By all accounts, the Ubumuntu Arts Festival this past weekend had all the elements of a major event. Thespians, galloping percussion, vocal melodies, and guitars that were feverishly plucked and strummed till the air sizzled with overtones brought despair and cautious hope together. The cameras were all present, recording from all angles: the festival was a magnet for visual documentation. That is somewhat attributable to the performances' quality and partially to the presence of dignitaries and local celebrities. More significantly, though, because of what it stands for. Ubumuntu is an expression that means Being Human. Since its inception in 2015, the festival has been dedicated to employing art as a platform for communication, expression, introspection, innovation, and creativity, acting as a driving force for positive social transformation. Its slogan is simple: I am because you are, you are because I am: we are human together. “Our festival aims at creating an avenue where people from different walks of life can come together and speak to each other in the language of Art,” the organisation’s website reads. Its fundamental purpose hasn't altered, and the breadth of work on display at the Kigali Genocide Memorial — where the festival is held annually in the final week of the 100-day commemoration of the 1994 Genocide Against the Tutsi — ensured that performers and spectators alike came from a wide spectrum of nationalities (during intervals, the Mcee Fola would use icebreakers that required the audience to exchange greetings in their respective native languages). One of the most intriguing aspects is the festival's ability to not only endure major industry upheavals, such as the pandemic, but also nurture and cultivate new audiences. Among the 19 performances featured, an impressive 14 hailed from different countries, breaking through language barriers to deliver infectious rhythms and passionate executions, by talented international artists representing various artistic disciplines worldwide. Unlike many festivals, where the most eye-catching, attention-grabbing acts are crammed into the opening and closing stretches, Ubumuntu offered an array of exceptional works spread throughout its entire lineup. Among the personal standout pieces is The Intimacy of the Skin by Anderson Carvalho Dance & Choreography. It intricately weaves together the lived experiences of people from all corners of the world, taking the audience on an emotional journey through emotional themes such as love, loss, trauma, anxiety, intimacy, jealousy, and euphoria, encompassing the full spectrum of the human experience. Ludwig Wittgenstein, one of the most influential philosophers of the 20th century, was the inspiration for Ballet de Barcelona's Tongues, a moving, transformational scenic trip rich of pictures and metaphors through the movement of the body and its expressive power. Another outstanding work is Stages Theatre Group's Baby Steps: a lifetime of tiny decisions. This collaborative play, crafted in partnership with Rwanda and Sri Lanka, was structured into chapters that poignantly capture deeply rooted fears experienced at different junctures in life. Remarkably, the play achieves this profound exploration without relying on vocal expressions, instead delving into the interplay between real-life experiences and the performative aspects of one's identity by skillfully experimenting with shifting tones and modes of realism. The incredibly detailed insights on family, love, work, power, and friendship made Baby Steps: A lifetime of Tiny Decisions, unfold into an aching play that connects with viewers from every imaginable background. While the Ubumuntu Arts Festival aimed to bring global talent to Rwandan stages, it is equally heartening to witness Rwandan artists stepping forward and claiming their well-deserved spotlight. The set list, featuring performances from renowned Rwandan groups such as Agahozo Shalom, Mindleaps, and Awake Initiative, serves as a powerful reminder of how Rwandan artists have drawn inspiration from their country's difficult past marked by the Genocide. The presence of these Rwandan artists not only adds depth to the festival but also highlights their resilience, creativity, and ability to channel their experiences into impactful art. At the conclusion of Day one, a heartbreaking performance called Generation 25 by Mashirika Performing Arts & Media Co. explored a history that still haunts us and has permeated the nation's very soul to remind us to make Never Again a reality. Garments were spread out on stage that later became a canvas for displaying images of genocide victims. It was one of the many ominous visuals in the programme. Malaika Uwamahoro and Sema Sole's performance, Seen, Heard, Felt, might raise questions about the inclusion of a podcast in an arts festival, but witnessing the transformation unfold on stage would quickly dispel any doubts. The musical play skillfully explored themes of toxic masculinity and feminism, challenging societal norms. Additionally, Imigisha by Boukuru & Choir featured a powerhouse lead vocalist who effortlessly transported the amphitheater into a musical realm through her awe-inspiring voice. By the final musical number, the mesmerizing performance had moved the hearts of quite a few audience members, prompting them to rise to their feet in applause. As the latter part of the festival picked up momentum, some of the on-stage performances took on a rather unconventional and peculiar nature, making it a bit challenging to follow the unfolding action. In terms of enigmatic plots, MoAfrika wa Mokaathi's Kiba Trio, a music piece deeply rooted in the musical expression of the Bapedi people in South Africa, known for its social commentary, mediation, and spiritual healing powers, faced competition from Dorothy Munyaneza, a Rwandan artist based in France, who presented this is one of them. Interestingly, she insisted that the performance title be written in lowercase letters because she considered it “a work in progress.” During Munyaneza's performance, the stage was littered with pieces of antique items that she seemed to be attempting to stitch together. For those well-versed in art (unlike myself), it became evident that Munyaneza was employing abstract art as a means to explore this curious serendipity, delving into unsettling truths and concealed secrets. Still, the festival’s founder and curator; Hope Azeda, an artist herself, poetically says “The festival's allure lies in its capacity to unite a myriad of artistic expressions. It transcends the confines of simplicity, opting to venture into various realms and thoughtfully guiding the audience on an introspective odyssey of humanity.” So, in Munyaneza’s case, the notion of those fragmented pieces in her performance could be mirroring the scattered fragments of one's life or ancestral heritage. This sentiment extends even to Africa as a continent, where the traces of our art and culture are dispersed all across the globe, often lost and disconnected. Art, with its vast and universal language, invites individual interpretation based on personal emotions and experiences. A striking example is Street Dancers' performance titled Alienated, which exuded an incredible amount of energy, yet left me feeling disoriented. The dance piece took unexpected turns, such as depicting a dancer locked inside a cage one moment, only to transition to a lively dance set to popular phone ringtones the next. Upon closer examination, one could interpret the performance as a reference to the illegal exploitation of child labor in the Democratic Republic of Congo. Research in the field has revealed distressing realities, with children as young as six years old risking their lives amid toxic conditions to mine cobalt for prominent electronics companies worldwide. This cobalt is an essential component of every lithium-ion rechargeable battery on the planet, from smartphones to tablets, laptops, and electric vehicles. The performance, seemingly disjointed, subtly conveyed a powerful message about the dark realities lurking behind the manufacturing and consumption of modern-day electronics, shedding light on the urgent need to address and tackle this grave issue. More than any other art platform and outlet in Rwanda, Ubumuntu stood out as a profound conduit for expressing the frustrations, hopes, ambitions, and fears of a generation that emerged from challenging times marked by the scourges of the pandemic, coupled with a desolate economic landscape. As these young people mature and gain a deeper awareness of the world, they can't help but confront the shortcomings of the generation that came before them. Some of these failures were starkly exposed, creating a poignant reflection of the generational transition and the inevitable contrasts between the past and the present. In conversation, Azeda was quick to point out that “participating artists are actively nurtured to become agents of change. They are encouraged to draw inspiration from their respective communities and serve as an ongoing testament to the transformative power of art in promoting humanity.” By learning from established auteurs, these artists receive valuable mentorship and support, which in turn fosters their artistic growth and development, she added. The festival’s draw is also in its departure from tradition: The absence of entrance fees and rigid performance metrics sets Ubumuntu apart, elevating it beyond just another festival to becoming, in my opinion, one of the most meaningful contemporary art gatherings. Moreover, as I previously mentioned, the festival introduces cross-cultural exchanges and synergy that enrich the artistic experience. The collaborative spirit of Ubumuntu not only celebrates diversity but also highlights the unifying power of art in connecting people from various backgrounds and perspectives. As the artists geared up to showcase their most impressive stunts, it's natural to assume that the pressure was mounting on the evening of their performances. But a strong sense of unity was the prevailing note, which is to say, extremely Ubumuntu. “The festival represents the forefront of captivating, imaginative, and autonomous storytelling. Collaborators who participate in Ubumuntu often express their desire to implement this powerful concept of advocating humanity through art in their own countries,” said Azeda. “It's our unique strength, and we have carved out a pivotal space within the artistic ecosystem that delivers an experience that is unparalleled elsewhere.”
