In celebration of its tenth anniversary, the Ubumuntu Arts Festival this year was held for 10 days in a row, as opposed to the usual 2 to 7 days since its inception in 2015.
Dubbed “10 years in 10 days: A Decade of Impact”, this discerningly curated festival garnered creatives from all walks of life at the Kigali Genocide Memorial from the 19th to 28th July 2024–not just to entertain but also promote a more compassionate and understanding world filled with Hope and Shared responsibility for one another–Ubumuntu (Humanity).
Through spoken word, music, dance, and drama, they served a diverse array of performances that encapsulated every day topics that resonated with the audiences—all whilst not deviating from the festivals’ initial concert—Commemorating the 1994 Genocide Against the Tutsi.
Day 4 for instance was centered on Mental Health, a topic Hope Azeda (Founder and Curator) says is often linked to the Western world, yet it cuts across borders. The day consisted of a photo/visual arts exhibition, a panel discussion with various experts on Mental Health, and workshops (visual arts and skin bleaching).
The topic was further showcased in a play by Mashirika and Playhouse from Rwanda and Uganda respectively. Starring Uganda’s veteran actor, writer, and director Phillip Luswata, stage name Fabrice. The act portrayed the complexities of mental health in the workplace.
“The office is not your home,” complained Diane (one of the employees) to Fabrice, upon being told to present a progress report immediately, yet she preferred to work on it after her break.
On hearing her whining, Fabrice confronts Diane expressing his disappointment. Incurring an interrogation by her and other employees, presenting a full box of suggestions to him and demanding he goes through their complaints one by one, which he obliges, promising to make changes.
Additionally, the depths and impacts of Gender Based Violence (GBV) were highlighted through a play by ‘Numbers’, a performing group from Kenya. At 19, ‘babe’ (as referred to in the play) fell head over heels for a 25-year-old matatu driver who coerced her to drop out of university and settle for marriage. The first years of their love affair were seamless, until the death of her parents, and the birth of her precious son.
One fateful night, after repeatedly accusing her of having multiple affairs, babe’s husband, a drunkard, returned home and demanded she take off her clothes for him to smell whether she wasn’t buried in another man’s scent. In the end, she was severely battered, and unfortunately, led to the son’s murder.
Day five on the other hand concentrated on art, science, and technology, exploring the profound impact on human lives.
In a captivating act, Rwanda Coding Academy portrayed the evolution of technology throughout history. From the advent of writing by the Egyptians to the invention of science and technology, the actors delved into the multifaceted impact of this advancement on society.
This was done through an elaboration of the colors on the tech cube: Green represents life (breathes light into our life), blue goes as a pillar of standard (conservative force that grounds us in tradition), yellow for happiness (reflects joy), red for persistence (courage to innovate and take risks), orange for creativity (vibrant energy that pushes us from the ordinary into the extraordinary), while white portrays hope and inclusivity (empty canvas that welcomes endless ideas).
The evening also featured a youth panel discussion in the fashion, art, and Narrative therapy sectors, expounding on the convergence of technology in their respective fields and how it can be integrated.
Ultimately, the focal point revolved around creating harmony between nature and technology–envisioning a future where these forces collaborate for sustainable solutions.
The closing days, however, although educational, were not theme-centered. Speaking to SENS, Azeda remarked that the 10 days were a marathon of curating how the festival will shape up in the future.
“We will definitely continue the conversations around tech, art and science, environment, and literature,” she noted, with a tone of gratitude at how the festival unfolded. Adding that the first days will always be theme based and the closing generic.
Future Plans
Asked about the future of this phenomenal extravaganza, Azeda affirmed that the Ubumuntu Arts Festival will retain its stature and commitment to inspire meaningful dialogue and collective action within Rwanda and across the globe.
“This Festival is not merely a cultural event but a testament to the resilience of the human spirit and the transformative power of art. As it continues to evolve and grow, the festival remains a cornerstone of Rwanda’s commitment to healing, reconciliation, and building a future grounded in unity and compassion,” she stressed.
On how she intends to keep the momentum, Azeda disclosed some of the ‘supplements’ that were introduced in the ten days that they intend to push forward. Among these is the memory caravan which will see the festival stretch out of Kigali to other provinces.
“People have always asked us why we only stage the festival in Kigali, but we didn’t know how and where to start from. Nevertheless, we dared to get out of our comfort zone, and orchestrated a performance in Nyamata,” she said, “We wanted to establish a relationship with the people there and to sensitize them about how art can be used to reshape the history of the memorial site”.
In addition, new ‘branches’ of the festival were launched. These include audio plays featured on Radio Rwanda for 4 days. According to Azeda, these targeted the audience who were unable to convene at the Kigali Genocide Memorial.
Date and Theme for Next year
Ubumuntu Arts Festival 2025 will take place from the 14th to 20th of July at Kigali Genocide Memorial’s spacious amphitheater under the theme: “Overcoming–Dare to Dream”.
According to Azeda, “everything starts with a dream”, albeit seldom do people take bold steps.
“I often get messages from people confiding in me their plans. However, when I follow up to find out how far they have gone with the implementations, no step has been made and you wonder why. Basically, with this theme, we aim to encourage artists, people alike, to dare dream,” she stressed.
Adding that, “Regardless of what one’s going through, they can overcome it as long as they have a dream,” echoing the tremendous strides the festival has made.
Notably, a month before the festival, a weekly tour of all Genocide Memorial Sites: Murambi, Nyamata, Bisesero, and Kigali Genocide Memorial will be held in what Azeda termed “Artistic residences”.
In her words, “It doesn’t make sense to come and perform at these sites without knowing their history.”
