On a calm evening at Katina's Kafé, on Friday, May 8, a room full of young artists, writers, performers, and professionals sat quietly as a fictional radio talk show unfolded before them. Actors moved between humour, tension and philosophy while audience members interrupted with live “call-ins,” offering opinions and interpretations as the story progressed. The performance was not a conventional stage play. Instead, it was an interactive retelling of the Greek myth of Icarus, the boy from ancient Greek lore who fashioned wings of feathers and wax, soared too close to the sun, and plummeted into the sea, presented during the latest edition of “The Rebirth,” an engagement gathering organised by Unagi Society in collaboration with Le Kartier. The evening featured performances from renowned comedian Michael Sengazi, Weya Viatora and Jules César, who transformed the ancient Greek story into a modern discussion centred on ambition, ego, freedom and human limitation. Rather than simply watching the play unfold, audience members became part of it. At different moments, the actors paused the performance and invited contributions from the crowd, who responded with reflections, questions and opinions as though they were callers participating in a live radio programme. After the performance, the room shifted into an open conversation where attendees discussed how the story of Icarus mirrors modern life, particularly among young people navigating ambition, pressure and identity. For many in attendance, the event represented more than entertainment. It reflected a growing appetite among Kigali’s youth for spaces where conversation, art and social reflection can coexist. Founded by young creatives Acsa Sifa and Chelsea Sangwa, Unagi Society has steadily built a community around dialogue-driven gatherings that blend live art, performance and discussion. The initiative started in October 2025 and has since hosted 14 editions, each exploring themes ranging from politics and entertainment to gender equality and current affairs. Speaking to The New Times, Sangwa said the idea was inspired by ordinary conversations shared among friends during casual outings. “We realised some of our most meaningful conversations happened during nights out, when people were relaxed, sharing ideas over drinks and discussing life, culture and society,” Sangwa said. “At some point we thought, why not create a bigger space where more people can have those same conversations together? That’s how Unagi Society was born.” According to Sangwa, the first gathering was initially intended to be a small experiment among close friends. “The first event was honestly just us trying things out,” she said. “We only invited friends because we wanted to see whether people would even be interested in this kind of experience. But the response surprised us. The conversations were genuine, people stayed longer than we expected, and everyone wanted another edition. From there, we knew this could become something bigger.” Since then, the community has continued to grow organically, attracting people from different creative and professional backgrounds, including artists, journalists, designers, filmmakers, entrepreneurs and students. For Sifa, one of the most important aspects of the initiative is the environment it creates for interaction between people who might not ordinarily meet. “We wanted to create more than just an event,” Sifa said. “We wanted to create a safe and open environment where people can express themselves, challenge ideas, listen to different perspectives and connect with others they may never have interacted with before.” She added that the blend of art and discussion allows participants to engage with difficult or sensitive topics in a more accessible way. “Sometimes conversations around politics, gender or society can feel intimidating in formal spaces,” she said. “But when you introduce storytelling, theatre, music or performance into it, people open up differently. Art helps people reflect on themselves and on the world around them.” That atmosphere was visible throughout the evening as audience members openly debated the meaning behind Icarus’ fall. In Greek mythology, Icarus is known for flying too close to the sun despite warnings from his father, causing the wax on his wings to melt before he falls into the sea. During the discussion, attendees connected the story to modern themes such as ambition without balance, social pressure, pride and the pursuit of validation. Others viewed the story as a reflection of the risks young people take while trying to chase dreams in highly competitive societies. By choosing to stage the performance as a radio talk show rather than a traditional play, the organisers created an experience that blurred the line between audience and performer. The format also reinforced the event’s central philosophy: participation matters as much as performance itself. Beyond the discussions, the gathering also served as a networking space, with attendees spending hours after the programme exchanging contacts, discussing creative projects and building new collaborations. In recent years, Kigali has witnessed a growing number of youth-led creative communities seeking to redefine how people interact with art and public dialogue.
