Indagu za Magayane na Mama Domitila
from :(theorusi_Fabi" <rusincizatheo@yahoo.fr)
Hari umuvandimwe uherutse kungezaho igitekerezo cya Magayane, akigereranya n;ubuhamya bwa Maman Domitilla, nsanga ari ngombwa ko nabigeza kubasomyi ba DHR; Yatangiye agira ati:"muribuka ko Magayane;umugabo wavukiye muri prfecture ya Ruhengeri;yavuze byinshyi ku mahano azabera mu Rwanda, ntibyatinze byose byarabaye, twese tubibona,kandi abenshi barabisuzuguraga ngo ntashyingiro bifite. Mu byo yavuze ,akaza no kubizira, akabifungirwa muri Prison spciale ya Ruhengeri, twafatamo ibyingenzi bikurikira:
Maman Domitilla:
Maman Domitilla nawe, ukomoka i Murenge ho muri Zaire mu buhamya bwe, akimara
gupfa akajyanwa mu ijuru, akaza kuzuka, akagaruka nyuma y,iminsi 4, yazanye
ubutumwa bugaragara, kandi bwo kwitonderwa. Mu gice cya nyuma mu buhamya bwe
aragira ati:
BASOMYI MWESE DUHURIYE KULI IZI MBUGA: NIFUJE KUBAGEZAHO IBYO NZI KU BUHANUZI BWA MAGAYANE, NKABA NSABA INKUNGA BAGENZI BANJYE AHO BARI HOSE KUNYUNGANIRA KUKO MULI AMOSI 3:7 IMANA YARAVUZE NGO: NTA KIZABA NTABANJE KUGIHISHULIRA ABAHANUZI.
MAGAYANE YARI UMUGABO UFITE IMPANO Y' UBUHANUZI, AKABA YARAKOMOKAGA MU KARERE BITAGA UBUKONYA, KOMINI YA GATONDE, MU RUHENGERI. MBERE YUKO MVUGA IBYO YAHANURIYE ABANDI, DORE IBYO YIHANURIYE UBWE:
Perefe Zigiranyirazo muramu wa Habyarimana akimara kwumva ko nta kabuza abatutsi bari hanze bazafata urwanda, nyuma ariko ngo bakazarwirukanwamo n' umuzungu warubahaye, Zigiranyirazo yatse insinzi, Magayane ati kereka Habyarimana yeguye igihugu akagiha abanyenduga kuko nibo bazi amacenga y' abatutsi, bityo mwebwe mukicara. Zigiranyirazo yavuze ko bafunga Magayane, Magayane akigera mu buroko 1930 yabwiye uwamutekeraga ati: ku wa kane nzapfa maze kurya imboga. Niko byagenze. kuko yahawe i mboga z' isogo yakundaga jeudi yitaba imana. Yanabwiye n' uwo musoda wamutekeraga ko azagwa mu maguru y' abagore, niko byabaye uwo musore yagiye gusambanya umugore w' undi mugabo, ategerwa kw' irembo bamutsinda aho.
Ibyo yahanuriye abandi ni ibi: yabwiye ambasaderi Kagenza Alphonse muli nzeli 1972 ko Kayibanda uzengurutse urwanda rwose ngo aribuka isabukuru y' imyaka 10 y'ubwigenge ko ariho asezera ku banyarwanda ko nta myaka itatu azamara ategeka, ko nategura n' imva ye itazaboneka.
Yabwiye Kanyarengwe alexis ko azahunga akambuka Akagera, akagaruka arwana, akazitwa umutegetsi wa nyirarureshywa, akabona ibibi n' ibyiza, nyuma agapfa adahinnwe azize indara-mabuno.
Yavuze ko hari abazungu bagiye gufungirwa mu Ruhengeri, abandi b' abatasi bazabakurikira bakagwa kuli Muhungwe byarabaye, abacanshuro bashatse gufata Congo banyuze i Goma en 1978 surete ya Lizinde yari ikaze ibata muli yombi bafatirwa mu mahoteli ku Gisenyi, bafungiwe mu Ruhengeri, nyuma yaho abandi bakoreye plan yo gufata Rwanda na Congo byombi muli parc y' i birunga i Rwindi (congo),baje mu Rwanda n' ibyuma kabuhariwe bifotora, indege ibagusha muli komini Kanama(bugoyi- gisenyi) hafi ya Muhungwe.
Magayane yahamagariwe gukora animation bamamaza, banacengeza amatwara ya muvoma, ati: uwabyiniye Nkubitoyimanzi Rudahigwa, na bwenge nyakuli Kayibanda, ntiyabyinira muvoma izanywe n' abungura bazubika u Rwanda.
Bourgmestre Kabalira yahise amufungira mu kasho amuziza gupfobya MRND, akanatuka prezida wayo ngo ni umwungura w' umushyushya. Nyuma y' icyumweru baramurekuye, Magayane abwira Kabalira ati: kumfungira ubusa kwawe nawe uzafungirwa ahatava izuba. Bwarakeye basanga Kabalira yarariye imisanzu ya MRND, yafungiwe muli prison special mu ruhengeri.
Magayane yabwiye Theoneste Lizinde ati: ugiye kuzafunganwa n' abantu bambaye utubuye tubengerana ku ntugu, mukazashyirwa aho wajyaga ufungira abandi. Bwarakeye Lizinde avumbura imashini yakoraga amafranga, iyo mashini yari ihuriweho na Majyambere n' ibindi bikomerezwa. Lizinde abigejeje i bukuru, bati uyu muntu azabwira abanyamahanga akari i murore bati: tumwohereze Zimbabwe, navayo tuti yateguraga coup d' etat, ahite afungwa.
Yabwiye Lizinde ati ikimenyetso cy' ifungwa ryawe n' umwana uzabyarwa na madame Habyarimana ari ikimara. Byarabaye uwo mwana avukira mu bubiligi ari ikimara (baramuhishaga) nta cyumweru cyahise Lizinde atabwa muli yombi. Magayane ati Lizinde nufungurwa n' ingabo zizaturuka hanze, uzicarana nazo akanya gato, uzahunga, zizagutsinda hanze.
Magayane yabwiye adjudant chef wayoboraga gereza ya Ruhengiri witwaga Sembagare ati: uri igikenya ntuzisazira. Bwarakeye ajya iwabo i muramba-gisenyi, inkuba itagira amazi iramwasa.
Magayane yabwiye undi muyobozi w' iyo gereza adjudat Cyarahani ati:uzicirwa muli iyi prison, umwaga wawe uzashirira aha.
Yabwiye abanyururu bagenzi be ati: iyi myenda mubona y' umukara twambaye izasimbuzwa ibara ribengerana( rose) yarongeye ati: ibohozwa ry' iyi prison rizabanziriwa no kumwa kw' iki giti cy' inganzamarumbu mubona imbere ya gereza, ati hano munzu ndani hazinjira ihene izaherekeza abashyitsi. Bwarakeye igiti kiriyumisha, naho ubwo musenyeri Nsengiyumva yasuraga gereza ya Ruhengeri,bibagiwe gukinga ihene irabinjirana, nijoro bumva iramena amasafuriya irya ubugali
Magayane ati : ngicyo ikimenyetso mwatashye, mais abazahungira Rwabeya muzashira. Abahungiye Rwabeya-musanze bahuye n' abacodo ba Mukamira baje kubohoza Ruhengeri, babamenaho urusoro babita inyenzi
Kubera atahwemye kwikoma ingoma ya kinani, byateye ubwobo abayobozi ba gereza ya
Ruhengeri, bahitamo kumushyikiriza ibiro by' ipererza ngo yisobanure. Yasabye ko
Habyara n' ibyegera bye baza, maze ubuhanuzi bufatwa kuli za cassettes
buranandikwa. dore uko yavuze:
Wowe Habyarimana ndagukandagiye ugiye kugwa ku kibuga gikikijwe n' imfunzo
kandi nupfa Kigali
izuzuramo intumbi agahiryi. Ibimenyetso n' abazungu bazaza kugukanga nawe
uzashyira mu bitugu byawe mu bushorishori umugore w'umugambanyi, Inyamaswa y'
ihembe limwe izaba ibiyogoza mu rukiga na ndorwa, iyo nyamaswa izakwira urwanda
imena amaraso menshi, izaguhitana nta kabuza, keretse weguye.
Habyara ati shaka insinzi: Magayane ati ntayo, ati ubutegetsi bwawe buzafatwa nabo bavantara, bazigera kino gihugu, nyuma bazakivanwamo nk' ubufindo. Magayane ati: uzasimburwa na Rusukumo ruzamara amezi atatu, hakurikireho Bihwahwa wo ku ruzi rw' iwanyu, nyuma ye ngo hazategeka Rwabujindiri rurya ntiruhage; uwo Rwabujindiri azajegezwa ihembe inshuro enye, ihirikwa rya Rwabujindiri rizagenda ritya:
Magayane ati: azaraswa umwambi w' igishirira na bene-nyina ari mu Bugesera nyuma hazameneka andi maraso menshi, noneho rutuku wamuhaye ubutegetsi ashyireho umusaza usheshe akanguhe uzaba ari inyuma y' igihugu azane ihumure, acyure rukara rw' igisage ruzabyinirwa bigatinda.
Abantu bazaba baragiye ishyanga bose batahuke, habeho umunezero n' uburumbuke n' amahoro ya nyayo.
Uko bizamera ingoma ya Rwabujindiri igeze mu marembera: hazabaho isubiranamo ry' abiyicaje ku ntebe. Hazabaho inzara, agahili n' agahinda, no kwiyahura. Hazabaho urwikekwe yewe n' umwana azatinya se na nyina ; hazabaho amalira yuzuye intango ku bali mu bihome hazabaho ibisahira-nda birya akaribwa n' akataribwa, bazakora ibishoboka byose ngo batsinsure rwara rw' umugara rubundiye mu mashyamba, nyamara nabyutsa umugara igihuru kizabyara igihunyira. Bazafatanya n' anyamahanga, nyuma bibe zero, ahubwo intambara yongere itangire ikazahagarikwa na l' onu ya gatatu.
Magayane ati uwo rutuku uzaza agahagarara hagati y'abazaba barwana, niwe uzatoranya umutegetsi.
Hazabaho inyoni z' uducurama zizarika mu biti by'abo biyicaje ku ntebe. Hazabaho ibika ry' isake isura urwimo ikigera ku mutambiko w' urusenge, hazabaho abandi bazahanura nkanjye bakabizira: hazabaho ihene izabyara isekurume indwi zange konka.
Umwami w' ishyamba azaza kwiba.
Mwibuke ko Magayane yavuze ati: nimubona Kigali yuzuye amase atewe n' imyigaragambyo y' inka. muzamenye ko kinani yahirimye, kuko amase azasimbuzwa intumbi z' abantu. byarabaye mu kwa gatatu 1993, umugabo watswe igikingi yazanye inka ze kuli rond-point Kigali. Inka zacunzwe n' aba Gd umugi wabaye umunuko kubera amase. Nyuma intumbi zasimbuye amase.
Ikindi gikomeye yaravuze ati: Habyarimana nupfa, abantu bazahunga iki gihugu, ati aliko abazahungira mu majyaruguru y' uburengera-zuba bazapfamo benshi. koko abahungiye Goma, Mugunga, Kibumba, Katale, Kahindo basanze docteur ru....umututsi ukomoka ku kibuye uba mu bihugu byo hanze yakwije amarozi muli nord kivu, bayasigaga ku gisheke, irindazi, umuneke, ikijumba,ikigeli, bashyize no mu bigage, inzagwa,n' amasigara, imbaga yarahatikiye ngo ni kolera daaa!
Magayane yabisubiyemo inshuro eshatu ati: aba bavantara baturutse i bugande bazafata kino gihugu nta kabuza, ati aliko bararye bali menge kuko bazakibavanamo kandi nabi. Ababizi bemeza ko abo mu kazu ka fpr imitungo yabo yambukijwe kera ikaba ili muli erythrea, ethiopie, afrika y' epfo, i burayi na amerika. mbese barasahura nkaho nta mizero bafitiye u rwanda.
Ubu buhanuzi mbukesha umwe mu bakozi b' ibiro by' iperereza bo hambere en 1978 wandikiraga kinani ibivuzwe na Magayane. Ukunyunganira kwanyu bizanshimisha.
Ntabwoba gregoire.
Indi ndagu: http://ikazeiwacu.fr/2014/10/14/ubuhanuzi-ku-bihugu-rwanda-burundi-uganda-congo-na-tanzania/
In the sprawling ecosystem of modern visual narrative, side stories often carry the burden of expansion—fleshing out lore or providing fan service. Rarely does a gaiden transcend its auxiliary status to become a philosophical meditation on its own medium. Haison Shoujo Gaiden - Kyouraku Mugen -Crack- (translated roughly as The Abandoned Maiden’s Tale: The Infinite Pleasure District – Crack ) achieves precisely this. By focusing not on the heroic journey but on the liminal space of decay—the “crack”—the work offers a poignant deconstruction of memory, commodified joy, and the self-destructive pursuit of infinity within a finite psyche. The Architecture of the Infinite At first glance, the title Kyouraku Mugen (Infinite Pleasure District) evokes a utopian trap: a realm without borders, where desire is endlessly fulfilled. However, the subtitle -Crack- immediately subverts this promise. A crack is not a rupture; it is a hairline fracture, a subtle betrayal of structural integrity. The narrative centers on a “haison shoujo”—an abandoned girl—who becomes a wandering observer within a district that has been digitized, replicated, and looped so many times that its original form has eroded.
The “infinite” here is not blissful but pathological. The district operates like a scratched record: each repetition carves a deeper groove, yet simultaneously creates skips and distortions. The protagonist, a ghost in her own memory, navigates environments that are hyper-familiar yet alien—a tea house with missing walls, a lantern-lit bridge that leads nowhere, a festival crowd that chants a single forgotten syllable. The crack is the space where the simulation fails, and it is precisely within these failures that the story finds its truth. The essay’s central thesis is that -Crack- reframes nostalgia as a form of slow violence. The abandoned maiden is not merely lost; she is a repository of experiences that no longer have a physical referent. Each “pleasure” she seeks—a song, a scent, a touch—has been reproduced so many times that the original pleasure is indistinguishable from its loss. Haison Shoujo Gaiden - Kyouraku Mugen -Crack-
The work’s most radical gesture is its refusal to heal the crack. In the final act, the abandoned maiden does not escape the infinite district nor mend its broken loops. Instead, she learns to inhabit the crack—to curl up inside the space between what was and what is simulated. This is not resignation but a quiet rebellion. By ceasing to demand perfection from her memories, she transforms the crack from a wound into a dwelling place. The infinite pleasure district, once a prison of repetition, becomes a gallery of beautiful failures. Haison Shoujo Gaiden - Kyouraku Mugen -Crack- resonates far beyond its fictional borders. In an age of digital archiving, social media highlight reels, and algorithmic nostalgia, we all inhabit our own infinite pleasure districts. We curate, loop, and replay moments until the original emotion cracks under the weight of reproduction. The abandoned maiden’s journey offers no map for escape, but it does offer a mirror—a cracked one, to be sure—in which we recognize our own fragmented reflections. In the sprawling ecosystem of modern visual narrative,
The visual language reinforces this. Scenes are often framed through shattered glass, cracked screens, or the jagged lines of broken pottery. These motifs suggest that the self, like the district, cannot be restored to wholeness. The protagonist’s attempts to “repair” her past by revisiting it only widen the fissures. In one pivotal sequence, she reaches for the hand of a former lover, only for her fingers to pass through the image—not because he is a ghost, but because her memory of him has developed a hairline crack through which all substance has drained. Where mainstream narratives demand resolution, -Crack- wallows productively in incompletion. The “gaiden” form itself—a side story, an aside—mirrors the protagonist’s marginal existence. She is not the hero who defeats the system; she is the glitch that the system tries to overwrite. By focusing not on the heroic journey but
Ultimately, the work suggests that infinity is not freedom; it is the most elegant cage ever designed. And the crack is not a flaw to be sealed, but the only honest exit. Through its haunting visuals and melancholic restraint, -Crack- reminds us that to be whole is a myth, but to be broken—and to see clearly through the break—is a kind of grace.