Before moving to Germany in 2016, Tete Loeper, real name Divin Umulisa Gashugi, was a journalist, script writer for ‘Urunana,’ a radio show, and a performing artist. Currently, she is a creative lecturer, author of Barefoot in Germany and writes and directs plays. She shared her creative journey from Rwanda to Germany. Excerpts; Take us through your artistic journey. How was it like transitioning from journalism to acting? My artistic journey has been fun. I have learned a lot and I actually realise that I have grown as a person. Before, I was kind of confused, I was coming from journalism and communication, and then I started doing music and writing at the same time. It was not easy to combine all of that. But it's good that I tried out almost everything, including acting because at a certain point I realised I have to focus, I have to give myself direction and now my focus is writing. What writing experience have you had in Germany? The process was very different because the people that I work with in Germany give big value to writing. They understand how much time it takes, how much energy it consumes to be able to write something and have it finished even before it's published. Also, there are so many trainings available. So I keep learning how to make my career better and grow. Also reading sessions in Germany are different from the ones here in Rwanda in terms of how people interact. In Germany, most times people in the audience have already read my stories, so they interact and share comments. What do you think of Rwandan artists? I’m impressed by how Rwandan artists in different fields go deep, they use their emotions like when it's a part that needs emotions, they really go deep. And that's a big talent that so far the German artists need to learn and work with, they don't go that deep. And when it comes to stage performance, I feel like Germans, they're used to having, let's say, like a monologue. You give them their part, they go there, talk about it, finish, and the next one. So sharing the world, it's very rare there. Rwandan artists are also slowly going back to history and reconnecting with their identity, traditional values, music, creativity, and that's something to keep up and also to support because now we have people, for example Michael Makembe, I saw his work, what he's doing, and he's still very young to see like someone who's very young takes the initiative to work with people from the island. I also met some actors who are like, “actually I only like to perform in plays that are connected to the history or the past of my country and my culture,” which I valued very much. I would say for Germans, they need to learn how to go deeper with their emotions. As for Rwandans they need to support each other. If someone is talented in one field and you're doing a project that needs that field, call this person and join forces. What mostly sparks your creativity? Everyday life, young people, teenagers, and the youth because I often think of my time when I was that age, how I was a bit confused. I needed guidance from society and I didn't really get it. I think this is my inspiration, to see a category of people who could actually do amazing things, but they need someone to guide them. That's where I focus and I become a bit critical, whether it's in the play or in the book. I feel like I have this freedom or the privilege to criticize creatively so nobody feels offended. As an artist how do you, a few years from now, envision your brand as an artist? I would say that I'm already a brand because in Germany if they create a play and they decide who is between these two cultures, I am the perfect person to direct it or with my publishing company, they know I'm bringing business. And where I see myself or my vision is to create a festival. We already have a name. It's going to be called ‘Umuhoza’ and then also to keep writing like books and plays. I tried to write poetry but it didn't work out very well. So my vision is going to be writing books, writing short plays, and also having this festival where I can use the privilege I have of having access to funds from Germany and then include artists from other countries, mainly Rwanda and Burundi.
