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Inkuru means "story" in Kinyarwanda, where stories shape memory, transmit culture, and carry voices across generations.

Global
Joined April 2021
Photo by Inkuru Library (@InkuruLibrary)Photo by Inkuru Library (@InkuruLibrary)Photo by Inkuru Library (@InkuruLibrary)Photo by Inkuru Library (@InkuruLibrary)Photo by Inkuru Library (@InkuruLibrary)Photo by Inkuru Library (@InkuruLibrary)Photo by Inkuru Library (@InkuruLibrary)Photo by Inkuru Library (@InkuruLibrary)Photo by Inkuru Library (@InkuruLibrary)Photo by Inkuru Library (@InkuruLibrary)
We recognize every story as meaningful and worthy of care. Through listening, preserving, and sharing in both physical and digital forms, we ensure that these memories are carried across generations. linktr.ee/inkurulibrary #LivedExperiences #History #CulturalMemory #Education #DigitalMemory #DigitalMuseum
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Museums and silencing the past, by Oluwabukola Ojumu (Nigerian Archaeologist) ๐—œ๐—บ๐—ฎ๐—ด๐—ฒ: ๐˜‰๐˜ถ๐˜ช๐˜ญ๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜ฐ๐˜ง ๐˜๐˜ฏ๐˜ด๐˜ต๐˜ช๐˜ต๐˜ถ๐˜ต ๐˜š๐˜ข๐˜ช๐˜ฏ๐˜ต-๐˜‘๐˜ฆ๐˜ข๐˜ฏ, ๐˜ต๐˜ฉ๐˜ฆ ๐˜ง๐˜ฐ๐˜ณ๐˜ฎ๐˜ฆ๐˜ณ ๐˜ช๐˜ฏ๐˜ด๐˜ต๐˜ช๐˜ต๐˜ถ๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ญ๐˜ฐ๐˜ค๐˜ข๐˜ต๐˜ฆ๐˜ฅ ๐˜ฐ๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ด๐˜ช๐˜ต๐˜ฆ ๐˜ฐ๐˜ง ๐˜ต๐˜ฐ๐˜ฅ๐˜ข๐˜บ'๐˜ด ๐˜œ๐˜ฏ๐˜ช๐˜ท๐˜ฆ๐˜ณ๐˜ด๐˜ช๐˜ต๐˜บ ๐˜ฐ๐˜ง ๐˜™๐˜ธ๐˜ข๐˜ฏ๐˜ฅ๐˜ข, ๐˜๐˜ถ๐˜บ๐˜ฆ ๐˜Š๐˜ข๐˜ฎ๐˜ฑ๐˜ถ๐˜ด. #Museology #History #Memory #DigitalMuseum
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Inkuru Library retweeted
It was a powerful and moving night with @NadiaMuradBasee as part of her new book tour launch #IChooseMyBeginning. As her fellow survivors we appreciate her continued work and the inspiration she is to many.
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Inkuru Library retweeted
Scholastique Mukasonga, l'autrice africaine la plus prรฉsente dans ma bibliotheque.
๐Ÿ“ฃ Aujourdโ€™hui, cโ€™est la Journรฉe internationale de l'รฉcrivain africain ! ๐ŸŽ‰ ๐Ÿ“š Hommage aux talents africains. Hommage aux femmes รฉcrivaines africaines. Merci pour vos voix et vos mots. Bon vent ร  toutes les femmes qui รฉcrivent et qui luttent.
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โ€œRwanda is a country rich in oral poetry, passed down through the generations. But the art of beautiful speech can also be found (even today) in major life events, such as weddings and other ceremonies that everyone can attend. From childhood, I was struck by the many proverbs that peppered the adultsโ€™ conversations, and their ability to sum up a destiny or a philosophy in a single metaphorical sentence. When I wrote my first collection, I introduced each story with a proverb, and they can also be found in my novels.โ€ Beata Umubyeyi Mairesse (interviewed by Zoรซ Norridge) Read more: wasafiri.org/content/findingโ€ฆ Photo: wasafiri.org #Literature #Storytelling #CulturalMemory #DigitalMuseum
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โ€œTaking a break from the grind to imagine structural change with others is one of my favorite things to do. Iโ€™m humbled and energized to join this conversation on Storytelling, Decolonization, and Intergenerational Survivorsโ€™ Knowledge Production. Iโ€™m deeply grateful to Omar Ndizeye, MA and Inkuru Library for the invitation, and especially grateful to be joined by my dear colleague and contributor to our edited volume, Dr. Ibrahim Ndagijimana. One of the greatest gifts of co-editing Intergenerational Survivors of Genocide and Mass Atrocities: Lived Experiences of Knowledge Providers has been the brilliant people and conversations it has brought into my life. I have already learned so much from Ibrahim and Omar, and I look forward to learning more about how they understand leadership as part of decolonizing knowledge production, particularly for intergenerational survivors producing knowledge in genocide studies and mass atrocity prevention. Our book is one conservative example of what becomes possible when we recognize intergenerational survivors as invaluable knowledge producers in their own right. For me, this is not simply an epistemic question. It is also a question of protecting dignity. Lived experience is not a deficit. It can be a source of knowledge, strength, insight, and analytical depth. Creating space for different ways of knowing does not require abandoning rigor or what is valuable in existing systems. The harder, more interesting structural questions are: How might storytelling expand our understanding of rigor, validity, accountability, and evidence in knowledge production? What standards and practices might storytelling bring to knowledge production, and how can leaders across academic, policy, practitioner, and community spaces recognize and value them without requiring them to conform to inherited academic frameworks?โ€ ๐——๐—ฟ. ๐—ฆ๐—ฎ๐—ด๐—ต๐—ฎ๐—ฟ ๐—ฆ๐—ต๐—ฎ๐—ต๐—ถ๐—ฑ๐—ถ-๐—•๐—ถ๐—ฟ๐—ท๐—ฎ๐—ป๐—ฑ๐—ถ๐—ฎ๐—ป ๐˜š๐˜ค๐˜ฉ๐˜ฐ๐˜ญ๐˜ข๐˜ณ - ๐˜—๐˜ณ๐˜ข๐˜ค๐˜ต๐˜ช๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ฆ๐˜ณ ๐˜ช๐˜ฏ ๐˜ต๐˜ณ๐˜ข๐˜ฏ๐˜ด๐˜ช๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ข๐˜ญ ๐˜ซ๐˜ถ๐˜ด๐˜ต๐˜ช๐˜ค๐˜ฆ, ๐˜™๐˜ฆ๐˜ด๐˜ฆ๐˜ข๐˜ณ๐˜ค๐˜ฉ ๐˜ˆ๐˜ด๐˜ด๐˜ฐ๐˜ค๐˜ช๐˜ข๐˜ต๐˜ฆ ๐˜ช๐˜ฏ ๐˜š๐˜–๐˜ˆ๐˜š, ๐˜œ๐˜ฏ๐˜ช๐˜ท๐˜ฆ๐˜ณ๐˜ด๐˜ช๐˜ต๐˜บ ๐˜ฐ๐˜ง ๐˜“๐˜ฐ๐˜ฏ๐˜ฅ๐˜ฐ๐˜ฏ'๐˜ด ๐˜‹๐˜ฆ๐˜ฑ๐˜ข๐˜ณ๐˜ต๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต ๐˜ฐ๐˜ง ๐˜—๐˜ฐ๐˜ญ๐˜ช๐˜ต๐˜ช๐˜ค๐˜ด ๐˜ข๐˜ฏ๐˜ฅ ๐˜๐˜ฏ๐˜ต๐˜ฆ๐˜ณ๐˜ฏ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ข๐˜ญ ๐˜š๐˜ต๐˜ถ๐˜ฅ๐˜ช๐˜ฆ๐˜ด, ๐˜๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ๐˜ฆ๐˜ณ ๐˜ฐ๐˜ง ๐˜Š๐˜ฐ๐˜ญ๐˜ญ๐˜ข๐˜ฃ๐˜ฐ๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ท๐˜ฆ ๐˜š๐˜ต๐˜ณ๐˜ถ๐˜ค๐˜ต๐˜ถ๐˜ณ๐˜ข๐˜ญ ๐˜Š๐˜ฉ๐˜ข๐˜ฏ๐˜จ๐˜ฆ, ๐˜ข๐˜ฏ๐˜ฅ ๐˜๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜—๐˜ข๐˜ณ๐˜ต๐˜ฏ๐˜ฆ๐˜ณ ๐˜ฐ๐˜ง ๐˜”๐˜ฆ๐˜ฅ๐˜ช๐˜ข๐˜ต๐˜ฆ๐˜ฅ ๐˜š๐˜ฐ๐˜ญ๐˜ถ๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ด ๐˜๐˜ฏ๐˜ค. #Storytelling #Decolonization #KnowledgeProduction #CulturalMemory
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Inkuru Library Invite you to join us on this Wednesday, November 11, 2026 in a Conversation with Dr. Saghar Shahidi-Birjandian, and Ndagijimana Ibrahim on the topic "๐˜š๐˜ต๐˜ฐ๐˜ณ๐˜บ๐˜ต๐˜ฆ๐˜ญ๐˜ญ๐˜ช๐˜ฏ๐˜จ, ๐˜‹๐˜ฆ๐˜ค๐˜ฐ๐˜ญ๐˜ฐ๐˜ฏ๐˜ช๐˜ป๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ, ๐˜ข๐˜ฏ๐˜ฅ ๐˜๐˜ฏ๐˜ต๐˜ฆ๐˜ณ๐˜จ๐˜ฆ๐˜ฏ๐˜ฆ๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ข๐˜ญ ๐˜š๐˜ถ๐˜ณ๐˜ท๐˜ช๐˜ท๐˜ฐ๐˜ณ๐˜ดโ€™ ๐˜’๐˜ฏ๐˜ฐ๐˜ธ๐˜ญ๐˜ฆ๐˜ฅ๐˜จ๐˜ฆ ๐˜—๐˜ณ๐˜ฐ๐˜ฅ๐˜ถ๐˜ค๐˜ต๐˜ช๐˜ฐ๐˜ฏ." Drawing on the recently published book "๐˜๐˜ฏ๐˜ต๐˜ฆ๐˜ณ๐˜จ๐˜ฆ๐˜ฏ๐˜ฆ๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ข๐˜ญ ๐˜š๐˜ถ๐˜ณ๐˜ท๐˜ช๐˜ท๐˜ฐ๐˜ณ๐˜ด ๐˜ฐ๐˜ง ๐˜Ž๐˜ฆ๐˜ฏ๐˜ฐ๐˜ค๐˜ช๐˜ฅ๐˜ฆ ๐˜ข๐˜ฏ๐˜ฅ ๐˜”๐˜ข๐˜ด๐˜ด ๐˜ˆ๐˜ต๐˜ณ๐˜ฐ๐˜ค๐˜ช๐˜ต๐˜ช๐˜ฆ๐˜ด: ๐˜“๐˜ช๐˜ท๐˜ฆ๐˜ฅ ๐˜Œ๐˜น๐˜ฑ๐˜ฆ๐˜ณ๐˜ช๐˜ฆ๐˜ฏ๐˜ค๐˜ฆ๐˜ด ๐˜ฐ๐˜ง ๐˜’๐˜ฏ๐˜ฐ๐˜ธ๐˜ญ๐˜ฆ๐˜ฅ๐˜จ๐˜ฆ ๐˜—๐˜ณ๐˜ฐ๐˜ท๐˜ช๐˜ฅ๐˜ฆ๐˜ณ๐˜ด",, edited by Dr. Saghar Shahidi-Birjandian and Dr. Sarah Seiselmyer-Snyder, with contributions from Ndagijimana Ibrahim and other scholars, this conversation will explore decolonization, the role of storytelling and leadership in contemporary knowledge production, and how knowledge is negotiated across cultures and generations. Register to attend: us06web.zoom.us/meeting/regiโ€ฆ #Storytelling #Decolonization #KnowledgeProduction #DigitalMuseum
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๐—›๐—ถ๐˜€๐˜๐—ผ๐—ฟ๐—ถ๐—ฐ ๐—ฆ๐—ถ๐˜๐—ฒ๐˜€ ๐—ผ๐—ณ ๐—ฅ๐˜„๐—ฎ๐—ป๐—ฑ๐—ฎ Nyamasheke Catholic Parish and Site of Memory. ๐˜’๐˜ข๐˜จ๐˜ข๐˜ฏ๐˜ฐ ๐˜š๐˜ฆ๐˜ค๐˜ต๐˜ฐ๐˜ณ, ๐˜•๐˜บ๐˜ข๐˜ฎ๐˜ข๐˜ด๐˜ฉ๐˜ฆ๐˜ฌ๐˜ฆ ๐ท๐‘–๐‘ ๐‘ก๐‘Ÿ๐‘–๐‘๐‘ก, ๐˜ž๐˜ฆ๐˜ด๐˜ต๐˜ฆ๐˜ณ๐˜ฏ ๐‘ƒ๐‘Ÿ๐‘œ๐‘ฃ๐‘–๐‘›๐‘๐‘’, ๐‘…๐‘ค๐‘Ž๐‘›๐‘‘๐‘Ž. #SitesOfMemory #GenocideAgainstTutsi #CulturalMemory #DigitalMuseum
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This unique volume brings together intergenerational survivors of genocide and mass atrocities, who are actively engaged in producing knowledge related to their lived and inherited experiences, to share their stories. Centering survivor positionality as a source of epistemic insight rather than bias, the book examines how intergenerational experiences shape scholarship, pedagogy, advocacy, healing, and atrocity prevention practice. routledge.com/Intergeneratioโ€ฆ #KnowledgeProduction #LivedExperience #Education #GenocideStudies #CulturalMemory #DigitalMuseum
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Gukira Ibikomere byasizwe na Jenoside yakorewe abatutsi mu Rwanda, Esther Mujawayo. youtu.be/fZWyvDPGA9w?is=3ju6โ€ฆ #Isanamitima #Ibikomere #GutegaAmatwi #Kuganira #DigitalMuseum
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"Les Rwandais, enfin, les Abanyarwanda, [...], qui a รฉlaborรฉ une langue trรจs complexe mais qui nโ€™a pas รฉlaborรฉ dโ€™autre moyen dโ€™expression, de reprรฉsentation du rapport que le Rwandais exerce avec le reste du monde." ๐—”๐˜€๐˜€๐˜‚๐—บ๐—ฝ๐˜๐—ฎ ๐— ๐˜‚๐—ด๐—ถ๐—ฟ๐—ฎ๐—ป๐—ฒ๐˜‡๐—ฎ ๐‘€๐‘ข๐‘”๐‘–๐‘Ÿ๐‘Ž๐‘›๐‘’๐‘ง๐‘Ž, ๐ด. (2014). ๐ฟ๐‘Ž ๐‘™๐‘Ž๐‘›๐‘”๐‘ข๐‘’ ๐‘๐‘™๐‘’๐‘ ๐‘ ๐‘’ฬ๐‘’. ๐ผ๐‘› ๐บ. ๐ถ๐‘Ž๐‘๐‘œ๐‘”๐‘›๐‘Ž-๐ต๐‘Ž๐‘Ÿ๐‘‘๐‘’๐‘ก (๐ธ๐‘‘.), ๐ถ๐‘™๐‘–๐‘›๐‘–๐‘ž๐‘ข๐‘’ ๐‘‘๐‘ข ๐‘ก๐‘Ÿ๐‘Ž๐‘ข๐‘š๐‘Ž (๐‘๐‘. 123โ€“140). ๐ธฬ๐‘Ÿ๐‘’ฬ€๐‘ . doi.org/10.3917/eres.barde.2โ€ฆ ๐—•๐—ผ๐—ผ๐—ธ ๐——๐—ฒ๐˜๐—ฎ๐—ถ๐—น๐˜€: ๐—•๐—ผ๐—ผ๐—ธ: Clinique du trauma ๐—–๐—ต๐—ฎ๐—ฝ๐˜๐—ฒ๐—ฟ: La langue blessรฉe ๐—”๐˜‚๐˜๐—ต๐—ผ๐—ฟ: Assumpta Mugiraneza ๐—˜๐—ฑ๐—ถ๐˜๐—ผ๐—ฟ: Ghislaine Capogna-Bardet ๐—ฃ๐˜‚๐—ฏ๐—น๐—ถ๐˜€๐—ต๐—ฒ๐—ฟ: ร‰rรจs ๐—ฌ๐—ฒ๐—ฎ๐—ฟ: 2014 ๐—–๐—ต๐—ฎ๐—ฝ๐˜๐—ฒ๐—ฟ ๐—ฝ๐—ฎ๐—ด๐—ฒ๐˜€: 123โ€“140. #Literature #Kinyarwanda #GenocideAgainstTutsi #CulturalMemory #DigitalMuseum
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