Mashirika Performing Arts and Media Company on May 9, introduced ‘Genesis dance showcase,’, a multidisciplinary platform where emerging talents meet professional players in creatives for detection and spotlighting dance as a powerful form of expression and a catalyst for positive impact. The maiden edition of the concept featured numerous artists from the third cohort of Art Rwanda-Ubuhanzi. It offers artistes a transformative platform where dance is elevated through collaboration with live music performers, new fashion designers on the block and digital artistes. Thus, the experience allows performers to explore innovative stage elements, for both their creative expression and professional exposure. Organizers believe that “irons sharpen irons” and arts is a universal language, for it can create balance between humanity and technology. It is also a language of our souls, peace, and violence depending on the direction. However, many of the talents die unborn due to societal challenges, mostly critics and poor mindset. ALSO READ: Comics.Africa: How new digital comic platform is revolutionizing African Storytelling Picking random stories, Chris Hirwa was among the performers with ‘Pulses of Change’ dance, whose story reflects on a dancer who embarks on a journey of self-discovery amidst the complexities of societal expectations and personal dreams. As he navigates the challenges posed by skepticism and doubt, Hirwa's movements convey a powerful struggle between longing and resilience. Hirwa believes that an artist must confront the expectations of family, community, and society, all of which weigh heavily on their shoulders, pushing them to conform, to fit into prescribed form. ALSO READ: How Creative Commons licenses can transform Rwandan storytelling Samuel Irabizi, the Intore dancer said that when he was a little kid, he loved traditional dancing, even though he didn’t know it at the time and had no support. He used to sit in the living room and secretly take his mother’s phone to watch videos of traditional dances. “One night, while everyone at home was asleep, they heard me dancing in my room. The next day, they allowed me to start practicing seriously. The hardest part for me was learning to rotate my head while dancing, a move known as ‘Guca umugara’. The first time I tried it; I got a headache that lasted two whole days. But after one year of dedication, I had officially become an Intore,” he explained. “One of the most exciting moments was the first time I wore the full Intore attire. I was so happy that I ran outside just to show everyone on the street. My mother looked at me in shock. I danced for her, and she smiled because she could see that I was healing. Dancing brings me happiness. It taught me discipline and good behavior, and now I even teach other. Today, I can take care of myself. That lesson has opened doors to achievements I never imagined possible,” he said. He added: “Whenever I’m at an event and I hear the sound of ‘Amayugi’, the leg bells worn by Intore dancers, my whole body awakens. I get goosebumps and feel pure joy. In that moment, I feel like I’ve entered my own world, the world of dance that completely overtakes me.” ALSO READ: 30 years, 30 stories: A generation’s testament to memory, healing and responsibility “The Face I Hide,” a dance by Frank Niyonkuru, is an exploration of a dancer's internal struggle between the identity the world sees and the one hidden in the dark corners of their soul. Born with “two face”, the dancer navigates life with one persona crafted for societal acceptance and another, deeper self that burns with unspoken desires and truths. The world sees only the “safe” face, unaware of the internal battles and dreams locked inside. Niyonkuru describes his life as a constantly balancing act, where he presents one image, smiling and privately battling feelings of inadequacy, pain, and longing. His body, vessel for hidden struggles and unspoken dreams, becomes the place where his inner conflicts manifest. He carries a weight that no one else understands, and yet through dance, he finds release and healing. According to Hope Azeda, the Founder and Creative Director of Mashirika Performing Arts and Media Company, the new dance concept was introduced because, “We're trying to make the Arts do what it should do because humanity is being consumed by technology.” “This is a good opportunity for these emerging talents to shine in story telling because there's still a big gap. We're pushing them to be storytellers to make their own identity. We want them to connect with key players from Rwanda’s creative industry, providing dancers with direct connections to potential collaborators, productions, and career opportunities,” she said. Azeda urges parents to support their children whenever they show any single talents, for the “poor mindset” has been at core to kill many of the talents that disappeared without shining. “Art is very hard to evaluate. It's not tangible. It's rather spiritual that's why many never understand it. When parents don't support their children, it can create some stigma, loneliness and can sometimes lead to a negative attitude because of rejection. It should stop,” she said.
