When American YouTube star IShowSpeed arrived in Rwanda on the night of January 9, and launched his one-day tour the following day, January 10, excitement spread across the country as streets came alive, and social media platforms filled with fan reactions.
His high-energy streams from Kigali’s streets, Nyamirambo hangouts, cultural sites, and spontaneous interactions with young Rwandans gave global audiences an unfiltered glimpse into Rwanda’s youth culture.
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Millions watched, shared, and engaged, but for local creators, the moment brought familiar frustration. Despite helping shape this viral content and showcasing Rwanda to the world, Rwandan creators remain largely excluded from global monetisation programmes on YouTube, TikTok, and Instagram.
For many who contributed to the IShowSpeed phenomenon, the experience was bittersweet. Their content travelled across continents, building Rwanda’s image and attracting engagement, yet it offered little or no financial return.
The contrast between global recognition and local exclusion has fuelled long-standing conversations about the economic value of content creation in Rwanda.
A tweet that sparked a national conversation
The debate gained traction on X, when a social media user directed a post at Youth and Culture Minister, Abdallah Utumatwishima.
He praised Gen-Z creators for making IShowSpeed’s visit a success, highlighting how their work presented an authentic and warm image of Rwanda that challenged lingering stereotypes about the country’s youth.
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In the post, he framed the phenomenon as a major urban tourism opportunity, suggesting that organised experiences led by creators could allow future visitors to "replicate the IShowSpeed experience,” from cultural immersion to nightlife, street food, and casual interactions.
He also proposed a dedicated programme or meet-up to support young creators, noting that many people would pay to enjoy the same energy, culture, and excitement.
The minister responded publicly, listing prominent creators – including Kagarara, Rutambi, and "The Cake Guy”, before delivering the line that captured attention:
"The monetisation of social platforms remains on our agenda. We continue to engage constructively with the owners of Alphabet, TikTok and Meta. Gen-Z and Gen-Alpha: TuriKumwe2026.”
For many in Rwanda's creator economy, the statement confirmed what many had long hoped: the government is actively negotiating with Big Tech to unlock monetisation for local talent.
Creators see hope
For Solange "Sol” Nishimwe, a travel, lifestyle and health content creator, the minister’s remarks offered long-awaited optimism. She said the confirmation represents a "green light” for creators who have long questioned why Rwanda remains ineligible for monetisation.
"It’s a green light for us and another opportunity to monetise our content,” Nishimwe said. "We have been wondering for so long why our country is not eligible. This will motivate not just us, but Gen-Zs and even high school students to know they can earn from this.”
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Nishimwe explained that monetisation would fundamentally shift how creators plan and approach their work.
"If I know I’m earning, I’ll treat myself as a business. I’ll plan my work, know my clients, and take it seriously. Not just do it for fun,” she said.
Her content focuses on tourism and health, with an aim to engage audiences abroad and promote Rwanda as a destination. She said the iShowSpeed experience inspired her to explore new possibilities for domestic and regional content.
"If someone can wake up and tour Africa and the whole world watches, that motivates me,” Nishimwe said. "It makes me want to tour my own country and show people our destinations. We have incredible places that deserve attention, and now I feel I can reach audiences beyond our borders.”
She added that creators face challenges beyond monetisation, particularly regarding recognition and support.
"People often think you’re just having fun. When brands approach us, they undervalue us because they assume anyone can do it,” Nishimwe said. "And equipment is expensive. Cameras, lights, editing tools—if we can earn, we can reinvest and improve the quality of our content.”
Skepticism remains
Not all creators are fully convinced that change will come quickly. Theo Manirakiza, a journalist who runs the Ukwezi YouTube channel, expressed caution, noting that these discussions have been ongoing for years without significant results.
"We’ve had this discussion for a long time. I don’t think much will change soon,” Manirakiza said.
He explained that monetisation is only possible for international viewers, while the majority of his audience is local.
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"My content is in Kinyarwanda. Over 80 percent of my viewers are in Rwanda, so I don’t get paid for those views,” Manirakiza said.
Still, he sees potential if creators receive proper motivation and recognition for their efforts.
"Even me, I can do more if motivation is there. If feedback matches effort, you can do miracles,” Manirakiza said.
He also highlighted the persistent negative perception of creators in Rwanda.
"Many people think YouTubers are just chasing views. But generating views can be done constructively, in ways that are inspirational and educational,” Manirakiza said. "I follow journalistic ethics and standards, so I hope these government discussions translate into real change soon.”
Monetisation as a tool for jobs and growth
Aissa Cyiza, CEO of Royal FM and co-presenter of the YouTube talk show Ishya, sees digital monetisation as more than income; it is a strategy to create jobs and nurture Rwanda’s young talent.
She explained that teenagers and young adults are already active online, and a structured, formalised system for earning would provide direction and purpose.
"Teenagers and young adults are already active online. Structured earning will encourage them, channel their creativity and give them recognition,” Cyiza said. "It’s not just about money. It’s about showing that your efforts have value, and that your content can make a difference.”
Cyiza links monetisation to Rwanda’s expanding digital infrastructure, particularly mobile internet access.
"Everyone has a smartphone now, even in villages. Connect Rwanda has widened access. Young people can use this to create something productive online, to build skills, and even support small businesses through digital storytelling,” she said.
At the same time, she warns against rushing into monetisation without proper frameworks.
"We need clear rules, regulations, taxation structures, and transparent pay-out systems. Monetisation without safeguards can backfire,” Cyiza said.
She emphasised that digital literacy and financial management must be part of the equation.
"You cannot just wake up one day to create content because you want money. Schools should include digital literacy, online safety, and financial management. If creators are not equipped, they risk oversharing their privacy, falling for scams, or making dangerous decisions just to chase quick money,” she said.
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For Cyiza, protecting creators is as important as providing opportunity.
"Empowering young people means safeguarding them as they earn and grow,” she said.
"We are doing this for love, not money” – Your Motari
Saadi Bizimuremyi, also known as ‘Your Motari’, a moto-taxi rider who also creates content, embodies the challenges of Rwanda’s unpaid digital economy. For him, passion often drives creation more than profit.
"I’m not paid for my content. I do it because I love it. Sometimes it brings opportunities- a job, a collaboration, but it’s never consistent,” Bizimuremyi said.
He sees the potential of social media to transform livelihoods.
"Watching others in Africa and abroad earn from content opened my eyes. I realised social media is more than entertainment; it can improve your life and contribute to your country,” he said.
Bizumuremyi reflected on language as a tool for reach.
"If you only use the local language, your audience is limited. But English opens your content to the world. I create in Kinyarwanda for Rwandans, but I also use English to connect with international audiences,” he said.
He also called for responsible content creation.
"Social media should help us, not destroy us. Insults, gossip, or negative content mislead people and harm society. We should aim to leave a positive legacy, so even when we are gone, people remember the good we did,” Bizimuremyi said.
Content creation, he adds, is also self-promotion.
"By showing what I do as a moto rider, I’m promoting myself and my work. It’s my small contribution to Rwanda’s growth,” he said.
Public reaction: hope and skepticism
The minister’s confirmation triggered a wave of discussion on social media. Some users celebrated the potential for monetisation.
"If monetisation happens, it will be a big opportunity for us youth. We have many talents that can sustain us,” one user wrote.
Others highlighted inequality and gaps in government support. Some questioned why smaller businesses or institutions were not given the same opportunities.
"It’s great to support creators, but what about those trying to grow small enterprises? Monetisation and support should reach everyone,” another user said.
The debate reflects both excitement and caution: hope that Rwanda’s creative economy could finally professionalise, and skepticism about follow-through.
Government engagement
While Minister Utumatwishima has not released detailed timelines, his public acknowledgment signals that Rwanda is engaging directly with platform owners.
This is consistent with previous behind-the-scenes efforts to gain YouTube monetisation eligibility, but the public statement, naming Alphabet, TikTok, and Meta, gives it new weight.
By engaging directly with Big Tech, Rwanda is asserting that local creators deserve access and recognition.
Media regulator weighs in
Emmanuel Mugisha, Executive Secretary of the Rwanda Media Commission (RMC), the media-self regulatory body, calls the moment "potentially transformative” for Rwanda’s digital and creative economy.
"We welcome these developments as a strategic step toward empowering local content creators and strengthening media sustainability,” Mugisha said.
He sees monetisation as an opportunity to establish a fair, transparent, and inclusive ecosystem. He highlights three priorities:
Content protection and digital rights – "As monetisation grows, so does the risk of content theft. Filmmakers or creators whose work is reposted without credit should have recourse,” Mugisha said.
In regard to capacity building, Mugisha argues that partnerships with platforms can ensure media literacy, ethical content, and awareness of community guidelines, tailored to local realities.
Algorithmic support would ensure promoting Rwandan content locally and globally through local quotas or regional trending features ensures that national cultural narratives are not drowned out by international content flows.
He also sees monetisation benefiting traditional media.
"A radio station livestreaming on YouTube could earn from audience engagement and advertising. Individual creators will finally gain recognition for their economic and cultural contribution. It affirms that Rwandan voices matter not just as consumers, but as producers of value,” Mugisha said.
Economic potential
If Rwanda achieves monetisation eligibility, the impact could be significant. New income streams could emerge for youth creators, personal brands could grow, and digital agencies could flourish. Cross-border collaborations and creator-led tourism could reshape Rwanda’s creative economy.
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Solange Nishimwe is already thinking ahead. "If I earn more, I’ll create more. I’ll invest in better equipment, travel, and bring people to Rwanda,” she said.
Bizimuremyi echoes her sentiment. "If we know money is coming, we’ll raise standards, buy better equipment, and work harder,” he said.
Urban tourism and the IShowSpeed effect
The IShowSpeed phenomenon revealed that Rwandan youth shape the country’s image more authentically than polished tourism campaigns. Street food, jokes, dance, and everyday joy became Rwanda’s showcase.
Social media users and creators see a product: creator-led city tours, pop-ups, and meet-ups could turn viral moments into professional experiences. Monetisation could formalise these opportunities and turn cultural hype into economic value.
Balancing opportunity with responsibility
Aissa Cyiza and Bizumuremyi warn that monetisation without structure carries risks: quick-money schemes, oversharing, scams, and financial mismanagement. Rwanda must balance freedom, regulation, and protection. Education will be key in equipping creators to manage money, safeguard privacy, and maintain ethical standards.
A digital crossroads
Rwanda’s youth are online, creative, visible, and global. Yet, they remain largely unpaid. Unlocking monetisation is about more than income—it is recognition that content creation is labour, creativity has value, and Rwanda is actively shaping the digital economy.
For Nishimwe, the announcement offers hope and direction. "We can’t wait. This will change everything,” she said, but for Manirakiza, he remains cautiously optimistic.
"Let’s see if it happens,” he said, emphasizing the need for content creators to play their part by doing the right thing.
Your Motard Bizimuremyi places emphasis on legacy, pointing out that content creators need to have a sense of responsibility.
"Earn, yes. But do something good. Leave a good name,” he said.
Rwanda stands at a digital crossroads. The path forward will determine whether its creators are recognized as global contributors or remain unseen participants in the world’s creative economy.