Survivors of Rwanda Genocide Speak Out Against U.S. Militarization of Africa, U.S./Western Complicity in Genocide

Editor’s Note: The author offers their perspective on American Exceptionalism in this essay.

In a chapter he wrote titled “Exceptionalism,”¹ historian Daniel T. Rodgers argues American Exceptionalism is a historically contrived myth. The book in which the chapter appears is Imagined Histories: American Historians Interpret the Past (1998, edited by Anthony Molho and Gordon S. Wood). Rodgers discusses the origins and evolution of the historicism that undergirds the embedded structural creed that says the United States stands alone as inimitable among nations. Historicism is the theory that history determines social and cultural phenomena.

Within U.S. social movements, American Exceptionalism increasingly has been used to explain the ideology that guides U.S. interventions around the world and against domestic colonized populations, such as African and Indigenous peoples. This essay seeks to examine the roots of this ideological framework.

Historian Frederick Jackson Turner first struck an exceptionalist chord in his 1893 essay, “The Frontier in American History,” with his “perennial rebirth” or “rebaptized as an American”² theme that proclaimed a singular “American” character. This came about by rejecting the European ethos and replacing it with a unique pioneering spirit exclusive to the “American.” Within was a detailed examination of the dialectical shifts of American historiography, philosophy and religion that pulsed through the “American” experience: From the earliest origins of the pious fundamentalism of the Massachusetts Bay Colony to the American Revolution, World War II, the Cold War and its current role as a global hegemonic superpower, Rodgers demystifies and untangles the “skein of tropes”³ that underpin the “newness” and “distinctiveness” that defines United States’ historical, social and political “uniqueness.”⁴ Rodgers ignites his chapter with a question: Is the United States different? Then, through the use of scholarly and authoritative evidence, he methodically proceeds to lay bare the mythological foundations that buttress the United States’ fabled white-supremacist history, analyzing and exposing an unexceptional exceptionalism at its core, for all to see. Yet, in spite of his and other scholars’ well researched conclusions, Rodgers ends his chapter by exposing the persistent and entrenched depths of the American exceptionalist archetype, writing, “Michael McGerr and Michael Kammen demonstrate [that within modern American historicism] challenges to the exceptionalist paradigm [still] generate sharp, visceral reactions.”⁵

Rodgers, unswayed by post-1950s acculturation, looks back through time critically scouring the metahistorical chronicle in search of the decisive epochs that contributed most to the phenomenon called American “exceptionalism.” His contribution is considered a seminal work in contemporary and post-exceptionalist historiography. Literary critic and academic Donald Pease writes, “Daniel T. Rodgers, perhaps the most articulate of a growing cadre of post-exceptionalist U.S. historians, has formulated the rationale for this collective endeavor with eminent clarity.”⁶ Rodgers proclaims the United States’ build-up and victory in WWII, its rise to global supremacy and its dominance throughout the Cold War are central to decoding the portent of American Exceptionalism. 

Contemporary scholars concur. “I agree that World War II set up an important phase in the history of American exceptionalism,”⁷ states Ian Tyrell. Rodgers and his post- exceptionalist colleagues (through primary and secondary source material) expose past and present historiography by turning it on its head. Laurence Veysey points out, “It is clear that earlier interpretations of American history and culture, aggressively put forth as recently as the 1950s and emphasizing ‘uniquely’ American experiences and habits of mind, served largely to mislead us.”⁸ Eric Rauchway pushes even further by stating, “The concept of American exceptionalism does not really have anything to do with actual history,”⁹ meaning that, in-depth analysis of the historical record reveals quite a different story.

Rodgers points to another specious characteristic of exceptionalist historicism. That being the claim that providential intervention and the United States’ cultural preeminence are guided, if not driven, by God, which defines the nation’s “difference.” Rodgers explains, “…difference in American national culture has meant ‘better’: The superiority of the American way.”¹⁰ He argues how unexceptional the United States is in this regard. “Pride and providentialism are too widely spread to imagine them American peculiarities.”¹¹ According to Rodgers, the dissemination of American Exceptionalism, in the mid-20th century, was undergirded by a political, philosophical and psychological propaganda campaign: A deep rivalry with the former USSR that led the United States to co-opt and invert a Stalinist neologism of the 1920s (i.e., Soviet “exceptionalism”) and plant it firmly and inextricably, in its “divine” and rightful place: The United States of America! Yet, he queries even further: “What was the historiographical past of that conceit?”¹²

Rodgers traces the historiography back to an 18th-century travel writer, J. Hector St. John de Crévecoeur, who first described the Europeans [i.e., white males] inhabiting North America as unique and distinctive. Crévecoeur posed an essentialist question, “What is an American?”¹³ Rodgers demonstrates Crévecoeur was, “virtually unread in the United States before the twentieth century [his] lyric passage on … [the] ‘melting’ of persons of all [European] nations into ‘a new race of men’ [was] extracted from context … which now seemed to appear everywhere.” That was co-opted and retitled, “What Is the American, This New Man?” by “Arthur Schlesinger, Sr., [U.S. historian who] made it the motif of his presidential address to the American Historical Association in 1942.”¹⁴ Rodgers asserts, “The literature of the new American Studies movement [from then on] was saturated with Crévecoeur references.”¹⁵ He continues, “They led off that catalyst of revisionist histories … [including] Robert E. Brown’s Middle-Class Democracy and the Revolution in Massachusetts, in 1955.”¹⁶ The United States was considered from that point on, in and out of the academy, a uniquely singular phenomenon in world history.

Rodgers exposes an irony. “…In their anti-Marxism, they reimagined Marx’s general laws of historical motion applied everywhere but to their own national case.”¹⁷ Meaning, “John Winthrop’s ‘city upon a hill’ … was no longer a mid-Atlantic hope … it was now America itself.”¹⁸

Until the most recent shockwaves of the U.S. empire felt externally, and internally, in the forms of a 20-year-long Afghan debacle, endless wars for profit, brutal domestic police abuse (which disproportionately kills people of color), a permanent war on the poor and a healthcare system that ruthlessly places profits above life, the American Exceptionalism myth woven throughout U.S. history was fixed. But now, the mask has fallen for all the world to see.

Stephen Joseph Scott is an essayist associated with The University of Edinburgh’s School of History. He is a singer/songwriter, humanist/activist, a self-taught musician and performer. As a musician, Scott uses American Roots Music to illustrate the U.S. social and political landscape. His latest video is “We Know They Lied.”

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¹ Daniel T. Rodgers, “Exceptionalism,” in Imagined Histories: American Historians Interpret the Past, ed. Anthony
Molho and Gordon S. Wood (Princeton, N.J: Princeton University Press, 1998), 21–40.
² Ibid., 25.
³ Ibid., 22.
⁴ Ibid.
⁵ Ibid., 35.
⁶ Donald Pease, “American Studies after American Exceptionalism?” in Globalizing American Studies (University of
Chicago Press, 2010), at https://chicago-universitypressscholarship-
com.ezproxy.is.ed.ac.uk/view/10.7208/chicago/9780226185088.001.0001/upso-9780226185064-chapter-2
⁷ Ian Tyrrell and Eric Rauchway, “The Debate Table: Eric Rauchway and Ian Tyrrell Discuss American
Exceptionalism,” Modern American History 1 (2018): 247–256.
⁸ Laurence Veysey, “The Autonomy of American History Reconsidered,” American Quarterly 31, no. 4 (1979): 455.
⁹ Tyrrell and Rauchway, “Debate Table.”
¹⁰ Rodgers, “Exceptionalism,” 22.
¹¹ Ibid.
¹² Ibid., 21.
¹³ Ibid., 37.
¹⁴ Ibid., 27.
¹⁵ Ibid.
¹⁶ Ibid.
¹⁷ Ibid., 29.
¹⁸ Ibid., 27.

Anyone aware of the crisis in Haiti didn’t expect China and Russia to help end an occupation, foreign meddling and violence on the ground.

Despite China delaying a vote by two days to hold closed-door negotations, the United Nations Security Council (UNSC) unanimously agreed Friday to renew the UN’s mandate in Haiti. Since 2004, as many as 13,000 troops from around the world have served as part of the UN’s peacekeeping mission.

For many Haitians, the mandate is a foreign occupation.

“Can anyone tell Haitians what [UN Integrated Office in Haiti] BINUH has put in place since Friday, July 15th? This is DAY THREE,” tweeted Daniella Bien-Aime, a Haitian living in the United States. Bien-Aime, as well as others, have used Twitter to voice their opposition.

‘Elites Use Young People’

Among many things, the mandate renewal terms include a call for all countries to end the transfer of small arms, light weapons and ammunition to anyone involved in gang-related activity.

But Haitian-born Jemima Pierre dismissed its viability, given even poor young people have obtained guns worth thousands of dollars. She also rejected the use of the term “gang violence” to describe the struggle on the ground.

“The elites use young people to settle economic and political scores,” said Pierre, who is Haiti/Americas Co-Coordinator for the Black Alliance for Peace and an anthropology and Black studies professor at the University of California Los Angeles.

Pierre added Haiti’s elite families control five major ports.

“Guns come through the boats and customs turns a blind eye,” she said.

UN Missions Brought ‘Misery’

The two UN mandates—the UN Stabilization Mission in Haiti (MINUSTAH, 2004-17) and the UN Integrated Office in Haiti (BINUH, 2019-present)—have introduced sexual violence and cholera.

“These missions were supposed to stabilize Haiti,” Dahoud Andre told Black Agenda Radio. He is a member of grassroots group KOMOKODA, the Coalition to End Dictatorship in Haiti. “It’s brought misery. It’s brought terrorism to the people of Haiti.”

Adding to the violence and foreign occupation is the humanitarian crisis, exacerbated by last year’s earthquake. Out of 11.4 million Haitians, 4.9 million will need humanitarian assistance this year, with the majority needing “urgent food assistance,” according to the United Nations.

Between July 8 and July 12, the UN reported at least 234 deaths and injuries. That is due to a recent surge in gang violence, which Pierre questioned having occurred just days before the UNSC vote.

Haitian to UN: ‘China Has Put You On Notice’

Some applauded China’s role in adding grit along the UNSC’s path to renewing the mandate.

“You have one year to get your act together. By this time next year, you won’t be able to tell the world why you are so ineffective,” Bien-Aime tweeted in reply to a UN tweet on Friday. “China has put you on NOTICE. And it’s good for Haiti.”

For now! And this is after a FORCED postponement of the vote. Please do not embellish this. You have one year to get your act together. By this time next year, you won't be able to tell the world why you are so ineffective. China has put you on NOTICE. And it's good for Haiti.

— Daughter of Desalin (@dbienaime) July 16, 2022

Last month and this month, dozens of grassroots Haitian organizations signed onto open letters to China and Russia. Those letters asked for both countries’ representatives to vote against renewing the UN mandate. Mexico’s role as “co-penholder” alongside the United States in drafting the resolution put the Latin American country in the spotlight, with one open letter addressed to the Mexican president.

David Oxygène, a member of MOLEGHAF, a grassroots anti-imperialist organization based in the Fort National neighborhood of Port-au-Prince, told Toward Freedom via a Haitian Kreyol interpreter that China and Russia have had opportunities in the past to show solidarity with Haiti. Yet, they failed, he said, as the mandate was renewed year after year.

‘Tilting At Windmills’

Russia’s UN representative pointed out in a June 16 meeting that international actors must respect Haiti’s sovereignty as a baseline to helping Haiti out of its crisis.

A summary of that meeting paraphrased Dmitry A. Polyanskiy as saying solving security problems in Haiti “might be tilting at windmills” because of chaos in the government.

In January 2021, protests broke out over President Jovenel Moïse refusing to step down once his term ended. He was assassinated about six months later. That brought to power U.S.-supported Prime Minister Ariel Henry of the right-wing Parti Haïtien Tèt Kale (“Haitian Bald-Headed Party” in English).

Pierre said UNSC mandate renewal resolutions normally have been rubberstamped each year. She saw China playing a positive role in questioning the basis for the 2022 renewal and demanding closed-door negotiations, which delayed the vote by two days.

“But at the same time,” Pierre said, “They’re leaving it up to the UN to work with [regional Caribbean alliance] CARICOM—the UN occupation is the problem.”

Andre told Black Agenda Radio the world should denounce what he referred to as the UN’s “anti-democratic nature.” He pointed out 193 countries are UN members, while only 15 vote on the UNSC.

Representatives for Mexico, China and Russia could not be reached for comment.

‘A Wall Around Haiti’

Haitian-born and U.S.-raised activist Chris Bernadel said Haitians feel isolated from the peoples of the Americas, partly because of the UN occupation’s impact on the economy and communications.

“There has been a feeling of a wall around Haiti,” said Bernadel, who is a member of MOLEGHAF and the Black Alliance for Peace. “The voices of the Haitian people, and the poor and struggling working people, have not been able to be integrated within the wider region. That is something MOLEGHAF has been trying to break through.”

For Oxygène, the support of organizations outside Haiti helps.

“We feel like we are not alone in this fight and we want it to go further, so we can find a solution to occupation,” he said.

Julie Varughese is editor of Toward Freedom.

At the High Line, a popular tourist attraction in New York City, visitors to the West side of Lower Manhattan ascend above street level to what was once an elevated freight train line and is now a tranquil and architecturally intriguing promenade. Here walkers enjoy a park-like openness; with fellow strollers they experience urban beauty, art and the wonder of comradeship.

In late May, a Predator drone replica, appearing suddenly above the High Line promenade at 30^th Street, might seem to scrutinize people below. The “gaze” of the sleek, white sculpture by Sam Durant, called “Untitled, (drone),” in the shape of the U.S. military’s Predator killer drone, will sweep unpredictably over the people below, rotating atop its 25-foot-high steel pole, its direction guided by the wind.

Unlike the real Predator, it won’t carry two Hellfire missiles and a surveillance camera. The drone’s death-delivering features are omitted from Durant’s sculpture. Nevertheless, he hopes it will generate discussion.

“Untitled (drone)” is meant to animate questions “about the use of drones, surveillance, and targeted killings in places far and near,” said Durant in a statement “and whether as a society we agree with and want to continue these practices.”

Durant regards art as a place for exploring possibilities and alternatives.

In 2007, a similar desire to raise questions about remote killing motivated New York artist, Wafaa Bilal, now a professor at NYU’s Tisch Gallery, to lock himself  in a cubicle where, for a month, and at any hour of the day, he could be remotely targeted by a paint-ball gun blast. Anyone on the internet who chose to could shoot at him.

He was shot at more than 60,000 times by people from 128 different countries. Bilal called the project “Domestic Tension.” In a resulting book, Shoot an Iraqi: Art Life and Resistance Under the Gun, Bilal and co-author Kary Lydersen chronicled the remarkable outcome of the “Domestic Tension” project.

Along with descriptions of constant paint-ball attacks against Bilal, they wrote of the internet participants who instead wrestled with the controls to keep Bilal from being shot. And they described the death of Bilal’s brother, Hajj, who was killed by a U.S. air to ground missile killed Hajj in 2004.

Grappling with the terrible vulnerability to sudden death felt by people all across Iraq, Bilal, who grew up in Iraq, with this exhibit chose to partly experience the pervasive fear of being suddenly, and without warning, attacked remotely. He made himself vulnerable to people who might wish him harm.

Three years later, in June of 2010, Bilal developed the “And Counting” art work in which a tattoo artist inked the names of Iraq’s major cities on Bilal’s back. The tattoo artist then used his needle to place “dots of ink, thousands and thousands of them — each representing a casualty of the Iraq war. The dots are tattooed near the city where the person died: red ink for the American soldiers, ultraviolet ink for the Iraqi civilians, invisible unless seen under black light.”

Bilal, Durant and other artists who help us think about U.S. colonial warfare against the people of Iraq and other nations should surely be thanked. It’s helpful to compare Bilal’s and Durant’s projects.

The pristine, unsullied drone may be an apt metaphor for twenty-first-century U.S. warfare which can be entirely remote. Before driving home to dinner with their own loved ones, soldiers on another side of the world can kill suspected militants miles from any battlefield. The people assassinated by drone attacks may themselves be driving along a road, possibly headed toward their family homes.

U.S. technicians analyze miles of surveillance footage from drone cameras, but such surveillance doesn’t disclose information about the people a drone operator targets.

In fact, as Andrew Cockburn wrote in the London Review of Books: “the laws of physics impose inherent restrictions of picture quality from distant drones that no amount of money can overcome. Unless pictured from low altitude and in clear weather, individuals appear as dots, cars as blurry blobs.”

On the other hand, Bilal’s exploration is deeply personal, connoting the anguish of victims. Bilal took great pains, including the pain of tattooing, to name the people whose dots appear on his back, people who had been killed.

Contemplating “Untitled (drone),” it’s unsettling to recall that no one in the U.S. can name the thirty Afghan laborers killed by a U.S. drone in 2019. A U.S. drone operator fired a missile into an encampment of migrant workers resting after a day of harvesting pine nuts in Afghanistan’s Nangarhar province. An additional 40 people were injured. To U.S. drone pilots, such victims  may appear only as dots.

In many war zones, incredibly brave human rights documentarians risk their lives to record the testimonies of people suffering war-related human rights violations, including drone attacks striking civilians. Mwatana for Human Rights, based in Yemen, researches human rights abuses committed by all sides to the war in Yemen. In their report, Death Falling from the Sky, Civilian Harm from the United States’ Use of Lethal Force in Yemen, they examine 12 U.S. aerial attacks in Yemen, 10 of them U.S. drone strikes, between 2017 and 2019.

They report at least 38 Yemeni civilians—nineteen men, thirteen children, and six women—were killed and seven others were injured in the attacks.

From the report, we learn of important roles the slain victims played as family and community members. We read of families bereft of income after the killing of wage earners, including beekeepers, fishers, laborers and drivers. Students described one of the men killed as a beloved teacher. Also among the dead were university students and housewives. Loved ones who mourn the deaths of those killed still fear hearing the hum of a drone.

Now it’s clear that the Houthis in Yemen have been able to use 3-D models to create their own drones which they have fired across a border, hitting targets in Saudi Arabia. This kind of proliferation has been entirely predictable.

The U.S. recently announced plans to sell the United Arab Emirates fifty F-35 fighter jets, eighteen Reaper drones, and various missiles, bombs and munitions. The UAE has used its weapons against its own people and has run ghastly clandestine prisons in Yemen where people are tortured and broken as human beings, a fate awaiting any Yemeni critic of their power.

The installation of a drone overlooking people in Manhattan can bring them into the larger discussion.

Outside of many military bases safely within the U.S. – from which drones are piloted to deal death over Iraq, Afghanistan, Yemen, Somalia, Syria and other lands, activists have repeatedly staged artistic events. In 2011, at Hancock Field in Syracuse, thirty-eight activists were arrested for a “die-in” during which they simply lay down, at the gate, covering themselves with bloodied sheets.

The title of Sam Durant’s sculpture – “Untitled (drone)” – means that in a sense it is officially nameless, like so many of the victims of the U.S. Predator drones it is designed to resemble.

People in many parts of the world can’t speak up. Comparatively, we don’t face torture or death for protesting. We can tell the stories of the people being killed now by our drones, or watching the skies in terror of them.

We should tell those stories, those realities, to our elected representatives, to faith-based communities, to academics, to media and to our family and friends. And if you know anyone in New York City, please tell them to be on the lookout for a Predator drone in lower Manhattan. This pretend drone could help us grapple with reality and accelerate an international push to ban killer drones.

Kathy Kelly ([email protected]) is a peace activist and author working to end U.S. military and economic wars. At times, her activism has led her to war zones and prisons.

A version of this article first appeared at The Progressive.org

Photo Credit: Sam Durant, Untitled (drone), 2016-2021 (rendering). Proposal for the High Line Plinth. Commissioned by High Line Art. Courtesy of the High Line.