The recently concluded inaugural Kigali Triennial festival concluded over the weekend, left a lasting impact on the Rwandan arts and culture scene. This event, which ran from February 15 to 25, showcased the talents of over 200 artists from 25 different countries, uniting them in “a celebration of African arts and culture.”
The festival offered attendees a diverse array of experiences in music, design, dance, theater, gastronomy, and technology over the course of 10 days. In addition to enjoying this cultural diversity, creatives had the opportunity to network and participate in workshops, fostering collaboration and learning among participants.
To determine the festival’s significance, one must consider its impact from the perspectives of the creatives involved, the audience, and the broader implications for the country as a whole.
According to stakeholders, with intentional effort and strategic investment, the creative sector has the potential to contribute significantly to the Rwandan economy. “Imagine the possibilities of a flourishing art market; it could attract tourists, big brands, major entertainment events, thereby bolstering creative industries and creating employment opportunities for young Rwandans,” remarked one critic following its conclusion.
During the closing concert, Mayor Samuel Dusengiyumva of the City of Kigali reassured the residents that the city would continue to offer a platform for organizing festivals and other entertainment events. He emphasized that artists need to seek support outside of Rwanda, expressing the city’s commitment to becoming the preferred host for such events.
Dusengiyumva also pledged to improve preparations for future editions of the Triennial, promising to collaborate closely with the creative industry and seek sponsors and investments.
Comedian Michael Sengazi, known for his award-winning performances, participated in the inaugural edition of the Kigali Triennial, appearing in two plays: “Devil’s Gold Galamsey” and “Little Kesho”, as well as the romance thriller movie “In-Sight”.
Reflecting on his experience, Sengazi described the festival as one of the largest he had attended in Kigali, “It featured a wide range of art forms, including music, theater, poetry, dance, and cinema. As an artist, being involved in a movie and two theater plays was an incredibly rewarding experience.”
“Witnessing the diverse talents from Rwanda, the region, and across Africa and beyond was truly inspiring. The festival provided an invaluable opportunity for learning and collaboration. Through workshops, discussions, and connections forged with artists from other places, we laid the groundwork for future collaborations.
Events like these are essential in promoting Rwandan art to the outside world. They showcase the vibrancy and talent of our youth, who are pushing boundaries and building bridges through their art. Ultimately, they challenge preconceived notions and demonstrate that Rwanda is more than what is depicted in the media—it’s a dynamic hub of creativity and innovation.”
Timothy Wandulu, a visual artist, presented two projects at the Kigali Triennial Festival. One of his projects, titled “Andi Mayira,” explored themes of Rwandan history and culture through archival photographic material from both the pre and post-colonial eras.
Before I Leave, is another of his creations, an art installation consisting of 193 metallic suitcases representing United Nations member states.
“I worked on this project for UNHCR Rwanda with artists from the Nyabiheke Refugee Camp Arts Club, represented by two artists: Ingabire Umulisa and Heritier Mugisha. I hosted the artists in Kigali, and together we worked on the installation, exposing them to different forms of art and introducing them to other artists and creative spaces in Kigali. We had a wonderful time collaborating.”
For him: “Participating in the Kigali Triennial was an opportunity for artists like myself to assert our presence and showcase our talents. Despite the usual challenges of collaboration, the inaugural edition was a win for the artistic community.
It’s essential for artists to view such platforms not merely as opportunities to exhibit their work, but also as avenues to fulfill their roles within society and shape the perception of their art. Despite some setbacks, it was a great platform for artists to showcase their work and connect with peers.”
On what can be improved he said: “There were some concerns, particularly regarding the handling of artwork and communication with artists. Such issues can disrupt the creative process and undervalue artists’ contributions. Moving forward, it’s crucial for organizers to prioritize the proper handling and communication regarding artists’ work.”
Wandulu is currently working on a project called “Stories From The Camp,” which features artworks inspired by various refugee camps worldwide. This collection is set to be exhibited at Gallerie delle Prigioni in Treviso, Italy, scheduled for July 2024.
Kevin Mukunzi, who attended the festival for three days, remarked: “I didn’t know there was such a vibrant scene in Kigali even on weekdays, but the festival brought that to light. Meeting artists I had only seen on social media was a highlight, and there was an abundance of innovation. My takeaway is that we need more events like these to support our artists and keep our audience engaged.”
While attendees hailed the success of the Kigali Triennial, questions remain about its frequency and long-term impact. Some suggest that hosting the event every three years may not be frequent enough to sustain momentum in the creative sector, while others argue that giving artists adequate time to create and innovate is essential for the festival’s continued success.
