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.

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.
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 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.

“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.
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.”
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.”
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...
“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.
“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.
"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.
Musicians offer their songs to the highest bidder


Written by Louise Umutoni
Page 1 of 3Fed up with not earning enough money from their music, artists now have decided to sell it to the highest bidder.
In world as competitive as ours, everyone is looking out for anything that they can sell to earn an extra buck. Gone are the days when people believed in providing services for the people merely for their comfort.
The days when Rwandan music was meant pacify or soothing people, when Cecile Kayirebwa’s voice rang out from every household at no cost at all. The days when clergy were not the wealthiest men and foot balers played because of the love for the game.
Music style has changed in Rwanda. What started with “ikinimba”, a traditional folk dance that narrates the epic stories of Rwandan classical heroes, has now been modified to resemble that of the western world.
We now have local artists singing R&B, reggae, raga and hip hop. One might say that Rwandan music is merely an imitation of western music, but Rwanda has its own inventions like Rafiki’s choga style. However much as Rwandan artists might imitate western styles of singing, there is one thing that they have failed to adopt.
Rwandan artists have until now failed to sell their music, and for the public piracy is often the only way to get the songs. In Rwanda, most artists do not believe they can sell their music and earn a living from it, like other artists even in neighboring countries do.
“Here in Rwanda artists do not profit from their music at all; instead, the owners of different studios sell our music and earn a lot of money from it,” complained Miss Jojo, a founder member of Rwanda United Musicians (RUM), a group of founded by and comprising of local artists. This group was instigated by Miss Jojo, Family Squad and Kigali Boys (KGB). Its aim is to create a real music industry in Rwanda, where artists can live from their music.
Disorganized
“Our plan is to sell our music to the highest bidder, who will then have to distribute it and make his own profits from it,” said Gaston Rwangwa, popularly known as Skizzy of the KGB group. According to him, Rwandan music is very marketable as the studio people have been earning millions from it.
“People say that Rwandan music is not marketable, but that’s not true; it’s just that it is sold in a disorganized manner. We hear that these people are sending up to 500 CDs of our music to countries like Belgium an Canada, and yet we are not even earning a cent from this,” Skizzy complained. “Music is not for amusement only; it’s business, and we artists need to exploit it.”
Rwangwa says that they intend to make this possible by offering the distributors the exclusive rights to the distribution of their music. They are starting with an album called RUM Flavor, comprising of three songs from each party and three video clips, Tukabyine by Miss Jojo, Alashalamye by KGB and Tuvekumihanda by Family Squad.
The songs on the album will be Miss Jojo’s Mbwira, Tukabyine and Weekend. Family Squad contributes Lonely, Zuena and Tuvekumihanda, while KGB brings in Zunguza, Wabikulahe and Alashalamye.
“We all got some new songs and a few hits; we showed them to some possible bidders on recently, and we are waiting to cut a deal,” Nazil of Family Squad said.
He hopes to fetch up to 5 million francs, although he realizes it might go down to 3 million because they are not getting a good response from potential buyers. “We recognize it’s a bit difficult for most people to take such a risk, but we intend to help them by curbing anyone who selling our music illegally,” he pointed out.
“We want to become professional like all other artists, and get copyright for our music so that people can get it in the appropriate way,” he said, adding that they always wanted to start selling their music but it was only recently, with government intervention, that they were able to go through with it.
“We took a report to the police and they escorted us to studios which we knew were selling our music illegally, and we confiscated their property. It was not until they paid us 2.5 million francs in compensation that we gave back their property,” Nazil explained.
Do it yourself
When asked if they are afraid of losing their market, Miss Jojo said that everything is a struggle, and they have to set an example so that the rest can follow. “If you want anything done properly, you’ve got to do it yourself,” Jojo emphasized. “We have a fortune in front of us and we need to use it to everyone’s benefit.”
Studio owners, for their part, feel they cannot take such a risk as they are not sure that nobody else will get hold of the music and sell it. They believe that Rwanda is not yet ready for such a drastic change.
Nasif Muhammad, owner of a music studio in Nyamirambo, says that the artists are being unfair as they are charging extreme sums of money for their music, yet the people are not willing to pay for it.
“First, they need to get a huge outreach if they want to sell there music at such prices” Nasif advised.
However Miss Jojo argued that musicians cannot get a big fan base if their music is not up to standard, and that is not possible if they have no money to improve on it. “We need inspiration and this comes from benefits we get. I have a degree and I can work and get paid, but I want to do music and concentrate on it.”
Miss Jojo confident about Pam awards


Written by Louise Umutoni
The Pam awards are here again. What started as a way of rewarding Ugandan musicians has grown into an East African event, including Rwanda. Miss Jojo is among the nominees.

"I’m confident that I will win because I have achieved as an artist so much more than they have," Jojo said. Rwanda participated in the awards for the first time last year, but it turned out to be a very disappointing experience as none of our artists was chosen.
There was a lot of talk about Ugandans knowing nothing about Rwandan music, and how they should have Rwandans pick their own winners.
This year’s Pam wards, however, are also controversial, as people do not believe the nominations were fair.
Miss Jojo of the Tukabyine fame and a two times nominee for the Pam wards feels the same. “Though the nominations were done by the artists themselves, radio presenters and everyone in the entertainment, some really good artists were left out for less performing ones” Jojo said.
She added that people like Dadi Casanova, Franky Joe (Nyegera) and Florida (Nyiriramba) were not chosen, yet they are among the best artists Rwanda has got.
Last years awards, according to Miss Jojo, were catastrophic as everything was totally new and there was a lot of disorganization, especially amongst the Rwandan artists whose participation was not really acknowledged by the organizers. She is however optimistic that this year will be better, because everyone is better prepared. Also, the organizers are taking Rwandan music seriously and believe Rwanda can compete favorably.
When asked how she feels about not winning last year, she says she won since most Rwandans thought she should have won; nothing else matters, she says.
Miss Jojo is confident that this year she’s taking the award home. “When I look at the other nominees for the best female artist, I’m confident that I will win because I have achieved as an artist so much more than they have,” Jojo said.
Miss Jojo is best known for Tukabyine, and Respect which caused a lot of controversy especially among men who she claims only reacted the way they did because they are not used to being told the truth. “Men in Rwanda do not respect women, and I was only telling them to respect us but they could not handle the truth,” she explains.
For someone who just started singing in 2005 when she released her first single Mbgira, Miss Jojo has already achieved a lot. A graduate from the National University, Jojo claims she has loved music ever since she was little, with the late Aliyah as her role model.
However, she could not follow her dream of becoming a musician because she wanted to pursue her degree first. “Most people in Rwanda thought musicians were ibirara (hooligans) who failed to study, but I wanted to prove that I could do both” Miss Jojo said.
Being an artist, however, is not an easy thing in Rwanda. Most artists complain about lack of financing and markets for their music, as well as misconceptions about musicians. Miss Jojo has been experienced both.
“We artists are not understood, people think we have a lot of money and because they know us the usually charge us more for everything, yet we might be worse off than they are,” she remarks. “Also, society isn’t comfortable with us and they see us as a threat to culture, yet we are exactly promoting Rwandan culture,” Jojo adds. However all these negative factors do not seem to deter the artists, as most of them sing because they love music, and it’s a way to communicate with society. “Myriam Makebe is my big inspiration; she loved to sing, and she tried so hard to represent Africa despite resistance. I want to be like her.”
Money is rolling in transport sector


Written by Louise Umutoni
If you’ve been wondering how all these newly-created transport companies can still be profitable, the answer is simpleand obvious: there is a big market. Of late a lot of money has been invested in transport by private entrepreneurs, both in intra- and inter-city busses.

Horizon: One of the inter-city busses that take Kigali-Butare route.In Kigali city centre, however, Atraco Town Service appears to be at the forefront, with Onatracaom following closely behind. Other transport agencies which normally traveled up-country, are now also taking on town services as well.
A good example is New Yahoo, which in the past only served the Kigali-Burundi route, but is now also offering inner-city taxi services. They are not the only ones doing this, and yet look how many passengers still fight for taxis at the Rubangura bus stop every evening.
However the biggest number of transport agencies still travel up-country, as it gives them even bigger benefits as many people travel throughout the country. There has apparently been such a boom in inter-city travel that you find up to five transport agencies serving for example the Kigali-Butare route with Volcano, Horizon, Sotra Tours, Belvedere Lines and of course Atraco all vying for travelers.
Some like Atraco basically cover the whole country, but others like Virunga Express, Horizon Express, Karisimbi Express and Volcano deal with particular regions such as Kigali-Butare, Kigali-Ruhengeri and Kigali-Gisenyi. This may cause heavy competition when several companies focus on one particular area.
Olivier Nizeyimana, the owner of Volcano which covers the Kigali-Butare route, says that competition is not a threat but rather a way to improve on services to the people.
“The only way we can keep our customers is to offer the best services, so that they don’t want to go to another company. For us, it’s not about who charges more, we have an association of travel agencies that do the Kigali-Butare route that sets the prices,” Nizeyimana explains. Every agency that travels this route charges Frw 1500, and the difference is in the services offered like comfort, security and travel time.
However, a few months back chaos broke out when some transporters on this route decided unilaterally to lower their prices from Frw 1500 to Frw 1300, forcing others to follow suit to keep their customers. Sotra Tours, for example, went as low as Frw 1000, which tripled its number of customers.
Nizeyimana points out that this was before the association was formed, and there were no rules to govern these agencies. “I have been in the transport business for many years, creating Volcano in 1999, and I have realized that this is a very profitable business but if there are no rules governing the agencies, you could make losses.”
Joseph Nsabimana of Virunga Express that travels the Kigali-Ruhengeri route, says that for them an association has always been in place charging a price of Frw 1000 that was acceptable for both the travelers and the agencies.
“We also have many competitors but we have the biggest clientele because our travel frequency, we travel every 30 minutes which is rare because you need many busses and drivers,” Nsabimana says.
He adds however that the more the transport agencies, the smaller the clientele. “We started out as the only transport company on this route, but now we have to share it with four competitors.”
When asked if there are real benefits, Volcano’s Nizeyimana said that they are definitely there, and this is why so many people are investing in the business. He however said that the price that government set for all travel agencies going to Butare has not yet been reached.
“Government set Frw 1700 as the price we should charge in 2002, but up to date we are still at 1500frw, and yet prices for fuel and other commodities increase every day, so over the years our profits reduce,” he complains.
However, Rafael Rukerikibaye, the owner of ‘new kid on the block’ Belvedere Lines, which started last April, is only smiling. For them there are no losses, traveling to Gisenyi and Burundi.
“We deal with business people and we charge only Frw 2000 to Gisenyi and Frw 5000 to Burundi like all other agencies,” says Felix Karirangabo the manager. “Our busses are very comfortable and this is why we have so many customers, despite that fact that we just started and travel only 4 times a day. In fact, the demand is far bigger than what we can handle.”
Dreadlocks: no more than a fashion statement?


Written by Louise Umutoni
Page 1 of 2Talk about dreadlocks, and the first thing that comes to mind is Rastafarians and Bob Marley. For most people, however, they also evoke images of a bunch of rowdy, dirty and smelly marijuana smokers.

You can be professional while having dreadlocks at the same time.Although to some extent this might be correct, it should be understood that it has nothing to do with the origin and meaning of dreadlocks.
In Rwanda these days, there are apparently a growing number of people who do not seem to be bothered by the controversies caused by the dreadlocks, and who have adopted them as a fashion. Indeed, often they are not aware of the real history of their hairstyle.
Dreadlocks were not invented by reggae musicians. The first known examples of the hairstyle date back to ancient Egypt, with depictions having been found on historic artifacts.
However, the actual word dreadlocks stems from Rastafarianism, which was born in the 1930s when Ras Tafari the emperor of Ethiopia, was forced into exile. His guerrilla warriors then swore not to cut their hair until the emperor was reinstated.
Their religion resonated with the ideologies of the day, such as socialism, Marxism, nationalism and black power. It was therefore seen as a threat to Christianity and came under attack by the authorities that tried to suppress the ‘Rasta’ movement and imprisoned those who possessed ganja (marijuana). Rastafarians smoked cannabis because they thought it induced a clearer state of well-being.
Yet their dirty hair was thought to be disgusting and frightening, hence the term ‘dread’ which was later reclaimed by the Rasta community.
The hairstyle was later brought into mainstream culture through the worldwide success of reggae musician Bob Marley. Sporting dreadlocks, he prompted an international interest in the style, and the anti-establishment philosophy of Rastafarian culture.
Dreadlocks became increasingly popular and there are many reasons in various cultures for wearing them. They can be an expression of deep religious or spiritual convictions, a manifestation of ethnic pride. They can make a political statement, or simply be a fashion preference.
In Rwanda, it seems they are more of a fashion statement, even if a number of people actually proclaim themselves to be Rastafarians and some really live according to the religion.
Working twice as hard
Fiona Mutesi, a student at the national university, says she simply loves dreadlocks a fashion statement, although she has had to pay quite a price for it. “I have to work twice as hard to prove that I’m competent and can work as well as any one else,” Mutesi says.
However Mutesi is not the only person who has had to deal with this kind of discrimination. Many of the young people confirm that they have missed out on a number of jobs because they look “not serious” due to their dreadlocks.
Joseph Manzi had to cut off his dreadlocks when he came to Rwanda, because in almost every office where he went to ask for a job they liked his qualifications but could not stand his dreadlocks.
“I was told that no one would respect me because of my dreadlocks, yet for some time I insisted on keeping them. But after six months without finding a job, I had to give up and cut them off,” Manzi recalls.
Joseph B is an expert in dreadlocks who works at Divine Hair salon at in Kacyiru. According to him, most people who come to have their hair dreaded have many fears and are usually not too sure whether they really want them.
“There are so many myths surrounding dreads, and although I’ve done many people’s dreadlocks, they often need a lot of convincing,” Joseph explains. He remarks that most people are usually worried about finding a job or being accepted by the older generation, but he insists dreadlocks are just a form of fashion like any other style, and should not be associated with anything else.
"A prophet who sang love and unity"


Written by Louise Umutoni & Clairyce Iribagiza
Page 1 of 2The atmosphere in the house in Bethlehem slum in Kigali is laden with grief and devastation. The members of the reggae band Holy Jah Doves sit staring into emptiness, in disbelief. They have played alongside Lucky Dube on all his visits to Rwanda.
Now, the man who inspired them into singing as well as becoming Rastafarian, is dead. Murdered.“He was a true Rasta,” whispers Kas­­sim Kayenga, on of the band’s guitarists.
“He accepted us as friends and equals immediately. Even though we were nothing next to him.” Then, after a pause, “He was not a proud man.”
The Holy Jah Doves could not believe their luck when they were allowed to play alongside the reggae artist. “I remember playing with Lucky Dube as if it was yesterday,” Kassim says, managing a smile. “It was a great honor for us to stand on stage with the prophet who brought the message of love and unity to the people.”
“He spoke the plain truth on human rights abuse and racism,” puts in Michael Musengimana, also a guitarist in the band. “He died for what he believed in, and there is no better way to die. Now he is in Jah’s hands,” Michael sighs.
For him, Lucky Dube comes second only to Bob Marley, who will always be the father of reggae.
Jesus Kibogo, bass guitarist in the Best Sound Band, another local reggae group who performed with Lucky Dube at the Fespad concert in 2006, describes Lucky Dube as a Pan-African who sought to unite people beyond religious and racial boundaries.
“Lucky Dube was a gifted musician, and as musicians we respected him enormously,” his bandmate drummer Ras Kimeza adds. “Lucky Dube died a hero, and will definitely be remembered all over Africa and the world like Bob Marley and Peter Tosh.”
He shuts his eyes, before saying: “We are not angry at the people who killed Lucky; no, we just want to reach out to them and teach them about love, just like Lucky did.”
Fighting to control their emotions, they start singing their favorite song, Reggae Strong. They quickly break off, their voices chocked in their tears.Musician MC Monday is not only devastated by Lucky Dube’s death, but also outraged to hear that he was killed by fellow African.
“This should teach Africans that violence is bad, and we can only lose from it. Look what a great man we have lost to violence!” MC Monday lashes out. “While we should follow his message of love and unity!”
Mc Monday pledges to record a song in memory of Lucky Dube. “Its horrible for Africa to lose someone like him. And to say it was done by Africans! It’s a shame!” exclaims singer Miss Jojo.
Special affinity with Rwanda
It shows that the powerful messages in Lucky Dube’s music appeal not only to the Rastafarian community, but to all Africans. Rwandans might even have a stronger affinity with the man who san unity, love and freedom. Dube holds a special place in the hearts of Rwandans, with songs like Reggae strong, Together as one, Prisoner and the people’s favorite Different colors, which all preached a positive message that people wanted to relate to. After 1994, Dube came on a tour to Rwanda three times.
The public relations manager in the ministry of youth, sport and culture, François Nyangezi, says Rwandans respected Lucky Dube and were enchanted by the message he preached. Stressing that he is speaking on behalf of the whole ministry, he says “we are grieved by the death of this great man, who meant a lot to Rwanda. We are abhorred by the gruesome way that he was killed,” he says.
Nyangezi points out that Lucky Dube also seemed to relate to Rwanda, as he had visited the country on all three occasions he was invited. “This is because the message he preached spoke about Rwandans, and the pain most of them harbored that needed to be healed. He had also promised to come back to finish the work he had started… It is not to be.”
Some try, bravely, to see something positive in the tragedy. Daddy Casanova, for example, although saddened by his death, believes that Lucky Dube has gone to a much better place.
“He died in a terrible way, not the way we expected his life to end,” Casanova says softly. “But Lucky was a Rastafarian, and we believe that we all go to a better place after life. I am sure he is happy wherever he is.
MC Monday to rebels: talk peace, not war Print E-mail
Louise Umutoni | Created: Monday, 27 October 2008 | Views: 26
MC Monday is on a mission these days. He is preaching love and peace, especially to those Rwandans who still want to restart the war. “Weapons only cause death; let’s sit down in peace and sort out our problems.”
MC Monday: Not a politician, but a philosopher. (file photo)
MC Monday: Not a politician, but a philosopher. (file photo)
What do you have in store for your fans? Well, I have a new album entitled Ijambo, which means speech. There are ten songs on it, and I think they are all really cool.

Any personal favorites? Yes, it’s the title track, Ijambo. It’s a reggae song and it’s a real hit, it’s constantly played on the radio. I think it’s because it has a particular message—the message of peace, love and unity.

I’m calling on all Rwandans, especially those abroad, to unite and build the country, and not to connive to start another war but rather use those funds to rebuild our country which has already gone through a lot of turmoil. Weapons do not bring peace they only cause death; come back in peace and sit down and we can sort out whatever problems we have together.

What inspired to write this song? I was watching television and the UN was talking about peace and, referring to the FDRL rebels, how genuine peace can never be attained in Rwanda if an agreement is not reached between the rebels in Congo and the government.

This got me thinking about the genocide and its devastating effects on the people—all the children who became orphans, widows and the victims of the genocide. I realized I did not want this to ever happen, again and one of the ways to fight this is to cool those rebels down and convince them to come back for peace talks.

You are particularly known as an entertainer but this sounds a little political… I’m not becoming political. As artists we should entertain, but we also have a duty to our society—we need to be of service to the community. I choose to be an educator, and through this song I am educating the people.

I am particularly interested in the youth and children because they are the future. We need to sow good seeds in them in order to have a good harvest. I personally do not believe that there are tribes in Rwanda; this is all something that was made up by the white man to divide us.

We are all Rwandans, and this is what we should teach our children. So this song is not political, I am interested in the people and I’m preaching peace and harmony—it’s philosophy, not politics.

And have you been able to get your message across? No I haven’t, it’s really hard to get your music out there. However, that might change very soon, as most artists want to go regional, and even international. I plan to send my music to Channel O and as many interviews with foreign media. Also I’m working on a blog which I hope will sell my music outside Rwanda.

Do you have people coming up to you and telling you that your music has had a positive influence on their lives? Yes it has happened so many times. For this song, actually, Miss Jojo told me it was “bomboclat”, Rafiki said it was real Rasta and I also got praise from KGB. I believe that if top artists appreciate your music,s then you are definitely having an effect.

Do you believe you can bring the change you desire through your music? Definitely, I have had a number of testimonies of how my music has changed lives. However change comes slowly, behavior change is a gradual process it doesn’t just happen suddenly.

When will you feel your goal has been reached? This will be when I see the UN meeting to talk about peace in other countries with no mention of Rwanda, when there are no more Rwandan refugees and when there is no more discrimination among Rwandans and they are living harmoniously together. After that I will move on to East Africa, then Africa and finally the world.

Do you intend to preach your message only through music? In a way, yes, because that seems to be the only way I can reach as many people as possible. But on the other hand, I also work on the radio and I believe you should use all you can get your hands on to make a difference.

Any message you would you like to leave to the readers? I would like to tell the youth always to be careful, and to remember that the future belongs to you so you need to be smart.

And for the rest, we should give love because that’s only way you can get love. And food for thought, we always say the white man lied to us, so what are we going to do about it? Are we going to sit back and take these lies or are we going to seek for the truth and make things right?

It has been said that the President is not a fan of your music, does this discourage you? (Laughs) No, it doesn’t. Everyone thought I would be put off by that comment about my song Inyoni, but I was rather delighted that President actually knows one of my songs.

And when it comes to music, people have different tastes and preferences. So there’s no problem with the President not liking my music, its normal. Besides, the song is particularly for children, and they love it—they now refer to me as tonto wa abana (literally: uncle of the children, ed.).

You know, at FESPAD I was asked not to sing Inyoni because the president was present, but there were far more children and I decided not to disappoint them; so I sang it.

Sunday, February 22, 2009

charpe diem

Almost every writter i know likes to use this qoute by Karl marx "The writter must earn money in order to be able to live and to write, but he must by no means live and write for the purpose of making money." and i would totally understand where he and all of them are coming from. But thats where my ability to support this ends, on this blog this will not be the cas. i'm wriitin wholly for my own pleasure. I know you expected me to say iam for the people or that i want to change the world, blah, blah, blah....but iam not going to be a slave to cliche....all these other reasons come after my desire to please my self...call me selfish or self absorbed but thats the hard truth, take it or leave it. this is why this text is entitled charpe diem, its latin for sieze the moment! and this is the basis for this blog...i intend to sieze every single opprtunity and i have already explained why.