The Fierce Femmes exhibition is currently underway in Geneva, Switzerland, and its opening night was one for the books, according to exhibition curator, Jemima Kakizi. Showing at Brulhart gallery since April 18, the exhibition was tailored to be an explorative celebration of Rwandan culture and Rwandan women with a specific portrayal of the roles they’ve played in rebuilding the country over the last 30 years. The exhibition has had a good turnout so far, graced in large by residents of Geneva and guests from different African countries, which is something that started on Fierce Femmes’ opening night. One of the most interesting parts of opening night according to organizers, besides the high turnout is a volunteered performance by two Sweden-based Rwandan women who delivered a poetry performance, setting the night off to a great start. “We wanted to celebrate the contribution of Rwandan women in different sectors with the exhibition, and we did that with different art expressions. Opening night went well, we had people of different nationalities come to support and it was a great way to start,” says Kakizi. One of the most riveting aspects of the exhibition is the listening experience that pairs seamlessly and simultaneously with the visual art, an innovative addition brought to life by Ceri Chillier, who was also responsible for instigating the entire exhibition to begin with. Chillier spent time in Rwanda and explored the culture extensively years ago. That, paired with her sense of musicality prompted her into a series of research that would later result into a carefully curated set of traditional Rwandan music being played in sequence with the visual art being exhibited at Brulhart gallery. One of the interactive art installations featured in the exhibition is an experimental video by Miziguruka, entitled “Ivuka rya Miziguruka” which loosely translates to the birth of Miziguruka. According to Kakizi, the video is a distinct portrayal of what seeking validation in a sea of unwarranted opinions is like, which also alludes to the passive validation or lack of that people, especially women receive when they are moving on still surfaces like the streets. “The video is divided in three parts. It portrays women wanting to be validated by those surrounding them, and the sacrifice and plays they have to make to achieve that goal. Dressing and acting like a ‘lady’ to be acknowledged and appreciated by society until the women realize they’ll never please everyone and decide to be truly themselves.” Some of the other interesting artifacts in the exhibition include a piece by Crista Uwase entitled “Gusana/Restoration.” The piece features four ropes held together by what seems to be thick confetti stitched together. The ropes make still vertical lines and the ones on the sides are a mix of black and white, whereas the center ropes are still black and white, distinctively. The installation is symbolic to the preservation of culture, and rebuilding something from scratch. The piece is also an allusion to how arts and crafts have gradually become sources of income that have pulled widows, orphans, and young mothers from the stench of poverty and misery. Odile Uwera, an illustrator, and writer presented a coloring book for the exhibition titled 'Nkunda Iwacu.' Some of the more vivid aspects of her presentation include Rwandan architecture, green bananas and the traditional mushanana. Uwera’s pieces bring out the commercial purposes behind arts and culture, and how the opportunities for women to participate in them should be utilized to the brim because of their scarcity. Uwera’s pieces feature separate scenarios of two women amidst a musical performance and the second portrays two women collecting firewood, which one might interpret a subtle way to point out that one is the other’s alternative. Besides orchestrating the cover art of the exhibition, Cynthia Butare’s eye grabbing photographs enamored the walls of Fierce Femmes and antiquatedly brought out themes such as ethereal joy that is made in the immersion of culture and femininity, which all but makes it poetic, especially as a subtle commentary on the dilemma that is the work life balance. Butare’s exhibited photographs share the recurring theme of women in motion, women indulging in song and dance to be exact. One of the photographs features women with the traditional amasunzu hairstyle dancing the homebred 'amaraba' dance with bright smiles on each of their faces. The literal interpretation of this falls on the joy that these women derive from art and culture. The lightness on their faces seems to indicate that there are no monetary strings attached to it, which brings out the notion that certain things ought to be done just for the enjoyment they have; and that is the whole point of having a life outside of work. Souvenirs by Teta Chel is one of the pieces currently being exhibited, and it is very reminiscent on her signature artisanal style, which some might interpret as abstract, suggestive and on many occasions NSFW. Teta’s piece features a woman propped up on a bed, leaning on pillows the way one might after a long day, the moment you contemplate on everything right before giving in and resting, which could symbolize burnouts and the strong façade have been to carry quite regularly. The exhibition is open in Geneva till July 4.
