BY LOUISE UMUTONI
For some crying is the best way to deal with pain, others seclusion but for Rwandans in Ottawa crying is no longer an option.
“We only met in April crying and that was all but this made us weaker and did not get us anywhere. This is why we started the Day of Hope, we realized there was so much more to life, there was hope and we had a future” said Jean Claude Ngabonziza a Rwandan now residing in Ottawa and North American correspondent for the French Newspaper Goliath.
The initiative was started, to make, the survivors of the genocide residing here in Ottawa/Gatineau, understand that the life goes on despite what they have gone through in the past.
It emphasizes the need to celebrate life while envisioning a bright future. It usually takes place in October or November and a variety of artists, mostly of Rwandan origin are invited to perform.
Ngabonziza who is also a genocide survivor and coordinator of Humura Association was the brains behind this initiative and says he conceived this idea in 2005 after the month long commemoration of the Rwandan genocide and the said the best way to fight back was to show that Rwandans continue to live on and we have not given up on life.
“The killers expected us to cry for life but when we celebrate it is a way to show them that they failed to steal the life from us the one that they took away from our brothers and sisters” Ngabonziza explained.
The Day that was first celebrated in November 2005 at the Bronson center in Canada was an instant success and saw up to 800 people from different communities attending.
“We were so excited because so many people came to celebrate with us and the guest of honor was Paul Dewar MP for Ottawa Centre who later went on to praise the Rwandan community in Ottawa for being so organized encouraging other African communities to borrow a leaf from us. He also spoke positively about Rwanda in parliament.
Ngabonziza also hopes that this initiative will be adopted by Rwanda as a country and he has made a move to sell the idea to the government.
“I went to see Jean de Dieu Mucyo, president of the National Commission to prevent Genocide and told him about this initiative and seemed really interested. I hope he will suggest it to the government so that we can celebrate as one” Ngabonziza explained.
Jean- Paul Rudahusha another Rwandan in Ottawa thinks it was a great idea to start this.
“I believe we can not forget about the past and we should always remember what happened but we should not ignore the fact that we have a future and we should look towards that” Rudahusha said.
This event also involves fundraising and the proceeds go to helping victims of the genocide especially widows and orphans back home in Rwanda. Rudahusha believes that some of the proceeds should go towards building the country’s economy through business.
Monday, April 20, 2009
Rwamakondera eyeing canada for unity message
BY LOUISE UMUTONI IN CANADA
Ivuka seems like it’s not about to stop in terms of how far it will go to spread the message of unity through music and art with the RwaMakondera group . While in Otawa, Louise Umutoni, happened to bump into Collin Sekajugo, the brain behind the whole project. Below, he talks about Ivuka and RwaMakondera’s future.
The New Times (TNT): You are a long way from home, anything in particular you are doing?
Sekajugo: Yes. Actually, I’m here to promote Ivuka to the Canadian public especially the Rwandans here. I was able to talk to the Ambassador here and she seemed really interested in what we are doing.
However, I made this stop over on my way from the U.S where I participated in the Commemoration of the 1994 Genocide against the Tutsi at the UN headquarters. I was invited and discussed Ivuka’s involvement in the Healing Process in Rwanda.
TNT: What exactly is Ivuka?
Sekajugo: Ivuka Arts Kigali is a group of established artists who are dedicated to discovering and nurturing young talent in Rwanda. We are social entrepreneurs who want to use art to change lives through building the self esteem of the young artists and encourage unity among these young people. We do this through visual arts and performing arts.
Right now we are building on the performing arts which involve a dance troupe called RwaMakondera. It’s made up of children who love music, most of them just off the streets and others from very poor backgrounds. Music is a kind of therapy for them and they use it to forget about all their problems.
TNT: Are there many children interested in being part of this?
Sekajugo: Actually, yes. It’s been just 2 years but we have 65 children now in the group and it is getting way more recognition than I ever imagined. At the moment, the group has been chosen to represent Africa for a month during the World Children Festival in Holland. The children love to dance and they have worked hard to become the best. I’m very proud of them.
TNT: Why did you decide to start this project?
Sekajugo: A lot of people ask me that question since I was a well established artist in Uganda before I decided to move to Rwanda. First of all, I love society and growing up as an orphan taught me to appreciate people.
I started loving children on the street because I felt I could relate to what they were going through. Also, being Rwandan, I felt I had to give back to my country and help in the building process. Rwanda, I feel, has been under represented in the arts world and I feel the country has a lot more to offer and we need to let people know.
I do not want people to always think ‘Genocide’ whenever Rwanda is mentioned. And when you help the young you are building the future of Rwanda.
TNT: Do you sometimes feel you made the wrong choice?
Sekajugo: Honestly no. At first it was hard because I did all the financing myself, but I got used to it and even now 60% of my earnings goes to the project. But it’s worth every single penny, seeing these children’s lives change so drastically is more than I could ask for.
Most of the children were like wild animals when they came in, they fought a lot and had very bad mentalities. However when you see them now they are the most well behaved children you will ever find.
They have learnt to associate with each other and do not segregate according to tribes like they did before; they are like family to each other. We were also able to change their mindset of begging and most of them are going to school now.
TNT: How come you are still the sole sponsor of this project, a project I should say deserves a lot more recognition?
Sekajugo: Sponsorship has always been our biggest hardship but at the moment a number of people are interested in financing it although no one has made a move to yet.
I think the biggest offer I ever received for the project was Rwf15.000 and that was it. We have had some dignitaries like Cindy McCain, the American Ambassador and the North Carolina Senator visit our studio in Kacyiru. I hope they will market the project.
The Ambassador for example is planning a fundraising show for Ivuka where he will invite all ambassadors in Rwanda.
TNT: What is you next step with this project?
Sekajugo: Well at the moment I want to market it all over the world and create opportunities for the children. Canada is next on our list and I hope the dance group will be given an opportunity to be part of the healing process and take part in the activities that are organised by the Rwandan Community here in Canada. In the future I plan to form a dance company that can perform anywhere in the world on a competitive level.
Carrying on his father's dream Foundation created by son of Ali Sharmarke helps educate journalists in war-torn Somalia By Louise Umutoni,
Ali Iman Sharmarke returned to Somalia in 1999 to found Radio Horn-Afrik.
The OTTAWA CITIZEN
Ali Iman Sharmarke returned to Somalia in 1999 to found Radio Horn-Afrik.
Photograph by: Chris Mikula, The Ottawa Citizen, The Ottawa Citizen
It's been nearly two years since Ali Iman Sharmarke's life was brought to a halt by a roadside bomb in Somalia, but his legacy lives on.
The Canadian and Somali citizen was on a mission to rebuild the media in his native country -- a cause he was passionate about -- when he was killed in August 2007.
"Me and my father were very close, he was more like my best friend rather than a father; he taught me everything I know," said his son, Liban Sharmarke, a businessman in Ottawa.
"I talked to him the night before he died. I remember everyone telling him it was too dangerous in Somalia, but he just smiled and said he needed to do what was right for his people," Sharmarke said.
Ali Iman Sharmarke returned to Somalia in 1999 with Mohamed Elmi and Ahmed Abdisalam Adan, to found Radio Horn-Afrik, an independent media organization, something almost unheard of in the anarchy of Somalia.
He left a widow, Luul Mohamed, and three children who had moved to Kenya to be close to him just three months before he was killed.
Together with his mother, Liban launched the Sharmarke Peace Foundation in Nairobi in August, with the aim of improving the media in Somalia by educating upcoming journalists.
"My mother came up with the idea to start this foundation because she felt she had to finish the work he had started. I, on the other hand, was never interested in journalism but, after my father died, I became more interested in it," Sharmarke explained.
The foundation had a Canadian launch and fundraiser Saturday night in Ottawa, by hosting a dialogue, involving Sharmarke, Allan Thompson of Carleton University, and Adrian Harewood, host of CBC's All in a Day, on the importance of a free press. Money was raised during the evening to fund the first three scholarships for journalism students from Modadishu, Somalia.
"My father originally studied political science and went on to do a PhD in that at Carleton University, but he later went into journalism because he decided that the best way to better his country was to provide a voice for the silenced," Sharmarke said.
"This is what we want to continue to do by providing scholarships for Somali journalism students," he said.
As a Canadian citizen and former Ottawa resident, Ali Iman Sharmarke was awarded the 2007 Tara Singh Hayer Award, which recognizes Canadians for courage in journalism.
"With a good number of journalists in Mogadishu, I'm sure that in no time we shall have other people like my father willing to sacrifice themselves for the good of the people," said Sharmarke.
"I plan to go to journalism school to better understand my father's plight and maybe continue the work that father started," he said.
Thursday, April 9, 2009
By Louise Umutoni, Citizen SpecialApril 9, 2009
A childhood lost to ethnic hatred
Jean-Bosco Ngarambe's fate as a Rwandan refugee in Uganda was determined before he was born, after a 1959 revolution staged by the Hutu saw many Tutsis killed and others forced into exile, he tells Louise Umutoni.
Jean-Bosco Ngarambe, who lost his childhood and his father to the Rwandan genocide, is a Carleton University student who hopes to return to his homeland and protect the people.
Jean-Bosco Ngarambe, who lost his childhood and his father to the Rwandan genocide, is a Carleton University student who hopes to return to his homeland and protect the people.
Photograph by: Jean Levac , The Ottawa Citizen, Citizen Special
'You are not Ugandan, go back to your country."
Those are the words a fellow student at Kitebi Primary School said to six-year-old Jean-Bosco Ngarambe. The frustrated little boy beat up his tormentor and was suspended.
This was the kind of taunting he had to put up with living in Uganda as a refugee. Ngarambe knew he did not belong and yet he could not go back to his country either.
"I was born in Uganda in 1986, not because I wanted to but because of the ethnic division in Rwanda that had forced my grandparents to live in exile in Uganda along with so many other Tutsis," he said.
For Ngarambe, his fate was determined before he was born. In 1959, a revolution staged by the Hutu saw many Tutsis killed and others forced into exile. He says his life as a child was one of confusion as he did not understand why he could not go back to his homeland. To Ngarambe, the genocide did not start in 1994, but rather back in colonial times when Rwandans were divided according to ethnicity and convinced to hate each other.
"I grew up with my grandparents and they told me stories about Rwanda and how it was such a beautiful place. They referred to it as the land of milk and honey and I wondered why we could not go back there. I dreamed about going back. I would have given anything to go back."
Like many Rwandan children living as refugees in Uganda, Ngarambe was never happy in Uganda, apart from when he was doing the traditional Kinyarwanda dance to raise money for the Rwanda Patriotic Front.
"We performed at different functions and the money collected was used to support the army that was being set up to liberate Rwanda," he said.
Ngarambe not only lost his childhood to this hatred, but he also lost his father who was a soldier in the RPF. "When my father joined the army no one told me because they wanted to protect me, I only found out after he had been killed," Ngarambe explains.
This, however, did nothing to abate his enthusiasm for Rwanda and the possibility of going back when the RPF won the war.
"I remember getting to Rwanda right after the genocide and the place looked war torn and I breathed in the air and I honestly felt joy inside me. A soldier asked if I preferred Rwanda to Uganda and I said yes without any hesitation. I loved this messed up country because it was home and I was only seven then."
Today a student at Carleton University studying criminology, Ngarambe talks about how he would like to follow in his father's footsteps, whom he considers a hero. "I feel like I owe it him, I owe it to my country too," said Ngarame.
After his degree, he would like to join the Canadian Forces Air Command, so that when he gets home he will be better equipped to fulfill what his father set out to do and that is to protect the people.
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About the Writer
This April marks the 15th anniversary of the genocide in Rwanda. For 100 days beginning in April, 1994, thousands were slaughtered, most of them members of the minority Tutsi tribe. Louise Umutoni is a Rwandan journalist with the New Times in Kigali. Currently on a three-month internship at the Citizen under the Rwanda Initiative, a partnership between Carleton University's journalism department and the National University of Rwanda, Umutoni met and spoke with genocide survivors who make their home in Ottawa. Today is the final instalment in the series.
Wednesday, April 8, 2009
Rwandans in Canada honour 1994 victims
Rwandans in Canada demonstrate to condemn genocide at the event. (Photo/ C. Habba)
BY LOUISE UMUTONI IN CANADA
OTTAWA - The Rwandan community in Canada Tuesday joined the rest in marking the 15th commemoration of the 1994 Genocide against the Tutsi in an event that was held in the Capital Ottawa.
Amidst heavy snow falling, more than 200 Rwandans gathered at the Parliament Hill to remember the over one million victims who perished in the 100-day mayhem.
A number of Canadian government officials graced the event as an acknowledgment of the 2004 parliamentary decision to declare April 7th the official genocide commemoration date.
Maurice Belanger a representative of the liberal party in Vanier District was one of the officials and he talked about the need for Canada to cooperate and support countries in Africa particularly Rwanda.
Also speaking at the event was Rwandan’s Ambassador to Canada Edda Mukabagwiza, who talked about the progress registered in Rwanda and the need for the Canadian government to assist Rwanda in its attempts to rebuild its economy.
She also took time to commend all those who took part in the ‘One Dollar Campaign’ an initiative mainly by Rwandans in the Diaspora to mobilise funds to assist victims of the genocide especially the youths.
The envoy encouraged everyone to take part.
Mukabagwiza emphasized the need to fight revisionism of the Genocide that has become rampant especially in Europe and North America mostly propagated by some elements mainly accused of participating in the Genocide.
In support of this, Richard Nsanzabaganwa, the president of Humura, an association organizing the events to commemorate the genocide talked about need to fight revisionism by some writers in the Western world.
“Denying the reality of the genocide is perpetrating the crime and thus inflicting additional suffering on the victims,” he said.
Nsanzabaganwa insisted on reminding everyone on the role played by the international community in encouraging the genocide which was the failure to stop it.
He particularly pointed out the fact that Canada was one of those countries that did nothing to help Rwanda despite the calls from Romeo Dallaire to intervene.
Nsanzabaganwa also despised the recent decision by the government of Canada to remove Rwanda from the list of countries it gives aid to.
“This is Canada’s opportunity to help Rwanda and make up for prior mistakes but they have chosen to abandon Rwanda which is very disappointing,” he said.
A conference was organised at the close of the event and it took place in the House of Commons with an aim of provoking international comments on the Genocide against the Tutsis 15 years later.
The conference attracted Members of Parliament Paul Dewar and Irwin Cotler as well as Dr Frank Chalk (professor at Concordia University and co-author of The History and Sociology of Genocide) and other scholars.
Mukabagwiza also contributed to the panel.
A series of events have been organized around Canada by the Humura Association to commemorate the genocide and these will run until May 9.
Idyllic life shattered by bloodshed
When the Hutus came to his town, Robert Manzi hoped his family, like him, would run away. Instead, his mother, father and siblings were slaughtered, but he was able to get a second chance at life in Canada to 'make his parents proud,' he tells Louise Umutoni.
By Louise Umutoni, Citizen SpecialApril 8, 2009
Robert Manzi's parents and all three of his siblings were killed in Rwanda. 'I was told that they were taken to a forest and clubbed to death.'
Robert Manzi's parents and all three of his siblings were killed in Rwanda. 'I was told that they were taken to a forest and clubbed to death.'
Photograph by: Jean Levac,
The Ottawa Citizen, Citizen Special
As his mother handed him his Canadian citizenship card, Robert Manzi instinctively knew this would be the last time he saw her. "She told me to take care of my siblings and I could see it in her eyes that she knew she was going to die. I cried," said Manzi, now a 28-year-old Nortel employee in Ottawa.
Although he was born a Canadian citizen in Quebec City, he could not escape the bloody calamity of the Rwanda genocide. When he was four, his parents moved back to Rwanda when his father was offered a job as a lecturer at the National University of Rwanda. It was a fatal choice.
The family lived in Butare, in southern Rwanda, a small serene town commonly known as the town of bicycles. "It was an area filled with scholars because of the university," Manzi recalls.
"The only memories I have of any reference to ethnicity were at school, where people were asked to stand up when their tribe was called out. At first I did not stand up because I had no idea what my tribe was and when I told my dad about this, he shook his head and told me I was Tusti."
Other than this, Manzi says his childhood was normal. He recalls no other kind of discrimination. He had three siblings and a passion for soccer, which he played with a small ball made out of plastic bags. A typical boy, he remembers his parents had to punish him frequently.
"I know everyone says this, but my mother was the most beautiful woman, but she was tough. My father was a brilliant physicist and kind of reserved. One of my memories of him is of him counting words in the popular newspaper Jeune Afrique. I have no idea why he did, but I think it was to keep his brain alive," Manzi remembers.
His world crumbled in 1994. "We started to hear about killings in different provinces before 1994, and these were of Tutsis. We were not scared though, because we believed our area was safe," he says. When then-president Juvénal Habyarimana's plane crashed on April 6, Manzi was a 14-year-old boy. He said he was glad to hear of the crash because Habyarimana had been threatening action against the Tutsis.
However, it was the crash that, in part, fed the genocide, as many Hutu believed Tutsis were behind the death.
The plane went down at 8:30 p.m. By 9:30, roadblocks had been set up all over Kigali and the bloodbath had begun. However, it was not until April 20 that the killing started in Butare. "They came to our house three times looking for my parents, but the first two instances they were hiding somewhere else. At this time, all our Tutsi relatives and friends in Butare were dead and the Hutu did not speak to us. It was at this point that my parents gave up and seemed to accept the fact that they were going to die."
His mother then gave him his citizenship card.
"The grownups stopped hiding and just sat around talking about the past and praying."
The third strike saw Manzi run for his life, hoping his family members had done the same. They were not so lucky. He lost his parents and all three siblings. "I was told that they were taken to a forest and clubbed to death, but for a while I refused to accept this. I hid in a bush, which I later left to hide with other Tutsis. They were all taken and killed one day while I was using the bathroom, and as sad as it might sound, I usually laugh when I think about how lucky I was to have been in there," Manzi said.
Tired and hungry after two weeks with no nourishment except water, Manzi was saved by soldiers of the Rwanda Patriotic Front. Fifteen years later, he talks about it with hope -- hope for a future that is to come. "I do not want to go on living in distress. I am going to make the best out of what I have and make my parents proud," he said.
- - -
About the Writer
This April marks the 15th anniversary of the genocide in Rwanda. For 100 days beginning in April, 1994, thousands were slaughtered, most of them members of the minority Tutsi tribe. Louise Umutoni is a Rwandan journalist with the New Times in Kigali. Currently on a three-month internship at the Citizen under the Rwanda Initiative, a partnership between Carleton University's journalism department and the National University of Rwanda, Umutoni met and spoke with genocide survivors who make their home in Ottawa. Today is the second in a series. The final instalment is Thursday.
April a month of tears for survivors Sharing stories ‘first step to healing’ By Louise Umutoni, The Ottawa CitizenApril 6, 2009
OTTAWA — In Rwanda, the rainy season returns each April, and so do the tears, as the month marks another year since genocide tore the country apart.
It has been 15 years, and Angelique Mutega, a genocide survivor who lives in Ottawa, has yet to deal with the memories.
“When I think about it I feel cold all over and my body stiffens. It’s like I am back there. I once tried to tell my story and I ended up in hospital,” says Mutega, a mother of two. She barely gets beyond these few words before she breaks down.
Mutega, like many other survivors, struggles with the horrific memories of the genocide that claimed the lives of more than 800,000, most of them Tutsi.
The slaughter, lasting about 100 days, is believed to have been sparked by the downing of President Juvenile Habyarimana’s plane on April 6, 1994.
Many say Rwanda was a bomb on a short fuse, that there had always been tensions between the majority Hutus and minority Tutsis.
Many Tutsis were forced into exile in 1959. But the animosity between the two groups had been growing since the colonial period.
“I know I will have to talk about it eventually, but not yet. The wounds are still fresh and talking about it is like tearing those wounds wide open,” Mutega says.
She does not mourn alone. April for most survivors is like a nightmare when they relive the horrific memories one by one.
“I lost my family to the genocide and for me April is a month I do not look forward to,” said Alaine Ikirezi, another survivor living in Ottawa.
Ikirezi found help, however, through Humura, an association founded in 2001 by and for Rwandans living in Canada.
“I was able to tell my story and I felt a heavy weight being lifted off my chest as I talked about how my family was murdered. This was my first step to healing,” said Ikirezi.
Humura has taken on the task of organizing genocide commemorations as well as bringing together all Rwandans in Canada. Another one of its duties is to ensure the broad Canadian population is aware about what happened in 1994 in Rwanda.
“Our mission is to ensure justice is done, preserve the memories and help all victims of the genocide,” said Richard Nsanzabaganwa, the president of Humura. “We want to fight those groups of people who try to deny the fact that it was genocide and bring up insulting comparatives,” he said.
Four years ago, Parliament passed a motion urging all Canadian institutions to observe April 7 as a commemoration of the Rwanda genocide, said Nsanzabaganwa. “Getting institutions involved is not to please the survivors but to ensure this crime never happens again.”
For the past eight years there have been commemorative ceremonies, usually lasting a week. This year, the plan is for a month of observances.
It was to begin at noon Tuesday with a gathering on Parliament Hill.
There will be a mass April 12, followed by a silent march in Gatineau. Flowers will be thrown into the Ottawa River in remembrance of those who were thrown in the Nyabarongo River.
There will be a discussion April 18 on the judicial system in Rwanda and a symposium May 2 about genocide denial.
Two days — April 10 and 24 — have been set aside for intimate gatherings, where testimonies will be shared. Survivors say it’s a way of paying respect to the dead as well as battling their own fears.
“We try to heal people and this usually happens when a person speaks out. Some of them have never talked about what they saw and what happened to them and we give them the opportunity to do that. However, sometimes we are satisfied with pure silence because it tells much and in a way we feel like we are in this together,” says Nsanzabaganwa.
Robert Manzi, a survivor who has attended these meetings, says that they made him realize he was not alone and that the same atrocities that happened to him happened to so many others. “Some people have very sad stories, a lot worse than mine, and yet they have moved on to become great people. I am inspired by them and this is what has pushed me to become what I am today.”
For more information on events marking the anniversary of the genocide, go to www.humura.ca
It has been 15 years, and Angelique Mutega, a genocide survivor who lives in Ottawa, has yet to deal with the memories.
“When I think about it I feel cold all over and my body stiffens. It’s like I am back there. I once tried to tell my story and I ended up in hospital,” says Mutega, a mother of two. She barely gets beyond these few words before she breaks down.
Mutega, like many other survivors, struggles with the horrific memories of the genocide that claimed the lives of more than 800,000, most of them Tutsi.
The slaughter, lasting about 100 days, is believed to have been sparked by the downing of President Juvenile Habyarimana’s plane on April 6, 1994.
Many say Rwanda was a bomb on a short fuse, that there had always been tensions between the majority Hutus and minority Tutsis.
Many Tutsis were forced into exile in 1959. But the animosity between the two groups had been growing since the colonial period.
“I know I will have to talk about it eventually, but not yet. The wounds are still fresh and talking about it is like tearing those wounds wide open,” Mutega says.
She does not mourn alone. April for most survivors is like a nightmare when they relive the horrific memories one by one.
“I lost my family to the genocide and for me April is a month I do not look forward to,” said Alaine Ikirezi, another survivor living in Ottawa.
Ikirezi found help, however, through Humura, an association founded in 2001 by and for Rwandans living in Canada.
“I was able to tell my story and I felt a heavy weight being lifted off my chest as I talked about how my family was murdered. This was my first step to healing,” said Ikirezi.
Humura has taken on the task of organizing genocide commemorations as well as bringing together all Rwandans in Canada. Another one of its duties is to ensure the broad Canadian population is aware about what happened in 1994 in Rwanda.
“Our mission is to ensure justice is done, preserve the memories and help all victims of the genocide,” said Richard Nsanzabaganwa, the president of Humura. “We want to fight those groups of people who try to deny the fact that it was genocide and bring up insulting comparatives,” he said.
Four years ago, Parliament passed a motion urging all Canadian institutions to observe April 7 as a commemoration of the Rwanda genocide, said Nsanzabaganwa. “Getting institutions involved is not to please the survivors but to ensure this crime never happens again.”
For the past eight years there have been commemorative ceremonies, usually lasting a week. This year, the plan is for a month of observances.
It was to begin at noon Tuesday with a gathering on Parliament Hill.
There will be a mass April 12, followed by a silent march in Gatineau. Flowers will be thrown into the Ottawa River in remembrance of those who were thrown in the Nyabarongo River.
There will be a discussion April 18 on the judicial system in Rwanda and a symposium May 2 about genocide denial.
Two days — April 10 and 24 — have been set aside for intimate gatherings, where testimonies will be shared. Survivors say it’s a way of paying respect to the dead as well as battling their own fears.
“We try to heal people and this usually happens when a person speaks out. Some of them have never talked about what they saw and what happened to them and we give them the opportunity to do that. However, sometimes we are satisfied with pure silence because it tells much and in a way we feel like we are in this together,” says Nsanzabaganwa.
Robert Manzi, a survivor who has attended these meetings, says that they made him realize he was not alone and that the same atrocities that happened to him happened to so many others. “Some people have very sad stories, a lot worse than mine, and yet they have moved on to become great people. I am inspired by them and this is what has pushed me to become what I am today.”
For more information on events marking the anniversary of the genocide, go to www.humura.ca
By Louise Umutoni, The Ottawa CitizenApril 7, 2009Comments (4)
Horror beyond fear: 15 years after the Rwandan genocide
22-year-old Regis Gahigiro will never forget his youth in Rwanda, where his father and sisters were killed and he lost his leg to a landmine.
Regis Gahigiro is a genocide survivor whose leg was amputated after he stepped on a land mine. He has moved on with life and displayed a lot of courage in overcoming this disability.
Photograph by: Ashley Fraser, The Ottawa Citizen
OTTAWA — When he thought the genocide had taken all it could from him, it returned, and he lost his leg.
Regis Gahigiro was only 11 when he stepped on a landmine, one of the remnants of the war, and lost his right leg. “I remember my mother constantly cautioning me to be careful where I walk. She always said she did not want to lose me to a landmine because I was all she had left,” he said.
His father, sisters and grandparents had already been murdered. This was the loss that went through his mind when he realized his mother’s fears had come true.
“I was walking home on my way from church with my cousins when I stepped on something hard and heard a click.” He yelled at his cousins to run while he kept his foot on the trigger. When he lifted it, the mine exploded.
“The next thing I knew, I was on the ground screaming for everyone to go as far away from me as possible because I thought it would blow up again,” Gahigiro said. “The first thing that came to my mind was, ‘Please, God, do not let me die. My mother needs me’.”
The only boy in a family of four, Gahigiro, like most Rwandans, grew up in an extended family and still refers to his cousins as sisters and brothers. He tells of his grandparents who loved him dearly, and how he was kept on track by constant caning from his mother who believed in the “spare the rod and spoil the child” philosophy. With soccer as his passion he believes his childhood was normal, and for awhile he had no whiff of the hatred that had taken a hold of his country.
However, this naïvete would not last. “In class we were separated according to ethnicity and the Hutu were favoured over the Tutsi. I remember being severely punished for something so small yet a Hutu who did the worst things was left untouched,” Gahigiro says.
When the killing began in Kigali, Gahigiro and his mother were separated from the rest of the family. “For a while we were protected by a Hutu night watchman who kept the killers away by saying he would kill us himself. My father and sisters were not as lucky, they were killed. My grandparents were hammered to death,” Ghigiro says.
“Eventually we had to leave the house because we heard that the UN was close by and we, like many others, thought they would help. I remember us driving over dead bodies in the streets and watching as people were being killed.”
When they got to the UN, they were told the UN could not help and that they had to find their own way to the airport if they wanted to get out of the country. They were able to get a flight to Kenya and, later, to Burundi.
Gahigiro, now 22, is a high school student in Ottawa, popular for his talent in sports. He has won a gold medal in badminton, won a number of marathons, and plays basketball.
“I never accepted the fact that I had one leg and even before I got my artificial leg, I played football on crutches,” he says.
Gahigiro was featured in the documentary En Jeux and has participated in a campaign against landmines. “I would like to run a marathon like Terry Fox and raise money for children of war and war amputees.”
Related Story: April a month of tears for survivors
Louise Umutoni is a Rwandan journalist with the New Times in Kigali. She is on a three-month internship at the Citizen under the Rwanda Initiative, a partnership between Carleton University’s journalism department and the National University of Rwanda. Born and raised in Uganda, Umutoni is one of thousands of Rwandans forced to live in foreign countries to escape ethnic tensions. Today through Thursday, she profiles genocide survivors who make their home in Ottawa.
© Copyright (c) The Ottawa Citizen
Regis Gahigiro is a genocide survivor whose leg was amputated after he stepped on a land mine. He has moved on with life and displayed a lot of courage in overcoming this disability.
Regis Gahigiro is a genocide survivor whose leg was amputated after he stepped on a land mine. He has moved on with life and displayed a lot of courage in overcoming this disability.
Photograph by: Ashley Fraser, The Ottawa Citizen
Your Comments
surajith
Now genocide is going on in srilanka. Please rush to ottawa parliament and get interviews from tamils who are protesting. It is the responsibility of media to stop these genocide. Do not wait till everything is over
Surajith
Today genocide is taking place by Srilankan Government. The whole world is not doing any serious effort to stop this. Two days before srilankan military with the help of Indian government used poision gas bombs and killed more thousands civilians in so called safety zone created by Srilankan government. Tamils are very sad that international community is doing nothing. They do not want to discuss in UN security council. Why ? They want to wait tilll 100,000 people to die before discuss. The same mistake they did in Rwanda. Medias should force governments to take actions. otherwise Ruwanda history will repeat in srilanka again. We are living in Injustice world. Rulers are becoming dictators..........very sad.
Caroline
What a brave young man. If only we were all so strong... Best of luck in what is sure to be a bright future.
Sutha Subra
Unfortunately, there is another genocide going on in Sri Lanka right now. Genocide against Tamils. UN and the whole world is sleeping as usual.
Monday, April 6, 2009
LIFE:The controversial vagina monologues
Sunday, 05 April 2009 12:46
By Louise Umutoni SUNDAY MAGAZINE
- A tool against sexual harassment and violence against women
Never has a play caused so much altercation like Eve Ensler’s Vagina Monologues. The Obie award-winning episodic play is made up of various monologues read by a various women. Every monologue somehow relates to the vagina, be it through sex, love, rape, menstruation, mutilation, masturbation, birth, orgasm, the variety of names for the vagina, or simply as a physical aspect of the body.
The play that has been published in 45 languages and performed in over 120 countries since 1996, including Iraq, sometimes with major stars such as Cate Blanchett , Kate Winslet, Susan Sarandon and Whoopi Goldberg is used today as tool to fight violence against women and sexual harassment.
A recurring theme throughout the piece is the vagina as a tool of female empowerment, and the ultimate embodiment of individuality an aspect that has attracted feminists all over the world and angered a lot of men. In some places however it’s not just the men that are against it and it has been labeled obscene.
Not far from us in Uganda, this play almost got its organizers arrested in 2005 and was banned as an affront to public morality.
Surprisingly, however, this has not stopped a conservative Rwanda from showing it. Only recently, on February 19 this year, the play was performed at the Torero Cafe under the name Rwanda monologues. As the name shows a number of changes were made to the script making no mention of the word vagina.
Only two of Ensler’s monologues “I was there in the room” and “Baptized” were included and the rest were written by the woman of Achieving a Better Life and ranged from how woman are treated in rural societies to rape by soldiers during the Genocide. Others were about being forced into marriage at a young age and there were two that explored the positive themes of love and marriage, with a healthy sex life.
Although you could argue this changed the whole idea behind the play I chose to say that the play was put in the Rwandan context instead. Something Rwandans can easily relate to and maybe this is what most countries should adopt. If you are not happy wit the content then change it to suite the public keeping the topic in mind.
Watching the play being performed in Ottawa made me realize that it is not that the monologues are obscene but rather that different aspects are considered obscene in different societies. One of the actresses (the only African in the cast), Nesochi Chinwuba from Nigeria admitted that some of the monologues would not go down well with her people which is why it was banned in Northern Nigeria. I had to agree with her as my jaw dropped a number of times during the performance.
Although criticized for encouraging homosexuality, lesbianism and worship of the female sexual organs the Vagina Monologues is special because it is the cornerstone of the V-Day movement whose aim is to end violence against women and girls by raising funds through staging benefit performances of the show worldwide each year between February 1 and March 31.
This year the focus is on Congo and the sexual abuse against its women. Women of all ages calling themselves vagina warriors are performing this play all over the world and the funds collected will be used to help women in Congo in a bid to protect what they call a woman’s greatest feature.
Contact: umutonilouise@gmail.comThis e-mail address is being protected from spambots. You need JavaScript enabled to view it
Sunday, 05 April 2009 12:46
By Louise Umutoni SUNDAY MAGAZINE
- A tool against sexual harassment and violence against women
Never has a play caused so much altercation like Eve Ensler’s Vagina Monologues. The Obie award-winning episodic play is made up of various monologues read by a various women. Every monologue somehow relates to the vagina, be it through sex, love, rape, menstruation, mutilation, masturbation, birth, orgasm, the variety of names for the vagina, or simply as a physical aspect of the body.
The play that has been published in 45 languages and performed in over 120 countries since 1996, including Iraq, sometimes with major stars such as Cate Blanchett , Kate Winslet, Susan Sarandon and Whoopi Goldberg is used today as tool to fight violence against women and sexual harassment.
A recurring theme throughout the piece is the vagina as a tool of female empowerment, and the ultimate embodiment of individuality an aspect that has attracted feminists all over the world and angered a lot of men. In some places however it’s not just the men that are against it and it has been labeled obscene.
Not far from us in Uganda, this play almost got its organizers arrested in 2005 and was banned as an affront to public morality.
Surprisingly, however, this has not stopped a conservative Rwanda from showing it. Only recently, on February 19 this year, the play was performed at the Torero Cafe under the name Rwanda monologues. As the name shows a number of changes were made to the script making no mention of the word vagina.
Only two of Ensler’s monologues “I was there in the room” and “Baptized” were included and the rest were written by the woman of Achieving a Better Life and ranged from how woman are treated in rural societies to rape by soldiers during the Genocide. Others were about being forced into marriage at a young age and there were two that explored the positive themes of love and marriage, with a healthy sex life.
Although you could argue this changed the whole idea behind the play I chose to say that the play was put in the Rwandan context instead. Something Rwandans can easily relate to and maybe this is what most countries should adopt. If you are not happy wit the content then change it to suite the public keeping the topic in mind.
Watching the play being performed in Ottawa made me realize that it is not that the monologues are obscene but rather that different aspects are considered obscene in different societies. One of the actresses (the only African in the cast), Nesochi Chinwuba from Nigeria admitted that some of the monologues would not go down well with her people which is why it was banned in Northern Nigeria. I had to agree with her as my jaw dropped a number of times during the performance.
Although criticized for encouraging homosexuality, lesbianism and worship of the female sexual organs the Vagina Monologues is special because it is the cornerstone of the V-Day movement whose aim is to end violence against women and girls by raising funds through staging benefit performances of the show worldwide each year between February 1 and March 31.
This year the focus is on Congo and the sexual abuse against its women. Women of all ages calling themselves vagina warriors are performing this play all over the world and the funds collected will be used to help women in Congo in a bid to protect what they call a woman’s greatest feature.
Contact: umutonilouise@gmail.comThis e-mail address is being protected from spambots. You need JavaScript enabled to view it
Sunday, March 22, 2009
Cullen seeks the scoop on geese droppings
Councillor Alex Cullen will hold a public meeting April 2 to discuss Andrew Haydon Park's goose droppings problem.
Ruth Tremblay, president of the Crystal Beach-Lakeview Community association, already has a few ideas. She suggests planting low bushes to discourage the Canada geese from nesting, or using trained dogs to chase them away.
Cullen, who represents Bay Ward, says allowing dogs on leash into the park could be the solution.
Tremblay isn't sure, however. The park is busy and there are two play structures that dogs are not allowed near. "Maybe if the dogs were allowed in at particular times of the day that would work, but that would be hard to regulate," she said.
There's no question the geese and their droppings are ruining visitors' enjoyment of the park on the Ottawa River. The geese leave their droppings all over the park and make it unbearably smelly, said Tremblay. "There are so many of them, they might even outnumber the people."
The meeting will be held at Maki House, on Leeming Drive, at 7 p.m.
© Copyright (c) The Ottawa Citizen
Thursday, March 19, 2009
Michele Heights youngsters do their part to give neighbourhood facelift
Children tackle community image
Youngsters from the Michelle Heights Community House removed the ice from a community basketball court so people in the neighbourhood can play, just one of the tasks they have taken on over March break to spruce up their community and give it an image boost.
Photograph by: Pat McGrath, The Ottawa Citizen, The Ottawa Citizen
As they devour their meal at the Michele Heights Community House, the little girls squabble about their favourite characters from a popular TV show.
"I like Fatim," one girl says between bites. "I like Teddy," says another.
No one would guess that this is their first and probably their only real meal for the day. The girls come from various places in Africa. Only minutes earlier, they had joined with other children to scrape ice off their basketball court, in just one of their attempts to give their neighbourhood a facelift.
Many people associate Michele Heights, south of Carling Avenue in the Britannia area, with crime and violence. But rather than crawl under their beds to hide from all this, little Jazmine Ismail and her friends have chosen instead to change their community's image.
"We want our neighbourhood to look really pretty and we are removing ice on the courts because the boys want to play basketball. We all love basketball," Jazmine said, flashing a toothy grin.
Removing ice is not all they're doing. The children are also clearing garbage and putting up bird feeders.
"The kids decided there were some things they wanted to change about their neighborhood," said Bill Robinson, a volunteer at the community house. "We helped them do this by organizing this and bringing in students from Bell High School and Mackenzie High (in Deep River) to help out."
Robinson says the children particularly complained about garbage cans being too close to the houses. In the summer they overflow and the smell is unbearable.
Robinson said the children decided the problem could be solved in three ways -- by picking up the garbage, creating awareness and educating the public.
"So far, the children have written to the west end councillor Alex Cullen about the garbage problem and hopefully that will have some effect," Robinson added.
Another volunteer, Ben Fleming from Mackenzie High, said that with media attention on this week's project, the young people might not have to wait that long for change to set in. Mackenzie sent a team to Ottawa for three days to help with the project.
"Yesterday 12 garbage cans were emptied by the garbage collectors and yet they usually pick up the garbage on Fridays, so maybe they heard something on radio," Fleming said.
Euihyun Yang, another student who gave up time from his March break to help as a volunteer, said he enjoyed working with the children, especially because of their enthusiasm. He went on to say that he was not afraid to work in the neighbourhood despite its bad reputation. It's a rep he thinks is exaggerated anyway.
But one of the girls, Helina Germa, said there are some bad people in her neighbourhood. She said she used to see some of them standing in a parking lot near the community house, drinking and smoking.
Russell Borden is the co-ordinator of Michele Heights Community House. He noted that many people in the area cannot afford much, and must deal with the stigma of being on assistance.
"We are trying to change that at the community house and we have projects lined up for the children. We are trying to give these children self esteem because most of them are victims of labelling," Borden said.
"Some are called poor, black, Caucasian, and most of these labels make them hate school and you know what happens after that. A lot of them can't even afford meals and we thus give them food after every program.
"But we can boast of success stories -- I am a success story," said Borden, who was raised in the neighbourhood and later returned to become the community house co-ordinator.
An important part of the neighbourhood facelift plan, dubbed "Who is Nobody," is a faceless, colourless doll that the children decorate after every successfully completed project. The doll "serves as a constant reminder of the work they have done in the community" said Borden.
Monday, March 2, 2009
From a lost boy to world renowned hip hop artist
 | |
| BY LOUISE UMUTONI IN CANADA | |
At the age of 9 racing across minefields with an AK-47 taller than him, Emmanuel Jal would never have believed he would be where he is. Born and raised in war torn Sudan, he wasn’t given the opportunity to grow up, with a father who left the family to join ASPLA a rebel group and a mother who was left to fend for a family of 5 with one more on the way all by her self. And that’s not all the other half of his childhood was spent dodging bullets on the battlefield as a child warrior. After he had been through the most atrocious things ever imaginable Jal was rescued by an “angle”, as Jal likes to refer to her, Emma McCune the legendary British aid worker, married to a Sudanese war lord who smuggled him to Kenya. And that’s when Jal’s life began to make an uphill climb. Call it luck if you like but I was able to attend Emmanuel Jal’s book review in Ottawa for his book War Child, his memoir. “I wrote this book because I wanted to reach out to people who can relate with what happened to me as well as those that can help,” Jal said. Particularly Jal claims he wants to tell the world his story in an effort to promote his campaign to save child soldiers. “I am eating one meal a day in order to save up some money to help my people in Sudan,” he adds. Writing one’s memoir may sound simple but ask Jal and you will know that is not the case. He says it was one of the most difficult things he ever did. “I couldn’t sleep for days and I kept hearing gunshots, bombs…the smell of decaying flesh couldn’t leave me,”Jal narrated. But up there on stage he composes himself and tells his story with ease and even throws in a few jokes here and there as he re-lives the very few good memories of his childhood. The memories are so bad that Jal still can’t read his memoir. However, this is not all there’s of Jal. The 29 year old will stop at nothing to get his message across. Emmanuel Jal is a renowned hip hop artist. His unique style of hip hop with its message of peace and reconciliation born out of his experiences as a child soldier in Sudan, has won him worldwide acclaim. His music can be heard alongside big names like Coldplay, Gorillaz, and Radiohead on the fundraising ‘Warchild - Help a Day in the Life’ album. It can also be heard in three ER episodes, the National Geographic documentary God Grew Tired of Us. His music can also be heard in the background the of a feature film ‘Blood Diamonds’ starring Leonardo DiCaprio. He also featured on John Lennons’ ‘Instant Karma: The Amnesty International Campaign to Save Darfur’ amongst the likes of U2, REM and Lenny Kravitz. “For me, music was a kind of medicine. Whenever I sang I felt all the pain go away,” Jal explained. His first hit Gua, meaning ‘peace’ in his native nuer tongue was broadcast across Africa on BBC and was a number one hit in Kenya. When asked if his music had achieved the purpose he sought, Jal explained that for now it was more than he could ask for, because his intention is to get the attention of the outside world. To get them to realize that there was actually a person out there that needed to be rescued. “Emma McCune rescued me and gave me another shot at life. Someone else out there needs the same opportunity,” Jal says. It’s no wonder he sings about McCune with a lot of love and respect in his song to her and says he wants to be just like her. He performed at Nelson Mandela’s 90th birthday celebrations in Hyde Park, London, June 08. He shared the stage with Alicia Keys, Annie Lennox, Damien Marley and Stephen Marley at the Black Ball in London in July 08 and also addressed delegates at the UN in New York in the same month. Jal has also performed with Razorlight, Supergrass, and Faithless in Europe. And when asked if he would like to sing in his country, he pointed out that there he wouldn’t get such a huge response to his music. He adds that he would rather use the huge response from outside to help his people. He plans to open a school there under the Gua project. “I believe that education is the key. If you are educated then you are free and I believe that I can free my nation through education,” he explains. He goes on to say that the solution to problems in Africa is education. That if people stopped using guns but their brain then that definitely would make a difference. Emmanuel Jal’s story is one to inspire Africans from war torn countries and give them hope that tomorrow will be a better day. But also it is for the person out there who can make this happen, a person who in just a flash can change one’s life, save a soul. And this is what Jal is embarking on, the journey to touch souls that will touch other souls in an even greater way. Good luck with that brother. |
Thursday, February 26, 2009
OH RWANDA!
Louise Umutoni
Iam a Rwandan, born and raised in Uganda. Alot of people might say I am Ugandan maybe because i spent half of my life there or maybe because i can hardley speak my mother tongue without error. All these would be pretty good reasons to start with and at times i might even refer to my self as Ugandan but Iam not and Iam Rwandan. No matter how hard I might try to run away from it Iam. I have to live with the fact that Iam associated with a country of murderers, a country where the blood of innoscent people was spilled by their own friends, collegues, neighbours, relatives, name it. People they laughed with, played with, shared meals or even the tinniest of necessities. A country where the smallest of aspects such as ethnicity was enough to cause so much hate, hate that caused the most artocious deaths ever immaginable. A country where even sharing the same language did nothing to convince us that we were one but we were on the contrary so quick to believe what the white man told us that there never had a excisted two groups that were so different. They said we looked different and that made us different, and those that had features that looked almost like those of the white man, they were considered superior. Stories were made up about our difference in origin and we were forced to believe that we were from completely different places and thus we were different. some were presumably from Ethiopia and others were believed to have origianted from West Africa.
Differences in physical features were also used to convince us that we actually were different and minute details like the size of one's nose were considered determinants of one's ethnicity. The classic colonial tactic had worked!!! We were totally divided and thus could be easily ruled, a tactic that had worked every where else but this time was bound to cause un imaginable damage.
Where were we looking when this happened? People say it was all misundertanding from the very start. The king did not know he was giving away his land to these people, how would he have known that with a simple hand shake he was giving away decades of hard earned land.
No he couldnt have know, but i still our ancestors for having been too naive. If they had been stronger back then maybe, just maybe this fate wouldnt have befallen my land, my beautiful home.
And the hate that came with it, hate that may take centuries to wipe out would never have excited. People would still live along side eachother as one believing they one, Rwandans is what they would refer to the selves as, not hutu, tutsi or twa. Oh Rwanda my home land, how could we have let this happen to you.
They call it "payee de mille colline" the land of a thousand hills. And that it is, hill after hill un folds forming a kind of pattern, to me it looks a thousands of pillows made of feather, one after the other. Soft and comfortable enough to lay your head down and go to sleep, a peaceful, sound sleep and wake up to the chitter chatter of the "nyamanza" believed to be the wisest and most talkative of birds. A land thats green from one end to the other that it looks like its covered in green carpet!
Rwanda a country so small and yet one that caused the world to bow its head in shame. Shame for not doing its honourable duty of saving man kind. A world that would rather give in to the silliest of whims but would not a lift a finger to save the lives of atleast a handful of people. A world that saw dead bodies strewn on the streets of Kigali but chose to turn a deaf ear to the cries for help. A world that waited for up to 1 million deaths before intervening. oh world where were you when we needed you the most? We have orpahans, widows, rape victims living with AIDS, we have sisters and mothers to the dead asking this question. Where we were you? Was it because we didnt have any oil or any diamonds to offer, was that what made us worthless. Was it the reason why you turned your backs on us and had only our rebel brothers to count on, rebels not armed enough to fight an army armed to the teeth. And yet some of you helped the enemy, some of you thought it was better to support muderers. But guess what we were saved, saved by our very own men, men who gave their lives to save a people that we were on the edge about to lose all hope. At the point where we though all hope was lost, where we had lost faith in man kind, it was at that point that we were rescued. God says it is at that point when you have lost all all hope you are abot to give up that i'll rescue you and renew your hope.
Iam a Rwandan, born and raised in Uganda. Alot of people might say I am Ugandan maybe because i spent half of my life there or maybe because i can hardley speak my mother tongue without error. All these would be pretty good reasons to start with and at times i might even refer to my self as Ugandan but Iam not and Iam Rwandan. No matter how hard I might try to run away from it Iam. I have to live with the fact that Iam associated with a country of murderers, a country where the blood of innoscent people was spilled by their own friends, collegues, neighbours, relatives, name it. People they laughed with, played with, shared meals or even the tinniest of necessities. A country where the smallest of aspects such as ethnicity was enough to cause so much hate, hate that caused the most artocious deaths ever immaginable. A country where even sharing the same language did nothing to convince us that we were one but we were on the contrary so quick to believe what the white man told us that there never had a excisted two groups that were so different. They said we looked different and that made us different, and those that had features that looked almost like those of the white man, they were considered superior. Stories were made up about our difference in origin and we were forced to believe that we were from completely different places and thus we were different. some were presumably from Ethiopia and others were believed to have origianted from West Africa.
Differences in physical features were also used to convince us that we actually were different and minute details like the size of one's nose were considered determinants of one's ethnicity. The classic colonial tactic had worked!!! We were totally divided and thus could be easily ruled, a tactic that had worked every where else but this time was bound to cause un imaginable damage.
Where were we looking when this happened? People say it was all misundertanding from the very start. The king did not know he was giving away his land to these people, how would he have known that with a simple hand shake he was giving away decades of hard earned land.
No he couldnt have know, but i still our ancestors for having been too naive. If they had been stronger back then maybe, just maybe this fate wouldnt have befallen my land, my beautiful home.
And the hate that came with it, hate that may take centuries to wipe out would never have excited. People would still live along side eachother as one believing they one, Rwandans is what they would refer to the selves as, not hutu, tutsi or twa. Oh Rwanda my home land, how could we have let this happen to you.
They call it "payee de mille colline" the land of a thousand hills. And that it is, hill after hill un folds forming a kind of pattern, to me it looks a thousands of pillows made of feather, one after the other. Soft and comfortable enough to lay your head down and go to sleep, a peaceful, sound sleep and wake up to the chitter chatter of the "nyamanza" believed to be the wisest and most talkative of birds. A land thats green from one end to the other that it looks like its covered in green carpet!
Rwanda a country so small and yet one that caused the world to bow its head in shame. Shame for not doing its honourable duty of saving man kind. A world that would rather give in to the silliest of whims but would not a lift a finger to save the lives of atleast a handful of people. A world that saw dead bodies strewn on the streets of Kigali but chose to turn a deaf ear to the cries for help. A world that waited for up to 1 million deaths before intervening. oh world where were you when we needed you the most? We have orpahans, widows, rape victims living with AIDS, we have sisters and mothers to the dead asking this question. Where we were you? Was it because we didnt have any oil or any diamonds to offer, was that what made us worthless. Was it the reason why you turned your backs on us and had only our rebel brothers to count on, rebels not armed enough to fight an army armed to the teeth. And yet some of you helped the enemy, some of you thought it was better to support muderers. But guess what we were saved, saved by our very own men, men who gave their lives to save a people that we were on the edge about to lose all hope. At the point where we though all hope was lost, where we had lost faith in man kind, it was at that point that we were rescued. God says it is at that point when you have lost all all hope you are abot to give up that i'll rescue you and renew your hope.
Wednesday, February 25, 2009
Torero Café is one of the places to be at this moment. Small wonder, since there is something new nearly every day. 
“We are an artistic center and a café in one; we wanted to have a place where innovative young and educated people can gather to share ideas—a meeting of minds,” says co-owner Kara Dahl.
To get the artistic vibes going, there is a stage open to whomever wants to occupy it—for stand-up comedy, theatre or live music.
To get the artistic vibes going, there is a stage open to whomever wants to occupy it—for stand-up comedy, theatre or live music.
“We have a number of groups coming in regularly to act; for example, the Ishyo group has been here as well as a group of young people called Never Again that comes in twice a week to perform a kind of a soap opera,” Dahl says.
In addition there are creative writing meetings, quiz nights and salsa dance classes; traditional dance is also in the pipeline. Moreover, artists and photographers get free access to display their work.
“We encourage artists to display, and patrons to donate some money to help them. We also work with a number of studios to help up-coming artists,” explains Daddy Ruhorahoza, the other owner.
But Torero is not only for culture and entertainment, it can also be a workplace. They offer internet, and it looks like an ideal surrounding to meet clients. After work, you can relax with affordable drinks and tasty food that is delivered quickly, while enjoying some live music.
“We want it to be more like your living room, you should feel at home. People like to socialize in different ways, and we like to bring that to you at Torero,” Dahl remarks.
For this purpose, Torero also offers a vast library; so if you don’t want to socialize, just grab a book and curl up.
And if this isn’t enough for you, the Torero owners are already thinking of other ways to interest people. “We plan to start a film club,” Ruhorahoza says. “And we are open to any other ideas; if the people want it, we shall do it—there is no limit.”
Torero Café is located in the city center, opposite Chez Venant, inside the Audiotex Building.
We have our own music, let’s stick to it"
Written by Louise Umutoni
As an artist, being the son of famous father is not always a blessing, as people will always compare the two. Being the offspring of a cultural icon such as Sentore makes it even harder to create an image of your own.
Intore Masamba: "I started singing when I was 5 years because of my father, who was in love with music".Yet at the age of 38, Massamba Intore can confidently say that he has stepped out of his prodigious father’s shadow, having become a major musician in his own right. Interview with the man who is no longer “the son of”.
Focus: Most people believe that you have been a musician from childhood; is that true?
Masamba: (laughing) Why, because Sentore is my father? Well, there might be truth in that; I started singing when I was 5 years because of my father, who was in love with music.
Focus: How would you describe your relationship with your father?
Masamba: My father is my mentor; I like to call him my professor. He taught me everything I know. He created me and most of Rwanda’s best traditional artists like Jean Paul Samputu. My father and I have always been close.
Focus: But you haven’t particularly taken on your father’s singing style, why?
Masamba: At first I used to try to sing like him, but I later decided to create my own style. Yes I’m still very traditional in the way I sing but I have picked up different aspects that I have added to the traditional style to improve on my music.
I went to a music school in Brussels and specialized in comédie musicale, but now I am more into afro-beat or afro-jazz. I particularly want to be open to all African cultures by singing in Swahili and South African languages. I relate with South Africans a lot, because they have suffered a lot just like my people here in Rwanda. But I still think my father is Rwanda’s best musician.
Focus: And have you always wanted to be a musician?
Masamba: No, I always wanted to be a journalist for a newspaper or radio. I still want to, even though I studied music and drama. I’m looking around for a radio station that would be willing to give me air for a talk show or something.
But I have to say Rwanda’s media are not really up to standard, and that’s very disappointing. Journalists are not respected, probably because they are not professional, some one comes from Biryogo and just because they are outspoken, they are given time on air.
Focus: When did you record your first album?
Masamba: I released my first album when I was 13 years old called Ndi Uwawe; it had six songs on it.
Focus: Are there any other musicians in your family?
Masamba: Actually yes, my sister Claire Uwera sings in a gospel group called Singiza. She’s really good.
Focus: Is there anything else you do besides singing?
Masamba: At the moment I also do theater, I’m an actor.
In Belgium I was in a member of the musician’s copyright organization Sabam, and there I earned a lot of money for 8 years. Yet I decided to come to Rwanda because of one man’s wise advice: Youssou N’Dour told me that I should go and study the Rwandan music and modernize it.
This is basically what I have been doing: I’m researching different styles, amongst others the inkwata singing and dancing style of the Twas, or imbyino z’imidiho which is typical for Ruhengeri.
Focus: What do you like about Rwanda’s music industry?
Masamba: (sighs) Nothing, nothing at all. Our music industry is still very backward; we are not half as good as our neighbors. Artists in Rwanda are disrespected. We have sponsors who think that they only hire artists to help them, yet it should be a give-and-take situation. Yet I have hope that this will change with Rwanda’s adherence to the East African Community; maybe we will learn from the other member states.
Focus: What do you think should be done to improve the situation?
Masamba: First of all, the private sector federation should make it its agenda to change the image of showbiz in Rwanda. Sponsors should also get rid of the ‘hand-out mentality’; it’s a two-way thing in which you help the artists and they make money for you.
Also, local artists should give these people a run for their money; no one wants to work with an artist whom they will not profit from. Let’s pick a leaf from artists like Ismail Lo and Youssou N’ Dour, who have created a name for themselves by being original.
Focus: Most of us were surprised that you were not nominated for the PAM awards.
Masamba: What Rwandans need to understand is that we cannot participate in such an event when we have poor organizers. I was not told about the PAM awards even when they were doing nominations. I hear it’s because I’m an international artist and would ask for a lot of money.
Focus: What is your opinion of the upcoming local artists?
Masamba: To be honest, they are headed in the wrong direction. Okay, maybe they are trying to modernize their music to meet modern demand, but I want to remind them that you cannot compete with Americans by singing their music. They invented it, so they will always be better. You have your own music, so stick to it. Rwanda has 15 different types of rhythms from different parts of Rwanda, use that.
As for those who sing in languages like English and French, I’m sorry to say they are wasting time.
Why do you think Pavarotti was so popular yet he sung mainly in Italian? It’s because it was his language. All artists who have traveled and have enough exposure, like Cécile Kayirebwa, will tell you that sticking to your culture is the way forward; language is part of culture.
Focus: So do you have anything new for the people?
Masamba: Actually I do, I’m releasing a new album at the end of December called Winyanduza. Also, I have a song with Chameleon and we are going to interchange languages with Chameleon singing in Kinyarwanda and me trying out Luganda. “The catwalk is not for whores”
Written by Louise Umutoni
The fashion industry in Rwanda still has a long way to go. With interesting initiatives being taken to develop the music and film industry, fashion should follow suite. According to fashion designers and models alike, it is question of becoming more professional, and making people understand the fashion industry.
When you compare the fashion industry in Rwanda to that of its neighbors, it is clear that a lot leaves to be desired. Katia, a Rwandan model based in Canada, has regularly been in the country to do some shoots, and she thinks that there is no real fashion industry in Rwanda.
“The only real fashion agency I know is Dadmax of Dadi Demaximo; the others are really not yet up to professional standards,” Katia says. However she is optimistic, because the industry is has improved a lot compared to its state when she left it meaning, so it is developing.
People don’t understand
“The Miss Kigali pageant is a step forward in the fashion industry, we have never held an event like this that is supported by the Government,” says Rosalie Gicanda, fashion designer and owner of fashion company Promode Services, who designed those lovely dresses used in the Miss Kigali contest.
Gicanda thinks that, although it has been really slow to develop, the fashion industry is on its way to becoming like those of our neighbors. “People need to be enlightened a little more about this industry, because in Rwanda people just do not understand it” Gicanda added.
Rosalie Gicanda is a Rwandan who was born and went to school in Congo, where she studied design until1976. She later went to France and furthered her education in design for six years, and then taught in Congo and Burkina Faso.
She returned to Rwanda in 1998, and started her fashion shop called La Grace. In 2002 she opened Promode Services and started teaching some girls how to behave on the catwalk and be models.
“I couldn’t sit back and wait for people to come and buy my designs, so I started with shows using these girls to showcase my outfits,” Gicanda explains.
Dressy people
Gicanda says that fashion was not exactly her first love, as she wanted to a lawyer. “I did not like designing in school, but I liked the way the teacher taught because he thought of the ideas himself. Just imagine thinking up a design, and then dressing someone in that outfit, and they look good and appreciate it.
It’s very inspirational and this is what all designers should strive to achieve; you need to be innovative and creative,” Rosalie Gicanda explains.
However, she had a difficult start because at that time fashion was obviously not a priority in Rwanda. “I know many people believe Rwandans have always been dressy people, but only a handful of people were interested in looking good back then.
Everything from the fabric to the confidence of models was lacking, and this was very discouraging,” Gicanda says. “However, the fashion shows got people to recognize my designs, and a lot of people liked them; this is how I got my first clients.”
Another designer, Dadi de Maximo of Dadmax fashion company, says that for him also it has been a long and difficult road, and yet design has always been his passion. He says that he had to struggle to get the right models, and it was not until recently that a number of people got interested in this industry.
“People believed that the catwalk was for whores or failures in society, but we have proved modeling is a profession like any other and it should be respected,” Demaximo said.
Claudine Uwera, a model of Dadmax, says that to her modeling is still something she is not very proud of.
“Dadmax is the first modeling agency I went to where they treated me like a professional, otherwise most of us where simply posing for companies that always ripped us off,” Claudine points out.
She adds that if more agencies came up, it would create competition which would make the designers strive to be more creative and innovative, thus dressing people better.
Written by Louise Umutoni
As an artist, being the son of famous father is not always a blessing, as people will always compare the two. Being the offspring of a cultural icon such as Sentore makes it even harder to create an image of your own.
Intore Masamba: "I started singing when I was 5 years because of my father, who was in love with music".Yet at the age of 38, Massamba Intore can confidently say that he has stepped out of his prodigious father’s shadow, having become a major musician in his own right. Interview with the man who is no longer “the son of”.
Focus: Most people believe that you have been a musician from childhood; is that true?
Masamba: (laughing) Why, because Sentore is my father? Well, there might be truth in that; I started singing when I was 5 years because of my father, who was in love with music.
Focus: How would you describe your relationship with your father?
Masamba: My father is my mentor; I like to call him my professor. He taught me everything I know. He created me and most of Rwanda’s best traditional artists like Jean Paul Samputu. My father and I have always been close.
Focus: But you haven’t particularly taken on your father’s singing style, why?
Masamba: At first I used to try to sing like him, but I later decided to create my own style. Yes I’m still very traditional in the way I sing but I have picked up different aspects that I have added to the traditional style to improve on my music.
I went to a music school in Brussels and specialized in comédie musicale, but now I am more into afro-beat or afro-jazz. I particularly want to be open to all African cultures by singing in Swahili and South African languages. I relate with South Africans a lot, because they have suffered a lot just like my people here in Rwanda. But I still think my father is Rwanda’s best musician.
Focus: And have you always wanted to be a musician?
Masamba: No, I always wanted to be a journalist for a newspaper or radio. I still want to, even though I studied music and drama. I’m looking around for a radio station that would be willing to give me air for a talk show or something.
But I have to say Rwanda’s media are not really up to standard, and that’s very disappointing. Journalists are not respected, probably because they are not professional, some one comes from Biryogo and just because they are outspoken, they are given time on air.
Focus: When did you record your first album?
Masamba: I released my first album when I was 13 years old called Ndi Uwawe; it had six songs on it.
Focus: Are there any other musicians in your family?
Masamba: Actually yes, my sister Claire Uwera sings in a gospel group called Singiza. She’s really good.
Focus: Is there anything else you do besides singing?
Masamba: At the moment I also do theater, I’m an actor.
In Belgium I was in a member of the musician’s copyright organization Sabam, and there I earned a lot of money for 8 years. Yet I decided to come to Rwanda because of one man’s wise advice: Youssou N’Dour told me that I should go and study the Rwandan music and modernize it.
This is basically what I have been doing: I’m researching different styles, amongst others the inkwata singing and dancing style of the Twas, or imbyino z’imidiho which is typical for Ruhengeri.
Focus: What do you like about Rwanda’s music industry?
Masamba: (sighs) Nothing, nothing at all. Our music industry is still very backward; we are not half as good as our neighbors. Artists in Rwanda are disrespected. We have sponsors who think that they only hire artists to help them, yet it should be a give-and-take situation. Yet I have hope that this will change with Rwanda’s adherence to the East African Community; maybe we will learn from the other member states.
Focus: What do you think should be done to improve the situation?
Masamba: First of all, the private sector federation should make it its agenda to change the image of showbiz in Rwanda. Sponsors should also get rid of the ‘hand-out mentality’; it’s a two-way thing in which you help the artists and they make money for you.
Also, local artists should give these people a run for their money; no one wants to work with an artist whom they will not profit from. Let’s pick a leaf from artists like Ismail Lo and Youssou N’ Dour, who have created a name for themselves by being original.
Focus: Most of us were surprised that you were not nominated for the PAM awards.
Masamba: What Rwandans need to understand is that we cannot participate in such an event when we have poor organizers. I was not told about the PAM awards even when they were doing nominations. I hear it’s because I’m an international artist and would ask for a lot of money.
Focus: What is your opinion of the upcoming local artists?
Masamba: To be honest, they are headed in the wrong direction. Okay, maybe they are trying to modernize their music to meet modern demand, but I want to remind them that you cannot compete with Americans by singing their music. They invented it, so they will always be better. You have your own music, so stick to it. Rwanda has 15 different types of rhythms from different parts of Rwanda, use that.
As for those who sing in languages like English and French, I’m sorry to say they are wasting time.
Why do you think Pavarotti was so popular yet he sung mainly in Italian? It’s because it was his language. All artists who have traveled and have enough exposure, like Cécile Kayirebwa, will tell you that sticking to your culture is the way forward; language is part of culture.
Focus: So do you have anything new for the people?
Masamba: Actually I do, I’m releasing a new album at the end of December called Winyanduza. Also, I have a song with Chameleon and we are going to interchange languages with Chameleon singing in Kinyarwanda and me trying out Luganda.
posted by louise @ 1:10 AM 0 comments 
Modernizing music: a survival strategy?
Written by Louise Umutoni
While Rwanda has its own traditional music that has evolved over centuries, today’s musician are increasingly including modern elements in it or even completely abandoning it for western styles. What are their motives?
“We had to change according to the times; other artists out there we combining their cultural music with modern styles and it was really selling” explains Masamba Intore. “Of course our music is really good, but we have to be flexible and accept change. Our style can be made even better adding a few things here and there. It will be difficult today to find a song in Kinyarwanda without some foreign beats.”
Almost every Rwandan artist, even the few still surviving traditional ones, have either totally moved away from the folk songs or redefined them to suit what is marketable.
In Rwandan culture, music has always played a dominant role, with the ikinimbi being the most popular traditional folk dance, narrating the epic stories of Rwandan classical heroes. Several musical instruments were used while playing this dance music, which included the ingoma, a drum which provided the beat for the song.
Artists like Cecile Kayirebwa and Sentore are among the pioneers of Rwandan music still alive, and they specialized in traditional music like their predecessors. This is probably because as young artists they did not have a lot of contact with other artists with different singing styles.
However, after the genocide new artists came up, most of them having been exposed to different cultures and music styles. Most these new artists were young and had a big fan base as most people related to their music. These changes were so far-reaching that even the local artists like Masamba Intore had to adapt.
However, other artists such as Miss Jojo have adopted foreign styles simple for the love of them. She says it was not the desire for a bigger fan-base that made her leave the traditional way of singing, but rather the fact that she relates more with the foreign singing styles. “I always wanted to sing and dance like musicians such as Aaliyah and other R&B artists, and that’s what I am comfortable with,” Jojo explains. Yet she insists that although her music is R&B, she is still very traditional because she sings in Kinyarwanda like in her Mbgira song.
Some artists however went a step further in the modernization by discarding Kinyarwanda in favor of French or English. This is mainly done by young musicians, who subsequently have a big fan-base amongst the Rwandan youth.
Others have not only taken on the music style, but the whole culture associated with it. A good example is the hip-hop group Kigali Boys (KGB), whose members not only play hip-hop music but also style themselves after the likes of 50 Cent, whose singing style they also try to imitate. KGB’er Skizzy says that this is the new age of modernity, and that music has to change just as everything else has.
Singer and dancer Daddy Casanova also thinks this change in music is something very positive. “Rwandan music needs to compete with that of other countries, and we can only do this by becoming professional; that involves singing in the styles that are most marketable,” he argues. “You cannot expect to compete in the category of ‘best reggae artist’ when you do not sing in the reggae style.”
Yet Masamba, who has remained closer to tradition, strongly disagrees. “We need to set the pace for other local artists using our own music. We cannot compete with black Americans in hip hop, they invented it, we need to compete with what we are good at.”
In his view, it is okay to improve on your music by picking a leaf from the other styles, as long as you keep in mind that you are a local artist. “Hip hop is 50 Cent’s culture, we have our own; let’s stick to it, it’s the only chance we have.”
Written by Louise Umutoni
While Rwanda has its own traditional music that has evolved over centuries, today’s musician are increasingly including modern elements in it or even completely abandoning it for western styles. What are their motives?
“We had to change according to the times; other artists out there we combining their cultural music with modern styles and it was really selling” explains Masamba Intore. “Of course our music is really good, but we have to be flexible and accept change. Our style can be made even better adding a few things here and there. It will be difficult today to find a song in Kinyarwanda without some foreign beats.”
Almost every Rwandan artist, even the few still surviving traditional ones, have either totally moved away from the folk songs or redefined them to suit what is marketable.
In Rwandan culture, music has always played a dominant role, with the ikinimbi being the most popular traditional folk dance, narrating the epic stories of Rwandan classical heroes. Several musical instruments were used while playing this dance music, which included the ingoma, a drum which provided the beat for the song.
Artists like Cecile Kayirebwa and Sentore are among the pioneers of Rwandan music still alive, and they specialized in traditional music like their predecessors. This is probably because as young artists they did not have a lot of contact with other artists with different singing styles.
However, after the genocide new artists came up, most of them having been exposed to different cultures and music styles. Most these new artists were young and had a big fan base as most people related to their music. These changes were so far-reaching that even the local artists like Masamba Intore had to adapt.
However, other artists such as Miss Jojo have adopted foreign styles simple for the love of them. She says it was not the desire for a bigger fan-base that made her leave the traditional way of singing, but rather the fact that she relates more with the foreign singing styles. “I always wanted to sing and dance like musicians such as Aaliyah and other R&B artists, and that’s what I am comfortable with,” Jojo explains. Yet she insists that although her music is R&B, she is still very traditional because she sings in Kinyarwanda like in her Mbgira song.
Some artists however went a step further in the modernization by discarding Kinyarwanda in favor of French or English. This is mainly done by young musicians, who subsequently have a big fan-base amongst the Rwandan youth.
Others have not only taken on the music style, but the whole culture associated with it. A good example is the hip-hop group Kigali Boys (KGB), whose members not only play hip-hop music but also style themselves after the likes of 50 Cent, whose singing style they also try to imitate. KGB’er Skizzy says that this is the new age of modernity, and that music has to change just as everything else has.
Singer and dancer Daddy Casanova also thinks this change in music is something very positive. “Rwandan music needs to compete with that of other countries, and we can only do this by becoming professional; that involves singing in the styles that are most marketable,” he argues. “You cannot expect to compete in the category of ‘best reggae artist’ when you do not sing in the reggae style.”
Yet Masamba, who has remained closer to tradition, strongly disagrees. “We need to set the pace for other local artists using our own music. We cannot compete with black Americans in hip hop, they invented it, we need to compete with what we are good at.”
In his view, it is okay to improve on your music by picking a leaf from the other styles, as long as you keep in mind that you are a local artist. “Hip hop is 50 Cent’s culture, we have our own; let’s stick to it, it’s the only chance we have.”
posted by louise @ 1:08 AM 0 comments
How much longer should 100 Days continue?
Written by Louise Umutoni
The 1994 genocide has had a major impact on Rwandan society for over a decade. In a context of catharsis and social reconciliation, it has affected every single sector of the economy. Yet for the film industry, it seems the time has come to turn to new themes.
The film industry, known now as Hillywood, has been profoundly marked by the genocide. In every single Rwandan movie that has gained some popularity, the massacres have played a predominant role.
The Rwanda Cinema Center is the most noticeable example. It started as a one-man project, set up by Eric Kabera, who was the first Rwandan to co-produce a movie with the genocide as its central theme.
He was approached by Nick Hughes, a British camera man who was one of the few, if not the only one, staying behind in Rwanda during the killings. His were the images that gave the world a glimpse of the horror, which inspired him to make a film on the genocide. Hughes and Kabera produced 100 Days, the first film about the genocide. It would not be the last.
A film about the genocide, Kabera thought, would remind people across the world of what happened in three terrible months in 1994. Yet 100 Days spawned a number of successors, the most notable and controversial of which, Hotel Rwanda, was based on what had taken place at hotel Mille Collines. Starring Don Cheadle and Sophie Okonedo, the film was nominated for three Oscars.
Although these films earned the country a lot of notoriety, they became a millstone to the film industry in the sense that Rwanda’s film industry is now based on genocide-related movies. Kabera himself has become a victim of the potent profile he helped to create for the country. He now wants to make a comedy.
“It has nothing to do with genocide,” he says. “It’s a comedy about a beautiful girl. But I talk to investors and they say: ‘A comedy in Rwanda? I don’t get it.’ That’s the problem we have now.
These genocide-based films give a message about Rwanda, so that at least people know where we’re from; but it means that everybody who sees it sees the genocide and nothing else. It is a good introduction, but now we want to go beyond the genocide. We want to present a new face of Rwanda,” Kabera said
Soap opera
Natasha Muziramakenga is an actress who played in one of those films, Un dimanche à Kigali. “Rwanda’s film industry is not yet developed. Lots of people, when they the popularity of our movies, think our industry is really developed. That is not the case. Most of these movies are done by foreign directors, not our own,” Muziramakenga points out.
“Un Dimanche a Kigali, for example, was made by a Canadian film director; it became quite popular, as it was nominated for a number of awards,” she says.
When asked about the trend of making genocide-related movies, Muziramakenga said that since it’s foreigners who make these movies, it is likely that they will use genocide as a theme. “Look around, Rwanda is really not known for anything else apart from the genocide, so that is what anyone would center on,” she explains.
Faith Butera, who played in Shooting Dogs and Sometimes In April, thinks that the movie industry in Rwanda is quite developed. “Looking at my own experience, I feel the industry is quite a success, because these movies were a hit and I had a lot of fun acting in both of them,” she says. She adds that she learnt a lot from the acting, and she would do it all over again if she had the chance.
Actress Charity Keza has a different experience, as she acted in a film that had a completely different theme. “The film was in Kinyarwanda and was basically about Aids and how young people can protect themselves against it.”
Keza thinks the film industry should evolve in this sense, as at least this film talks about the day-to-day life of Rwandans.
“There is this one guy in the film industry who told me that he wants to make a kind of soap opera like Isindigo of South Africa. Now that will make our film industry popular.”
Written by Louise Umutoni
The 1994 genocide has had a major impact on Rwandan society for over a decade. In a context of catharsis and social reconciliation, it has affected every single sector of the economy. Yet for the film industry, it seems the time has come to turn to new themes.
The film industry, known now as Hillywood, has been profoundly marked by the genocide. In every single Rwandan movie that has gained some popularity, the massacres have played a predominant role.
The Rwanda Cinema Center is the most noticeable example. It started as a one-man project, set up by Eric Kabera, who was the first Rwandan to co-produce a movie with the genocide as its central theme.
He was approached by Nick Hughes, a British camera man who was one of the few, if not the only one, staying behind in Rwanda during the killings. His were the images that gave the world a glimpse of the horror, which inspired him to make a film on the genocide. Hughes and Kabera produced 100 Days, the first film about the genocide. It would not be the last.
A film about the genocide, Kabera thought, would remind people across the world of what happened in three terrible months in 1994. Yet 100 Days spawned a number of successors, the most notable and controversial of which, Hotel Rwanda, was based on what had taken place at hotel Mille Collines. Starring Don Cheadle and Sophie Okonedo, the film was nominated for three Oscars.
Although these films earned the country a lot of notoriety, they became a millstone to the film industry in the sense that Rwanda’s film industry is now based on genocide-related movies. Kabera himself has become a victim of the potent profile he helped to create for the country. He now wants to make a comedy.
“It has nothing to do with genocide,” he says. “It’s a comedy about a beautiful girl. But I talk to investors and they say: ‘A comedy in Rwanda? I don’t get it.’ That’s the problem we have now.
These genocide-based films give a message about Rwanda, so that at least people know where we’re from; but it means that everybody who sees it sees the genocide and nothing else. It is a good introduction, but now we want to go beyond the genocide. We want to present a new face of Rwanda,” Kabera said
Soap opera
Natasha Muziramakenga is an actress who played in one of those films, Un dimanche à Kigali. “Rwanda’s film industry is not yet developed. Lots of people, when they the popularity of our movies, think our industry is really developed. That is not the case. Most of these movies are done by foreign directors, not our own,” Muziramakenga points out.
“Un Dimanche a Kigali, for example, was made by a Canadian film director; it became quite popular, as it was nominated for a number of awards,” she says.
When asked about the trend of making genocide-related movies, Muziramakenga said that since it’s foreigners who make these movies, it is likely that they will use genocide as a theme. “Look around, Rwanda is really not known for anything else apart from the genocide, so that is what anyone would center on,” she explains.
Faith Butera, who played in Shooting Dogs and Sometimes In April, thinks that the movie industry in Rwanda is quite developed. “Looking at my own experience, I feel the industry is quite a success, because these movies were a hit and I had a lot of fun acting in both of them,” she says. She adds that she learnt a lot from the acting, and she would do it all over again if she had the chance.
Actress Charity Keza has a different experience, as she acted in a film that had a completely different theme. “The film was in Kinyarwanda and was basically about Aids and how young people can protect themselves against it.”
Keza thinks the film industry should evolve in this sense, as at least this film talks about the day-to-day life of Rwandans.
“There is this one guy in the film industry who told me that he wants to make a kind of soap opera like Isindigo of South Africa. Now that will make our film industry popular.”
posted by louise @ 1:05 AM 0 comments
Borrowing someone's life, and enjoying it
Written by Louise Umutoni
Natasha Muziramakenga is a lady of many trades: having dreamt as a young girl of being an architect or a psychiatrist, she went on to become a movie actress, a radio presenter and a free-lance journalist. Yet it seems she recently discovered her true love: theater.
Focus: When and where were you born?
To be honest, I have loved acting and I wanted to be an actress.Natasha: (sighs) Do I have to? I don’t mind the where, but I sure mind the when. But anyway, I was born on 28th February 1984 in Lubumbashi in the DRC. I lived there until 1996, when my family came to Rwanda.
Focus: Have you always loved acting, or is it something you just took on?
Natasha: To be honest, I have loved acting and I wanted to be an actress, but then again I have wanted to be so many things (grins) – I wanted to be an architect, a journalist and a psychiatrist.
However, it was not until 2005 that I started acting professionally, when I starred in Un Dimanche à Kigali. As a child I acted in silly plays for pleasure, though I honestly loved every minute of it.
Focus: Why did you decide to start acting professionally?
Natasha: Funnily, it started as a joke. I was just passing by the place where they were doing the casting, and I thought, ‘this is fun, why not just join in’. So I did, and to my surprise the director picked me. I don’t know why, but maybe he fell in love with my smile. (laughs out loud) Only kidding.
Focus: And what part exactly did you play?
Natasha: I acted as Aimerita, a taxi driver and friend to the main actor. I should also add that this movie was based on a true story – most of the characters actually existed. It is about a Canadian journalist doing a documentary on Aids in Rwanda at the time of the genocide, who falls in love with a Rwandan girl, a waitress. He is distressed because he tries to tell the world what’s happening but no one listens, so he decides to concentrate on saving the woman he loves.
Focus: What was the experience like?
Natasha: I really enjoyed it! Acting professionally was a completely new thing for me, and I fell in love with it. I felt like I was borrowing someone’s life for just a day, and just enjoying it for that time.
Focus: Do you think the film industry in Rwanda is going anywhere?
Natasha: Well, I’ll try to be optimistic and say that with time our movie industry will stand out. However, this will depend on the parties involved, that is the actors, actresses, and directors. I think it depends most on the directors, because the actors are readily available and they are very good, but most of the people directing Rwandan movies are foreigners.
I believe everything needs a lot of time and dedication to make it perfect. Acting is like giving birth, you put so much time into preparation and then you just let it unfold.
Focus: Aside from acting, is there any thing else you do?
Natasha: I like to refer to myself as a free spirit because I do different things. I’m a radio presenter on Contact FM, I do theater and I’m a free lance writer for Ikaze (the magazine of Rwandair Express, ed.).
Focus: So do you intend to continue acting on a professional level?
Natasha: Yes and no. I want to continue acting, but then I also want to do many other things. Acting in Rwanda is a one-time thing; you cannot expect to keep acting because they are not that many movies being made, the film industry is not yet big. In fact, I recently discovered theater and it’s much more enticing than the film industry.
Recently, I played a knight in a piece called Littoral in Butare, and it was so much more than anything I have ever done. I felt like for once, I was actually being myself out there. This might sound weird, but right when I left the stage I screamed out loud because I felt so good! I think theater is the thing for me, but then again I have so many things to do out there, I cannot stick to one...
Written by Louise Umutoni
Natasha Muziramakenga is a lady of many trades: having dreamt as a young girl of being an architect or a psychiatrist, she went on to become a movie actress, a radio presenter and a free-lance journalist. Yet it seems she recently discovered her true love: theater.
Focus: When and where were you born?
To be honest, I have loved acting and I wanted to be an actress.Natasha: (sighs) Do I have to? I don’t mind the where, but I sure mind the when. But anyway, I was born on 28th February 1984 in Lubumbashi in the DRC. I lived there until 1996, when my family came to Rwanda.
Focus: Have you always loved acting, or is it something you just took on?
Natasha: To be honest, I have loved acting and I wanted to be an actress, but then again I have wanted to be so many things (grins) – I wanted to be an architect, a journalist and a psychiatrist.
However, it was not until 2005 that I started acting professionally, when I starred in Un Dimanche à Kigali. As a child I acted in silly plays for pleasure, though I honestly loved every minute of it.
Focus: Why did you decide to start acting professionally?
Natasha: Funnily, it started as a joke. I was just passing by the place where they were doing the casting, and I thought, ‘this is fun, why not just join in’. So I did, and to my surprise the director picked me. I don’t know why, but maybe he fell in love with my smile. (laughs out loud) Only kidding.
Focus: And what part exactly did you play?
Natasha: I acted as Aimerita, a taxi driver and friend to the main actor. I should also add that this movie was based on a true story – most of the characters actually existed. It is about a Canadian journalist doing a documentary on Aids in Rwanda at the time of the genocide, who falls in love with a Rwandan girl, a waitress. He is distressed because he tries to tell the world what’s happening but no one listens, so he decides to concentrate on saving the woman he loves.
Focus: What was the experience like?
Natasha: I really enjoyed it! Acting professionally was a completely new thing for me, and I fell in love with it. I felt like I was borrowing someone’s life for just a day, and just enjoying it for that time.
Focus: Do you think the film industry in Rwanda is going anywhere?
Natasha: Well, I’ll try to be optimistic and say that with time our movie industry will stand out. However, this will depend on the parties involved, that is the actors, actresses, and directors. I think it depends most on the directors, because the actors are readily available and they are very good, but most of the people directing Rwandan movies are foreigners.
I believe everything needs a lot of time and dedication to make it perfect. Acting is like giving birth, you put so much time into preparation and then you just let it unfold.
Focus: Aside from acting, is there any thing else you do?
Natasha: I like to refer to myself as a free spirit because I do different things. I’m a radio presenter on Contact FM, I do theater and I’m a free lance writer for Ikaze (the magazine of Rwandair Express, ed.).
Focus: So do you intend to continue acting on a professional level?
Natasha: Yes and no. I want to continue acting, but then I also want to do many other things. Acting in Rwanda is a one-time thing; you cannot expect to keep acting because they are not that many movies being made, the film industry is not yet big. In fact, I recently discovered theater and it’s much more enticing than the film industry.
Recently, I played a knight in a piece called Littoral in Butare, and it was so much more than anything I have ever done. I felt like for once, I was actually being myself out there. This might sound weird, but right when I left the stage I screamed out loud because I felt so good! I think theater is the thing for me, but then again I have so many things to do out there, I cannot stick to one...
posted by louise @ 1:03 AM 0 comments
“Artists should stop being beggars”
Written by Louise Umutoni
Being also a youth program coordinator with PSI, Mc Monday is an artist with a message. Yet not only about Aids, but also about Rwanda’s music industry. “It is not yet time to sell music, first we have to create the market.”
And musicians should stop complaining that government doesn’t help them: “You should have something to offer; personally, I’m still trying to make myself worth helping.”
Focus: Why exactly do you call your self MC Monday?
Mc Monday: First of all, I’m an MC, and the ‘Monday’ name was given to me my parents because I was born on Monday. But this is just a nickname, my real name is Sibbo Gashumba Assumani.
Focus: Where and when were you born?
Mc Monday: The ‘when’ part I can answer, and that is in February 1976. But the ‘where’ part, I choose not to reply to it; I consider myself a Rwandan from the Great Lake’s region, I do not want to segregate. Rwanda today is so divided because people lived in different countries before the genocide, and thus have different cultures, but I choose not to segregate.
Focus: When did you decide to join the music industry?
Mc Monday: I have not always been into singing. My first love was dancing, and I always thought I would be choreographer as I was referred to as the young Michael Jackson by my peers. It was not until 1995, when I did karaoke, that I felt music was my passion. By 1997 I had released my first song, Nseko nziza.
Focus: You have taken on a new kind music, “crank”; do you think this will affect your fan as “tonto w'abana”?
Mc Monday: No, I did a lot of research about it before I actually decided to take up this style. I believe everything has to be up-dated, and this is my way of modernizing my music. I play music for people, not for myself, and today crank is the most popular kind of music because it has a simple sound, and this gives you a chance to speak out and explain you self.
This is what I want to do, to explain my self and let everyone out there understand the message I am trying to preach. Also, I think that it is only wise to concentrate on the youth because they are the most interested in music. And as for the children, I’ll still do some songs for them, so I am still “tonto waabana”; I’m even organizing free concerts for children, especially the disadvantaged, to make them feel special.
Focus: But do you think this is in line with our cultural way of singing?
Mc Monday: Actually yes, it is; I believe mixing cultures will give us a nice future. Also, my style is not exactly American crank; it is a mixture of the Rwandan Ikinimba and crank, which I call Kinyacrank.
Focus: Recently a group musicians came together to sell their music for the first time in Rwanda, what made you hold back?
Mc Monday: (hesitates) Well, I think it was some kind of mistake, because how many people have CD players in Rwanda? People like music, but their means are still low. This is not the right moment to sell music in Rwanda, it is not yet time. This is our time create the market – phase A as I like to call it – for promoting ourselves before we can properly sell the music.
Also, although working together as musicians is good, I feel it was very unprofessional for them to combine their songs on one album. A person may fancy Miss Jojo, but won’t necessarily like Family squad.
Focus: Is music the only thing you do?
Mc Monday: No, I work for PSI as the “Abajeune” brand coordinator for youth programs. I love the youth, and I want them to understand that the future belongs to them; I want them to believe in a future without HIV. I do a show on Contact Fm for PSI that talks about the youth, and we have debates various topics like Aids and parent and child communication.
In addition to this I host three other shows on radio 10, one on Saturday about mixing cultures, especially in terms of music; another on Thursday, which I call Ladies’ Night where we talk about women in an effort to teach them how to be open. On Sunday I have another show strictly for Rwandan music to promote our local artists.
Focus: Do you think Rwanda’s music industry is developing?
Mc Monday: Yes, I do think so, but it is rather at a slow rate. This can only be blamed on the artists themselves. Artists should get rid of the beggar syndrome that is eating them up; all those artists who go around saying that the government does not support them should stop complaining.
The government will only support you when you have something to offer; for example I do not need help now, I’m still trying to make myself worth helping.
Focus: What should the public expect from you soon?
Mc Monday: My first crank album is coming out with a number of nice songs like Byabindi, a song talking about people’s reaction to Inyoni giving it a negative image. Also, my new name is “Double M” – as I said I’m up dating my self.
Focus: What advice would you give fellow artists?
Mc Monday: I would like to tell them to stop going from door to door asking for money; knock on the door of God because He gives so much more along with inspiration. Also, artists should love one another and not go around talking about each other negatively. For example, I’m doing it, I now have a studio called “Impano y’Imana” with modern equipment and I can produce my own music.
I have even produced music for some artists like Lamek Murekani aka LMAR and his song was a hit.
Written by Louise Umutoni
Being also a youth program coordinator with PSI, Mc Monday is an artist with a message. Yet not only about Aids, but also about Rwanda’s music industry. “It is not yet time to sell music, first we have to create the market.”
And musicians should stop complaining that government doesn’t help them: “You should have something to offer; personally, I’m still trying to make myself worth helping.”
Focus: Why exactly do you call your self MC Monday?
Mc Monday: First of all, I’m an MC, and the ‘Monday’ name was given to me my parents because I was born on Monday. But this is just a nickname, my real name is Sibbo Gashumba Assumani.
Focus: Where and when were you born?
Mc Monday: The ‘when’ part I can answer, and that is in February 1976. But the ‘where’ part, I choose not to reply to it; I consider myself a Rwandan from the Great Lake’s region, I do not want to segregate. Rwanda today is so divided because people lived in different countries before the genocide, and thus have different cultures, but I choose not to segregate.
Focus: When did you decide to join the music industry?
Mc Monday: I have not always been into singing. My first love was dancing, and I always thought I would be choreographer as I was referred to as the young Michael Jackson by my peers. It was not until 1995, when I did karaoke, that I felt music was my passion. By 1997 I had released my first song, Nseko nziza.
Focus: You have taken on a new kind music, “crank”; do you think this will affect your fan as “tonto w'abana”?
Mc Monday: No, I did a lot of research about it before I actually decided to take up this style. I believe everything has to be up-dated, and this is my way of modernizing my music. I play music for people, not for myself, and today crank is the most popular kind of music because it has a simple sound, and this gives you a chance to speak out and explain you self.
This is what I want to do, to explain my self and let everyone out there understand the message I am trying to preach. Also, I think that it is only wise to concentrate on the youth because they are the most interested in music. And as for the children, I’ll still do some songs for them, so I am still “tonto waabana”; I’m even organizing free concerts for children, especially the disadvantaged, to make them feel special.
Focus: But do you think this is in line with our cultural way of singing?
Mc Monday: Actually yes, it is; I believe mixing cultures will give us a nice future. Also, my style is not exactly American crank; it is a mixture of the Rwandan Ikinimba and crank, which I call Kinyacrank.
Focus: Recently a group musicians came together to sell their music for the first time in Rwanda, what made you hold back?
Mc Monday: (hesitates) Well, I think it was some kind of mistake, because how many people have CD players in Rwanda? People like music, but their means are still low. This is not the right moment to sell music in Rwanda, it is not yet time. This is our time create the market – phase A as I like to call it – for promoting ourselves before we can properly sell the music.
Also, although working together as musicians is good, I feel it was very unprofessional for them to combine their songs on one album. A person may fancy Miss Jojo, but won’t necessarily like Family squad.
Focus: Is music the only thing you do?
Mc Monday: No, I work for PSI as the “Abajeune” brand coordinator for youth programs. I love the youth, and I want them to understand that the future belongs to them; I want them to believe in a future without HIV. I do a show on Contact Fm for PSI that talks about the youth, and we have debates various topics like Aids and parent and child communication.
In addition to this I host three other shows on radio 10, one on Saturday about mixing cultures, especially in terms of music; another on Thursday, which I call Ladies’ Night where we talk about women in an effort to teach them how to be open. On Sunday I have another show strictly for Rwandan music to promote our local artists.
Focus: Do you think Rwanda’s music industry is developing?
Mc Monday: Yes, I do think so, but it is rather at a slow rate. This can only be blamed on the artists themselves. Artists should get rid of the beggar syndrome that is eating them up; all those artists who go around saying that the government does not support them should stop complaining.
The government will only support you when you have something to offer; for example I do not need help now, I’m still trying to make myself worth helping.
Focus: What should the public expect from you soon?
Mc Monday: My first crank album is coming out with a number of nice songs like Byabindi, a song talking about people’s reaction to Inyoni giving it a negative image. Also, my new name is “Double M” – as I said I’m up dating my self.
Focus: What advice would you give fellow artists?
Mc Monday: I would like to tell them to stop going from door to door asking for money; knock on the door of God because He gives so much more along with inspiration. Also, artists should love one another and not go around talking about each other negatively. For example, I’m doing it, I now have a studio called “Impano y’Imana” with modern equipment and I can produce my own music.
I have even produced music for some artists like Lamek Murekani aka LMAR and his song was a hit.
posted by louise @ 12:53 AM 0 comments
Written by Louise Umutoni
The fashion industry in Rwanda still has a long way to go. With interesting initiatives being taken to develop the music and film industry, fashion should follow suite. According to fashion designers and models alike, it is question of becoming more professional, and making people understand the fashion industry.
When you compare the fashion industry in Rwanda to that of its neighbors, it is clear that a lot leaves to be desired. Katia, a Rwandan model based in Canada, has regularly been in the country to do some shoots, and she thinks that there is no real fashion industry in Rwanda.
“The only real fashion agency I know is Dadmax of Dadi Demaximo; the others are really not yet up to professional standards,” Katia says. However she is optimistic, because the industry is has improved a lot compared to its state when she left it meaning, so it is developing.
People don’t understand
“The Miss Kigali pageant is a step forward in the fashion industry, we have never held an event like this that is supported by the Government,” says Rosalie Gicanda, fashion designer and owner of fashion company Promode Services, who designed those lovely dresses used in the Miss Kigali contest.
Gicanda thinks that, although it has been really slow to develop, the fashion industry is on its way to becoming like those of our neighbors. “People need to be enlightened a little more about this industry, because in Rwanda people just do not understand it” Gicanda added.
Rosalie Gicanda is a Rwandan who was born and went to school in Congo, where she studied design until1976. She later went to France and furthered her education in design for six years, and then taught in Congo and Burkina Faso.
She returned to Rwanda in 1998, and started her fashion shop called La Grace. In 2002 she opened Promode Services and started teaching some girls how to behave on the catwalk and be models.
“I couldn’t sit back and wait for people to come and buy my designs, so I started with shows using these girls to showcase my outfits,” Gicanda explains.
Dressy people
Gicanda says that fashion was not exactly her first love, as she wanted to a lawyer. “I did not like designing in school, but I liked the way the teacher taught because he thought of the ideas himself. Just imagine thinking up a design, and then dressing someone in that outfit, and they look good and appreciate it.
It’s very inspirational and this is what all designers should strive to achieve; you need to be innovative and creative,” Rosalie Gicanda explains.
However, she had a difficult start because at that time fashion was obviously not a priority in Rwanda. “I know many people believe Rwandans have always been dressy people, but only a handful of people were interested in looking good back then.
Everything from the fabric to the confidence of models was lacking, and this was very discouraging,” Gicanda says. “However, the fashion shows got people to recognize my designs, and a lot of people liked them; this is how I got my first clients.”
Another designer, Dadi de Maximo of Dadmax fashion company, says that for him also it has been a long and difficult road, and yet design has always been his passion. He says that he had to struggle to get the right models, and it was not until recently that a number of people got interested in this industry.
“People believed that the catwalk was for whores or failures in society, but we have proved modeling is a profession like any other and it should be respected,” Demaximo said.
Claudine Uwera, a model of Dadmax, says that to her modeling is still something she is not very proud of.
“Dadmax is the first modeling agency I went to where they treated me like a professional, otherwise most of us where simply posing for companies that always ripped us off,” Claudine points out.
She adds that if more agencies came up, it would create competition which would make the designers strive to be more creative and innovative, thus dressing people better.
"Shake it baby is not a message to preach"
Written by Louise Umutoni
As a singer, dancer and presenter of the popular Great Lakes Generation radio show, he is quickly making a name for himself. And with a name like Daddy Casanova, it is hardly surprising that he is the heartthrob of Kigali. Focus caught up with the young artist, and talked about Italian priests, Rastafarians, the lack of a music industry and what is wrong with 50 Cent.
Focus: How did you come by the nickname of Daddy Casanova? Most people would say it is because of your good looks.
Casanova: My real name is indeed not Casanova, but Daddy Manzi. I got the nickname when I presented the morning show on Contact FM for the first time, together with my friend Bella Gasana. We were so nervous about going on air for the first time, and we wanted to have the right names to go with it.
We did a lot of thinking and guessing for like an hour, coming up with names like Mr. Lover Lover and the kind. It was just when we were about to go on air that Bella suddenly came up with Casanova. I called her BG.
Focus: With a name like that, all the girls in town obviously want to know if you’re still single…
Casanova: (laughing) Sorry to disappoint you girls, but I have a girlfriend, Katia. She’s a Rwandan born in Belgium, and currently she’s a model in Canada. I love her very much.
Focus: Could you tell us something about your background?
Casanova: I was born in Kigali on December 9, 1984, but our family later moved to Goma and came back to Rwanda after the genocide. I still have both parents, as well as two brothers and three sisters.
Focus: And when did you start singing?
Casanova: Unlike a lot of musicians, singing was not a childhood passion for me. I was rather indifferent to it, and needed someone to help me become aware of my talent. That happened when I was 8 years old. I had some friends who sang in a choir, and one day I decided to tag along when they went for practice.
I sang with them just for fun, but the Italian priest who conducted the practice asked me to remain behind; he was a voice trainer and he wanted to coach me an hour longer than everyone else. Yet I thought it was a punishment, and it wasn’t too long before I quit. But by then, I had discovered the love for singing.
Focus: What was your first song and how was it received?
Casanova: My first song was My Dance Floor, a rather silly song but which had nice beats and a good dance tune. People liked it because it was danceable and because I sang in the Kinyarwanda of the street which most people related to.
Focus: It is said that, in addition to being a good musician, you are also a very good dancer.
Casanova: (laughing) I wouldn’t like to blow my own trumpet, but yes, I’m a good dancer. I have been dancing professionally since 2000. I had seen the Cool Family dance group, and I realized I wanted to be just like them. They were very good dancers liked by many people liked, and it was a shame they split. After that, a few friends and I decided to start a dance group with the same name. I now dance at Abraxas.
Focus: Are your dreadlocks a fashion statement or are you a Rastafarian?
Casanova: It depends on what you mean by Rastafarian, because there are different definitions of Rastafarians.
Focus: I mean following the Rastafarian culture of one love, not eating meat, to relax and believing in Jah.Casanova: In that sense, yes, I am a Rastafarian. I believe they are the most peaceful and loving people. However, they are also very much misunderstood.
Me myself, I was one of those people who thought they were rejects in society. That changed when I attended a remembrance party for Bob Marley, and I learned the true meaning of Rastafarianism from some of the oldest Rastafarians.
Focus: Who is your role model?
Casanova: It might sound strange, because I don’t even sing the way he does, but I like John Legend. I think he is one of the best musicians in the world, particularly because he preaches a positive message unlike most artists. He speaks from his heart. This is also one of the reasons why I sing, apart from loving it.
I sing because I do not want people listening to 50 cent and all the negativity he preaches in his songs. I don’t want people listening to I’ll shoot you or Shake that booty; no, I want people to learn something. Life is a big school.
Focus: What do you think about the Rwandan music industry?
Casanova: To be honest, I don’t think we have an industry; I hate the fact that music cannot support artists, so they have to do something else to survive. That kills inspiration. Yet I think there is hope, because Rwandan music is special; it’s not like any other kind of music.
Our music can adopt any singing style; for example, people like 50 cent and Mc Mahoney, they have the same singing style. Our music is also developing and that’s really positive.
Focus: Many people think you should have been nominated for the Pam wards. Do you think it is unfair that this is not the case?
Casanova: Do they? Well, I’m really flattered, but then I didn’t even know they were nominating artists at the time. I think they should properly organize this event if they want it to work out. Moreover, I think Rwanda would do better to create its own awards and let the people choose for themselves.
Focus: What advise would you give fellow artists?
Casanova: I would like all artists to free their minds and speak out. Singing is a way for us to speak out, we should care about our outreach and give a good message to the public. Shake it baby is not a message to preach to the people.
Written by Louise Umutoni
As a singer, dancer and presenter of the popular Great Lakes Generation radio show, he is quickly making a name for himself. And with a name like Daddy Casanova, it is hardly surprising that he is the heartthrob of Kigali. Focus caught up with the young artist, and talked about Italian priests, Rastafarians, the lack of a music industry and what is wrong with 50 Cent.
Focus: How did you come by the nickname of Daddy Casanova? Most people would say it is because of your good looks.
Casanova: My real name is indeed not Casanova, but Daddy Manzi. I got the nickname when I presented the morning show on Contact FM for the first time, together with my friend Bella Gasana. We were so nervous about going on air for the first time, and we wanted to have the right names to go with it.
We did a lot of thinking and guessing for like an hour, coming up with names like Mr. Lover Lover and the kind. It was just when we were about to go on air that Bella suddenly came up with Casanova. I called her BG.
Focus: With a name like that, all the girls in town obviously want to know if you’re still single…
Casanova: (laughing) Sorry to disappoint you girls, but I have a girlfriend, Katia. She’s a Rwandan born in Belgium, and currently she’s a model in Canada. I love her very much.
Focus: Could you tell us something about your background?
Casanova: I was born in Kigali on December 9, 1984, but our family later moved to Goma and came back to Rwanda after the genocide. I still have both parents, as well as two brothers and three sisters.
Focus: And when did you start singing?
Casanova: Unlike a lot of musicians, singing was not a childhood passion for me. I was rather indifferent to it, and needed someone to help me become aware of my talent. That happened when I was 8 years old. I had some friends who sang in a choir, and one day I decided to tag along when they went for practice.
I sang with them just for fun, but the Italian priest who conducted the practice asked me to remain behind; he was a voice trainer and he wanted to coach me an hour longer than everyone else. Yet I thought it was a punishment, and it wasn’t too long before I quit. But by then, I had discovered the love for singing.
Focus: What was your first song and how was it received?
Casanova: My first song was My Dance Floor, a rather silly song but which had nice beats and a good dance tune. People liked it because it was danceable and because I sang in the Kinyarwanda of the street which most people related to.
Focus: It is said that, in addition to being a good musician, you are also a very good dancer.
Casanova: (laughing) I wouldn’t like to blow my own trumpet, but yes, I’m a good dancer. I have been dancing professionally since 2000. I had seen the Cool Family dance group, and I realized I wanted to be just like them. They were very good dancers liked by many people liked, and it was a shame they split. After that, a few friends and I decided to start a dance group with the same name. I now dance at Abraxas.
Focus: Are your dreadlocks a fashion statement or are you a Rastafarian?
Casanova: It depends on what you mean by Rastafarian, because there are different definitions of Rastafarians.
Focus: I mean following the Rastafarian culture of one love, not eating meat, to relax and believing in Jah.Casanova: In that sense, yes, I am a Rastafarian. I believe they are the most peaceful and loving people. However, they are also very much misunderstood.
Me myself, I was one of those people who thought they were rejects in society. That changed when I attended a remembrance party for Bob Marley, and I learned the true meaning of Rastafarianism from some of the oldest Rastafarians.
Focus: Who is your role model?
Casanova: It might sound strange, because I don’t even sing the way he does, but I like John Legend. I think he is one of the best musicians in the world, particularly because he preaches a positive message unlike most artists. He speaks from his heart. This is also one of the reasons why I sing, apart from loving it.
I sing because I do not want people listening to 50 cent and all the negativity he preaches in his songs. I don’t want people listening to I’ll shoot you or Shake that booty; no, I want people to learn something. Life is a big school.
Focus: What do you think about the Rwandan music industry?
Casanova: To be honest, I don’t think we have an industry; I hate the fact that music cannot support artists, so they have to do something else to survive. That kills inspiration. Yet I think there is hope, because Rwandan music is special; it’s not like any other kind of music.
Our music can adopt any singing style; for example, people like 50 cent and Mc Mahoney, they have the same singing style. Our music is also developing and that’s really positive.
Focus: Many people think you should have been nominated for the Pam wards. Do you think it is unfair that this is not the case?
Casanova: Do they? Well, I’m really flattered, but then I didn’t even know they were nominating artists at the time. I think they should properly organize this event if they want it to work out. Moreover, I think Rwanda would do better to create its own awards and let the people choose for themselves.
Focus: What advise would you give fellow artists?
Casanova: I would like all artists to free their minds and speak out. Singing is a way for us to speak out, we should care about our outreach and give a good message to the public. Shake it baby is not a message to preach to the people.
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