It’s especially valuable because it preserves Kinyarwanda terms (Inzu, Urugo, Igitabo, Ishinge, Ibumba, Insika, etc.) some of them I didn’t know by the way eventhough i’m rwandan!! with explanations, which helps non-Rwandans understand the depth and sophistication of our pre-colonial building techniques. The connection to basketry/wickerwork as “architectural basketry” and the dome-like structures covered in grass is beautifully described—many people outside Rwanda don’t realize how advanced and artistic these were.
The philosophical parts (interconnectedness of God/earth/humans/ancestors, the cycle of life echoing Lavoisier’s conservation principle) add intellectual weight without feeling forced. Ending with the book presentation and thanks keeps it concise and promotional in a positive way.
This is a strong, informative, and heartfelt conversation. It feels authentic and intimate, like being present at the event. You do a great job guiding the discussion without dominating it. Your questions are intuitive, probing, and show genuine curiosity and respect for the topic. Sankara’s responses are detailed and passionate, and the dialogue flows naturally. The piece successfully bridges past and present, showing how traditional Rwandan architecture wasn’t just building but a reflection of worldview, family structure, spirituality (Imana, ancestors, Ryangombe), economy (cow culture), and ecology (natural materials, cycles of transformation).
Thank you for this beautiful insight into Rwandan architecture and culture. Does anything of this remains to be seen after the ravages of colonialism and the genocide?
excellent👏👏🥰, ceci renforce davantages liens entre cultures africaines.
It’s great learning about the wicker art and about Rwandan Culture, thanks for sharing 🙏.
It’s especially valuable because it preserves Kinyarwanda terms (Inzu, Urugo, Igitabo, Ishinge, Ibumba, Insika, etc.) some of them I didn’t know by the way eventhough i’m rwandan!! with explanations, which helps non-Rwandans understand the depth and sophistication of our pre-colonial building techniques. The connection to basketry/wickerwork as “architectural basketry” and the dome-like structures covered in grass is beautifully described—many people outside Rwanda don’t realize how advanced and artistic these were.
The philosophical parts (interconnectedness of God/earth/humans/ancestors, the cycle of life echoing Lavoisier’s conservation principle) add intellectual weight without feeling forced. Ending with the book presentation and thanks keeps it concise and promotional in a positive way.
This is a strong, informative, and heartfelt conversation. It feels authentic and intimate, like being present at the event. You do a great job guiding the discussion without dominating it. Your questions are intuitive, probing, and show genuine curiosity and respect for the topic. Sankara’s responses are detailed and passionate, and the dialogue flows naturally. The piece successfully bridges past and present, showing how traditional Rwandan architecture wasn’t just building but a reflection of worldview, family structure, spirituality (Imana, ancestors, Ryangombe), economy (cow culture), and ecology (natural materials, cycles of transformation).
Thank you for this beautiful insight into Rwandan architecture and culture. Does anything of this remains to be seen after the ravages of colonialism and the genocide?
Thank you for reading. Reconstructions can be visited.