target="_blank">Cambodian Association of Illinois</a> uses images, artifacts and personal stories to shed light on the genocide. Two local Cambodians <a href="http://www.wbez.org/story/cambodian-genocide-survivors-gain-new-voice-exhibit-92274" target="_self">tell their story</a> of survival. <a href="http://www.wbez.org/globalnotes" target="_self"><em>Global Notes</em></a>&nbsp; explores another consequence of the Khmer Rouge: the death of 90 percent of Cambodia's artists. Evanston native <a href="http://www.wbez.org/episode-segments/2011-09-21/global-notes-evanston-man-preserves-cambodian-music-endangered-genocide-" target="_self">Dan Schwarzlose introduces</a> Jerome and <a href="http://www.wbez.org/radio-m" target="_self"><em>Radio M</em></a> host Tony Sarabia to some of the traditional Cambodian music he's dedicated his life to preserving.</p></p> Wed, 21 Dec 2011 15:00:00 -0600 http://www.wbez.org/episode/worldview-122111 Worldview 10.10.11 http://www.wbez.org/episode/worldview-101011 <img typeof="foaf:Image" src="http://llnw.wbez.org/episode/images/2011-october/2011-10-07/searchers.jpg" alt="" /><p><p>It’s Columbus Day. Over the years, Columbus Day has become something of a Rorschach test on what you think about our history with Native Americans or First Nations peoples. There are lots of places today where indigenous cultures are fighting to survive. Today, we continue our occasional series <em>Images, Movies and Race</em> with a look at media representations of Native Americans. <em>Worldview</em> film contributor Milos Stehlik speaks with Dorene Wiese. She's a filmmaker, historian and president of the American Indian Association of Illinois. Then, we hear how an anthropologist is using high-tech tools to keep one indigenous culture in Peru on the world map.</p></p> Mon, 10 Oct 2011 14:00:00 -0500 http://www.wbez.org/episode/worldview-101011 Columbus Day look at how imagery shaped U.S. policy and attitudes toward Native Americans http://www.wbez.org/episode-segments/2011-10-10/columbus-day-look-how-imagery-shaped-us-policy-and-attitudes-toward-nati <img typeof="foaf:Image" src="http://llnw.wbez.org/segment/photo/2011-October/2011-10-07/dances with wolves.jpg.crop_display.jpg" alt="" /><p><p>Well it’s Columbus Day. Over the years Columbus Day has become something of Rorschach test on what you think about our history with Native Americans or First Nation people. Jerome McDonnell saw a Columbus Day e-card the other day that said, "Let’s celebrate Columbus Day by moving into someone’s house and telling them we live there now."</p><p>Probably most of our perceptions about native Americans is from what we see in our films and on television. Today we revisit an installment of our occasional series <a href="http://www.wbez.org/series/images-movies-and-race"><em>Images, Movies and Race</em></a>. <em>Worldview</em> Film Contributor, Milos Stehlik, from <a href="http://www.facets.org/">Facets Multimedia</a> spoke with Dorene Wiese. She’s a filmmaker, historian and president of the <a href="http://www.chicago-american-indian-edu.org/">American Indian Association of Illinois</a>.</p><p>Dorene and Milos focused on how historical images of Native Americans in film and media helped form U.S. policy and attitudes towards Native Americans.</p></p> Mon, 10 Oct 2011 14:00:00 -0500 http://www.wbez.org/episode-segments/2011-10-10/columbus-day-look-how-imagery-shaped-us-policy-and-attitudes-toward-nati Cambodian arts nearly destroyed by a genocide find new life in Chicago http://www.wbez.org/story/actor/cambodian-arts-nearly-destroyed-genocide-find-new-life-chicago <img typeof="foaf:Image" src="http://llnw.wbez.org/cambodian 006.jpg" alt="" /><p><p>Cambodian-Americans in Chicago are determined to keep their art and culture alive in this new country. What makes their dedication so fierce is that a genocide nearly succeeded in wiping out all of the artists.</p><div>Several men sit on a mat in a computer lab at the Cambodian Association of Illinois. They play wooden instruments that resemble crocodiles, and a two-stringed fiddle that looks like a tin can attached to an ax handle.</div><div>&nbsp;</div><div>Cambodians have been meeting like this in Chicago to learn traditional music, language and dance for nearly 20 years.</div><div><strong>&nbsp;</strong></div><div>Soung San, a master musician who&rsquo;s their teacher, said they won&rsquo;t let the genocide silence their music.</div><div>&nbsp;</div><div>&quot;This is an indication that we were stronger than them, being the Pol Pot,&quot; San said. &quot;No matter what they do, we still survive, and we will keep it like that forever. Whenever, wherever, there will be a time, there will be us. The Cambodians will survive.&quot;</div><div>&nbsp;</div><div>The Khmer Rouge, led by Pol Pot, seized power in 1975. An estimated two million Cambodians died. They were killed either outright or died of disease, starvation and forced labor.</div><div>&nbsp;</div><div>The genocide killed 90 percent of the artists.</div><div><strong>&nbsp;</strong></div><div>&quot;What we see is art literally disappears in Cambodia,&quot; said Charles Daas. &quot;If you&rsquo;re practicing art, then you risk death.&quot;</div><div>&nbsp;</div><div>Daas is the former director of the Cambodian American Heritage Museum and Killing Fields Memorial. He said&nbsp; the Khmer Rouge wanted to create a communist utopia without money or schools or businesses. They brutally set out to destroy any sense of personal identity.</div><div>&nbsp;</div><div>&quot;Everyone was going to be the same,&quot; he said. &quot;So for anyone who was wealthy, who was educated, who was an artist, who was religious, who had been involved in the government, who had been involved in the army, they were an immediate enemy of the Khmer Rouge. And they were actually the very first people to die.&quot;</div><div>&nbsp;</div><div>To survive, artists hid their professions.</div><div>&nbsp;</div><div>Before the Khmer Rouge took power, Sareth Kong&rsquo;s mother was a main actor in the opera and her father, a master musician. She remembers singing while climbing trees as a child.</div><div>&nbsp;</div><div>Then the music stopped.</div><div>&nbsp;</div><div>&quot;Our family was pretty well known that we&rsquo;re artists in Battambang Province, and then when we escaped to the Moung Village, my parents changed their name, their first name, their last name, so to disguise themselves as an artist, and we would always declare that we do farming,&quot;&nbsp;Kong said.</div><div>&nbsp;</div><div>Her parents lost their instruments as well as their identity.</div><div>&nbsp;</div><div>&quot;It's very difficult, but you know, in order to survive, that's something we have to give up,&quot; she said.</div><p>Kong was 10. The Khmer Rouge separated her and her siblings from their parents and forced them into hard labor for three years. Then Kong and her family fled.</p><div>&nbsp;It was there in the refugee camps &nbsp;-- the most unlikely of places &ndash; where dance and music would return and flourish.</div><div>&nbsp;</div><div>&quot;There were few master artists who were still alive and able to escape to the Thailand border and the camp,&quot; Kong said. &quot;That&rsquo;s when they start recruitment and opened classes, to build a Cambodian community, during the camp.&quot;</div><div>&nbsp;</div><div>Sareth Kong says this is where she and her future husband, Sarun Kong, both learned to dance.</div><div>&nbsp;</div><div>It&rsquo;s also where Soung San, who&rsquo;s playing this music, heard traditional Cambodian songs for the first time.</div><div>&nbsp;</div><div>&quot;I felt like I was floating on air, I had no bones whatsoever, no skeleton whatsoever in my body, I felt like I was floating like a fish, floating in air in this case,&quot; San said.</div><div>&nbsp;</div><div>He says his jaw dropped.</div><div>&nbsp;</div><div>&quot;I asked my dad, please introduce me to music. I want to know more, I want to learn more, and so he did,&quot; San said.</div><div>&nbsp;</div><div>Before the war, his father, Bun San, had made musical instruments as a young monk. So he cut wood from a jackfruit tree and made his son his very first instrument.</div><div>&nbsp;</div><div>Through the&nbsp; association&rsquo;s Anneth Houy, who translated all the Cambodian conversations, Bun San said: &quot;Before he left, he saw a lot of killings. It's hard to see that many people died. When so many people were killed in a certain country, what happened to their heritage? So it's important for the survivors to carry on to that culture.&quot;</div><div>&nbsp;</div><div>That&rsquo;s just what father and son did when they came to Chicago. They started teaching at the Cambodian Association along with the Kongs. They all became master musicians and dancers here in the U.S., and Bun San is recognized as a master instrument maker too.</div><div>&nbsp;</div><div>They&rsquo;re ensuring that Cambodian songs and dances, traditionally performed for temple rituals, weddings or before the royal court, live on.</div><div>&nbsp;</div><div>Bun San started out by playing along to cassette tapes. But he wanted to get better and spread that knowledge to his son. San began traveling to other states and taking lessons from surviving masters.</div><div>&nbsp;</div><div>&quot;When I got those notes, I passed it along to my son, and he would continue learning from those notes, and now he knows more than me,&quot; San said.</div><div>&nbsp;</div><div>On the second floor, over the museum, his son, Soung San, counted out the beat. Two girls stood by a row of computers, ready to jump in and sing. They belted out the song. An older girl made a face at them. Her sister socked her in the arm and kept singing.</div><div>&nbsp;</div><div>In the basement, several teens learned stylized dance moves from Sareth Kong.&nbsp; Even though they&rsquo;re far from Cambodia, their heritage will always be part of them, and it&rsquo;s important to pass it on, Kong said. But there are challenges.</div><div>&nbsp;</div><div>&quot;Younger generation now doesn&rsquo;t fully understand the Cambodian language, so to communicate certain hand or feet gestures, it&rsquo;s difficult for me,&quot; she said.</div><div>&nbsp;</div><div>There&rsquo;s a generation gap, too, between survivors, their children and grandchildren.</div><div>&nbsp;</div><div>&quot;The older generation emphasized that we learn English, that we fit in with the English-American society, so they don&rsquo;t really emphasize about the Cambodian society and the Cambodian culture,&quot; said Navi Thach, 20.</div><div>&nbsp;</div><div>Thach said she&rsquo;s lucky. Her mother did talk about the importance of the temple and the rituals of music and dance.</div><div>&nbsp;</div><div>&quot;Other youth, they kind of gradually go on in their own way, they become more involved in the modern society,&quot; she said. &quot;I really wish they would have this interest that I have for our culture because it really is unique, you won&rsquo;t see anything else like it. There really is nothing as unique and special as the Cambodian culture.&quot;</div><div>&nbsp;</div> <div><span style="">Many in the Cambodian community share Thach&rsquo;s belief that passing down the culture is essential.</span> <span style="">When the Cambodian Association had to delay these classes and lay off some staff due to the economy recently, the community rallied.</span> <span style="">Parents pledged funding, and master musicians and dancers volunteered to teach for free.</span></div><div>&nbsp;</div> <div><span style="">They figure if they teach 100 students, and find one or two like Navi Thach, they&rsquo;ll have mentors for the next generation.</span></div> <div>&nbsp;</div> <div><span style="">Lynette Kalsnes, WBEZ.</span></div><p><em>Master Soung San performs on a Roneat Ek, a Cambodian instrument that looks like a xylophone placed on top of an ornate wooden cradle. Different mallets give the instrument two very different sounds:<br /></em></p><p>&nbsp;<audio class="mediaelement-formatter-identified-1328076202-1" src="http://llnw.wbez.org/story/insert-image/2011-february/2011-02-09/roneat-ek-2-web.mp3">&nbsp;</audio></div><p><strong><br /></strong></p></p> Wed, 09 Feb 2011 18:00:00 -0600 http://www.wbez.org/story/actor/cambodian-arts-nearly-destroyed-genocide-find-new-life-chicago Alleged genocide leader deported from Chicago http://www.wbez.org/story/news/criminal-justice/alleged-genocide-leader-deported-chicago <p><p>U.S. Immigration officials have deported a Romeoville man who is wanted in Rwanda for crimes against humanity. Jean-Marie Vianney Mudahinyuka was flown back to Kigali last week, after serving a 51-month term in federal prison for immigration fraud and assaulting a federal immigration officer when he was arrested in 2004.</p> <div>Mudahinyuka came to the U.S. in 2000 under the alias &ldquo;Thierry Rugamba,&rdquo; claiming to be a victim of Rwanda&rsquo;s 1994 genocide. Gail Montenegro, spokesman for Immigration and Customs Enforcement in Chicago, said federal officials were tipped off by other resettled Rwandans in the community after he began working at an African grocery store in Bolingbrook, Ill. &nbsp;&ldquo;A witness recognized him as someone who was known by a different name in Rwanda,&rdquo; said Montenegro.</div> <div>&nbsp;</div> <div>Mudahinyuka is wanted in Rwanda for allegedly leading a Hutu militia, which is believed to have killed hundreds of thousands of people. U.S. prosecutors were tasked with proving that Mudahinyuka&rsquo;s true identity was not what he claimed it to be &ndash; a challenging task, according to Assistant U.S. Attorney Juliet Sorensen. &ldquo;We were looking for witnesses and identification documents from a country that had been decimated by the genocide,&rdquo; said Sorensen. Ultimately, Mudahinyuka pleaded guilty to the U.S charges.&nbsp;</div></p> Tue, 01 Feb 2011 23:30:00 -0600 http://www.wbez.org/story/news/criminal-justice/alleged-genocide-leader-deported-chicago