SCULPTURE / INSTALLATION Maximilian (Rwanda) Ibisazi designer (Rwanda) Precy Numbi ( DRC ) Benjamin Rusagara ( Rwanda) Shema Gaetan (Rwanda) Moise Izabiriza (Rwanda)   PAINTING Timothy Wandulu (Rwanda) Ulrikabe Mrcafe (Ivory Coast) Moise Izabiriza (Rwanda) Ukeye (Belgium- Rwanda) Christella Bijoux (Rwanda) Manzi Jackson(Rwanda) Bless Hirwa (Rwanda) Izere Antoine (Rwanda) Sophie Kabaka (France-Rwanda) Dusabe King (Rwanda) […]

During the first Kigali Triennial, we are organizing a series of activities at the intersection of art and technology. Africa in Colors will be showcasing talents and their amazing work. This will be a valuable opportunity to exchange with potential local talent, as well as knowledge transmission between experts and various players of the industry. […]

Literary Festival

One could say, in brief, that GAMBLERS is a play about the phenomenon of hostage-taking in the specific region of the Niger Delta, which brings in over 50 million Euros annually for Somali pirates. If we take into account the parallel trade of derivative products, we can speak of an industry in the global market that is rapidly industrializing in the Global South.

Ibihame By’Imana Boukuru Abutazi Esther

The can costume is inspired by Vodou costumes from West Africa and fetish statuettes with nails from Central Africa.

The Kigali Triennale brings together Hendrickx Netal - a Belgian krumpeuse - and Carine Poet - a Rwandan poet - to create a carte blanche mixing their two worlds.

World premiere Rwanda Performance in French by Jules César Niyonkuru Devil’s Gold Galamsey is a cautionary tale about the dangers of unchecked ambition, religious fanaticism, and the relentless quest for money regardless of the consequences. With recent advancements in all domains/ standards of living, globalization has ushered in a new wave of bizarre challenges in […]

The Trees Dance Sometimes is a musical performance. We use songs to uncover memories of our cities and critique our relationship to death that befalls us and our disintegrating cities, our relationship with our voices and bodies that change with the bodies of such cities, and our relationship with life and death as well as construction and demolition, and the interplay between them. We use songs to highlight the importance of personal stories, how they affect others, and how they contribute to personal growth and change.

One could say, in brief, that GAMBLERS is a play about the phenomenon of hostage-taking in the specific region of the Niger Delta, which brings in over 50 million Euros annually for Somali pirates. If we take into account the parallel trade of derivative products, we can speak of an industry in the global market that is rapidly industrializing in the Global South.

Geoliane (ONDA)

With L'Opéra du Villageois, Zora Snake continues her exploration of the traditions of her country—Cameroon—and the aesthetics of the "invisible world."

The can costume is inspired by Vodou costumes from West Africa and fetish statuettes with nails from Central Africa.

The Kigali Triennale brings together Hendrickx Netal - a Belgian krumpeuse - and Carine Poet - a Rwandan poet - to create a carte blanche mixing their two worlds.

The Trees Dance Sometimes is a musical performance. We use songs to uncover memories of our cities and critique our relationship to death that befalls us and our disintegrating cities, our relationship with our voices and bodies that change with the bodies of such cities, and our relationship with life and death as well as construction and demolition, and the interplay between them. We use songs to highlight the importance of personal stories, how they affect others, and how they contribute to personal growth and change.

Alex Watson is a young black man, raised in the secluded Highlands of Scotland by two white adoptive parents. When Alex leaves his protective bubble behind to attend university in Glasgow, he moves in with siblings Michael and Laura. As the trio grow closer, their pasts and prejudices threaten their new relationship and Alex must learn what being black in the modern world truly means.

Confronted by his uncle on the night before his mother’s burial, an introverted artist is abruptly faced with his unforeseen feelings for a close friend.

Performance in French Claudia Munyengabe – Freddy Sabimbona Burundi It is these stories that punctuate our daily lives. The ones that settle in over time. They eventually take their place in our lives. They come from here and there. They transform us, change us to the point of usurping our identity, our way of life, […]

5 years in her marriage without achild, Denise faces the marital struggle when her brings in a young lady to be her co-wife under thesame roof.

Hayat is released after serving a long prison sentence and, wishing to find her son, returns to her hometown in northern Morocco. There, she meets Amal, who cares for her disabled younger sister Houda. The courage of these three women drives them forward in the face of marginalisation.

In a time of fleeting innocence, Jeannette finds herself on the precipice of womanhood. At the tender age of 16, the weight of unexpected motherhood awaits her. She takes us on a journey through her past, recounting the challenges she had to overcome along the way.

How can one get an idea of the issues connected with the ruined home of a family who is a victim of the Rwandan genocide? A young man returns to the village where his deceased mother was born. He seeks to adopt a bruised collective recollection. Intoned chants all represent voices of possible reconciliation.

Vincent MAMBASHAKA

NDABAGA is a transformational theater performance that transcends the boundaries and transports audiences to a world where the mesmerizing power of performing Arts, music, storytelling, and dance to heal and empower women who confront repression within a society that favours men. This production is a catalyst for change, inspiring individuals who face suppression to recognize their own innate strength and embrace their potential as leaders.

Maison Chaos is a work woven with engaging poetry, slam, lyrical singing, electronic music, and soundscapes that map the traces left on the body, land, and memory by misogynistic violence. The harsh words of Joëlle Sambi’s burning poetry collide with these traces, exposing and laying them bare. They narrate the besieged skin, the bumpy road, the brewing anger, the stifled voice, the victim, whether good or bad, or the one we do not want to be. They question the troubled waters and the endless cycle of patriarchy: first “he,” and only later “she,” the appropriation of skins, the enclave of minds, cyclical violence, the vastness of silence, indifference, chaos. Where is the way out of these traps and dead ends, the exit from the mess? Where is the place of tranquility? “There is only our body-territories, a place of struggle, a space of combat from which we survive,” declares Joëlle with her sharp pen that strips and broadens our vision. “Speak to destroy and rebuild. Speak to start over and act.” Whether they are intimate, geographic, or mental, the paths of survival are unique, filled with cracks and perhaps salvation. “There are firefly breakthroughs in my memory. They do not illuminate me, they blind me. They are the flame that keeps me alive. I do not forget. Not a single detail, however blurry. A woman's body is a territory.”

A young woman confronts the cultural conflicts between traditionalists and modernists in Rwandan society.

Tina’s day starts really bad when she wakes up to a message reminding her about a high school reunion she does not wish to attend, but the day gets even worse from there when she is visited by a friend, she can’t seem to get rid of.

It is a story that begins in the midst of the Cold War, in 1964, when ten Malian musicians arrive in Castro's Havana to study music. By blending sounds, they become the first Afro-Cuban group in history: the Maravillas de Mali. Fifty years later, between Bamako and Havana, we embark on a quest to find Maestro Boncana Maïga, their conductor, with the ambitious project of reuniting this legendary group.

The weight of a woman is a poem full of questions 30 years after the Genocide against tutsis in Rwanda Lisette Ma Neza reflects on violence and what it does to a person's life and heart with words, songs, images and dance, she asks how much value a life still has after great or intimate violence. whose lives are worth saving? and whose lives seem not to be? how do we live on? how do we forgive each other and ourselves? as women and as human beings these are the questions of the heart– that she wants to ask her grandmothers the poem is an attempt to pass on the questions and the answers to her little sisters

Air de temps is much more than just a dance performance. It embodies a contemporary manifesto that urges boldness, unfiltered expression, and taboo-free speech. It explores themes of revolution, change, and the expression of contemporary youth while defying conventions. L'Ecole des Sables-Germaine Acogny presents this daring production that embodies the hope of Senegalese youth for an African renaissance. This piece highlights the fervent desire for change among contemporary youth, while drawing on the Germaine Acogny Technique to blend tradition and contemporaneity. Air de Temps is a demonstrative and taboo-free expression, reflecting cultural identity and self-assertion while embracing others, within a cultural movement that draws strength from African values while remaining open to the universal.

Maison Chaos is a work woven with engaging poetry, slam, lyrical singing, electronic music, and soundscapes that map the traces left on the body, land, and memory by misogynistic violence. The harsh words of Joëlle Sambi’s burning poetry collide with these traces, exposing and laying them bare. They narrate the besieged skin, the bumpy road, the brewing anger, the stifled voice, the victim, whether good or bad, or the one we do not want to be. They question the troubled waters and the endless cycle of patriarchy: first “he,” and only later “she,” the appropriation of skins, the enclave of minds, cyclical violence, the vastness of silence, indifference, chaos. Where is the way out of these traps and dead ends, the exit from the mess? Where is the place of tranquility? “There is only our body-territories, a place of struggle, a space of combat from which we survive,” declares Joëlle with her sharp pen that strips and broadens our vision. “Speak to destroy and rebuild. Speak to start over and act.” Whether they are intimate, geographic, or mental, the paths of survival are unique, filled with cracks and perhaps salvation. “There are firefly breakthroughs in my memory. They do not illuminate me, they blind me. They are the flame that keeps me alive. I do not forget. Not a single detail, however blurry. A woman's body is a territory.”

Why do you think that she is a witch? He hasn't got stuff all over him. Well, I didn't vote for you. A newt? Look, my liege! I don't want to talk to you no more, you empty-headed animal food trough water! I fart in your general direction! Your mother was a hamster and your father smelt of elderberries! Now leave before I am forced to taunt you a second time!

IThe weight of a woman is a poem full of questions 30 years after the Genocide against tutsis in Rwanda Lisette Ma Neza reflects on violence and what it does to a person's life and heart with words, songs, images and dance, she asks how much value a life still has after great or intimate violence. whose lives are worth saving? and whose lives seem not to be? how do we live on? how do we forgive each other and ourselves? as women and as human beings these are the questions of the heart– that she wants to ask her grandmothers the poem is an attempt to pass on the questions and the answers to her little sisters

Dorcy RUGAMBA

An opinionated moto driver’s sanity is pushed to the edge when a total lockdown confronts him with the void in his life.

A young woman confronts the cultural conflicts between traditionalists and modernists in Rwandan society.

A young woman confronts the cultural conflicts between traditionalists and modernists in Rwandan society..

Tina’s day starts really bad when she wakes up to a message reminding her about a high school reunion she does not wish to attend, but the day gets even worse from there when she is visited by a friend, she can’t seem to get rid of.

When Birds Refused to Fly is a contemporary, evening-length dance theatre project, choreographed by Olivier Tarpaga, set to the music of Orchestre Super Volta. Super Volta’s music reflects the celebratory, post-independence fevers raging across sub-Saharan Africa in the 1960’s and 70’s, in stark contrast to the painful struggle African Americans faced during their fight for Civil Rights in the United States. This ensemble piece explores, through music and movement, a generational transformation both cultural and geographic; examining what it is to build up and break down in the name of change.

Cedric MIZERO

What's the point of going out? To go to the movies, of course!

A mother trying to cope the loss of her son gradually distances herself from her husband; a criminal introduces his son to a life of living by his wits; and a young woman is taking care of the ailing father she never truly loved.

MAKILA devenue MAKI, est une jeune fille de 19 ans qui vit dans la rue depuis l’âge de 13 ans. A son arrivée dans la rue, elle est accueillie par Mbingazor, un délinquant ayant grandi dans la rue. Ce dernier l’initie au mode de survie dans la rue et finit par l’épouser. Mais très vite leur relation basée sur l’exploitation et la violence, lasse Maki qui se sent comme emprisonnée. Elle décide de quitter Mbingazor. Elle rencontre un jour ACHA, fillette de 12 ans arrivée nouvellement dans la rue, avec qui elle se lie d’une amitié si intime que MBINGAZOR en craque de jalousie. Il finit par commettre l’irréparable...

Dee, a visually impaired janitor, joins the "IN-SIGHT" therapy group, sharing stories with visually challenged members. He recounts his troubled past, marked by a juvenile mistake leading to blindness. Working at a hospital, Dee encounters Eveline, determined to regain sight for her deceased father's promise. Their deepening bond faces challenges, leading to Dee's firing. In a desperate move, Dee plans to donate his eyes to Eveline, but she discovers incriminating evidence. Despite love, Eveline breaks up. In therapy, Dee grapples with his choices, exploring themes of sacrifice, love, and human connection beyond sight.

1645, Guadeloupe, French West Indies. At the beginning of the European conquest of the Americas, French-Native wars are raging. Ibátali, a Native young woman meets Olaudah, a Maroon fugitive African Yoruba. She begins her journey from alienation to the colonial society to emancipation and experiences the price it costs.

"Qu’avez-vous fait de la maison” (What Have You Done with the House) is a raw musical expression that questions the inequalities and the destruction of "living beings," consequences of the reign of the dogmatic neo-liberal ideology and the unlimited power granted to Financial Markets. Between a concert, a gestural lecture, and a performative monologue, this play is an "open letter to the economic gurus who take us for fools." It is an attempt to break free from a sense of powerlessness in the face of the one-sided discourse of the "established power," as well as our bewilderment at the colossal profits made beyond any morality by a small minority, to the detriment of the collective’s well-being. "Indeed, the Titanic is a metaphor for capitalism..." - Bernard Maris

1960 marks the beginning of the end of colonial empires in the African continent. France disappears from the map... in theory only. The CFA franc, a currency tied to the French Treasury since its inception, still circulates across almost all of its former territories south of the Sahara. Today linked to the euro, it not only provides privileged and easy access to African markets for France but also for its eurozone partners. On the diplomatic stage, the CFA system grants a central role to Paris, which is perceived and positioned as the "Guarantor" and "Intermediary" for the international community. Fourteen states still retain this peculiar legacy. What are the reasons behind it? At the end of history, there lies the fable.

Cecile UMUTONI

For 28 years, I have settled far from my homeland. 28 years of living on new lands. 28 years of anchoring myself elsewhere. First, London, then Paris, and today, Marseille. 28 years of not forgetting umuko, that tree that illuminates my childhood. That tree that resonates only in the native language. That tree of vivid red color, earthy red, which connects me to what begins, to what is lost and found again, with every return, to what continues...

DORCY RUGAMBA

A dance work that follows a narrative in a dream state. The work explores the state of sleep (REM) and is set in a world where images become alive. Their meaning can be vague or clear in their interpretation. The dance work plays on the idea of us (humans) resembling puppets in reality, and our dreams are like Marionettes.

Alex Watson is a young black man, raised in the secluded Highlands of Scotland by two white adoptive parents. When Alex leaves his protective bubble behind to attend university in Glasgow, he moves in with siblings Michael and Laura. As the trio grow closer, their pasts and prejudices threaten their new relationship and Alex must learn what being black in the modern world truly means.

After another incident with her husband, a mistreated woman seeks old adventures from her neighbors’ house where she decides to change the course of her life.

"Qu’avez-vous fait de la maison” (What Have You Done with the House) is a raw musical expression that questions the inequalities and the destruction of "living beings," consequences of the reign of the dogmatic neo-liberal ideology and the unlimited power granted to Financial Markets. Between a concert, a gestural lecture, and a performative monologue, this play is an "open letter to the economic gurus who take us for fools." It is an attempt to break free from a sense of powerlessness in the face of the one-sided discourse of the "established power," as well as our bewilderment at the colossal profits made beyond any morality by a small minority, to the detriment of the collective’s well-being. "Indeed, the Titanic is a metaphor for capitalism..." - Bernard Maris

Christian DESSART

Nadia a 18 ans et depuis la cité HLM où elle a atterri avec ses parents et son petit frère quand ils ont fui la guerre au Rwanda, Nadia tente de concilier réalité et rêves. Quand ces derniers s'écroulent parce qu'elle n'obtient pas la bourse sport étude sur lesquels ils reposaient, son horizon s'assombrit. Mais une lueur très pailletée se fait jour. La lueur de la couronne de Miss France. Nadia, en prenant en main son destin, va bouleverser sa vie et celle de millions d’autres.

GAËLLE BIEN AIME

World premiere Rwanda Performance in French by Jules César Niyonkuru Devil’s Gold Galamsey is a cautionary tale about the dangers of unchecked ambition, religious fanaticism, and the relentless quest for money regardless of the consequences. With recent advancements in all domains/ standards of living, globalization has ushered in a new wave of bizarre challenges in […]

Fashion show

Background Younger generations in Rwanda have dropped traditional crops like African Spider Flower, Black Nightshade, Arrowroots, Taro, Sorghum, Finger Millet, and Cow Pea in favor of newly introduced vegetables. Unfortunately, these crops were associated with medicinal properties and traditional cults and rituals and are now almost extinct. Conservation efforts are needed to preserve species, ecosystems, […]

Samuel SANGWA

Final concert