Unmistakably an IT geek as some would call her, 28-year-old Dida Nibagwire leans more toward art and is determined to make her mark as an actress and playwright. She studied electronics and is currently doing some research in computer maintenance. 

"I started a cultural arts company known as "Iyugi”. It has been in existence for a short time since it was launched in January. We produce plays and cultural dances, create art designs and also manage artistes, especially musicians. We also plan to do creative consultancy,” she says.

The artist says that her priority right now is getting the company on its feet.

She says: "My love for art is natural; I haven’t applied my IT knowledge as yet. Though I think it will be useful in the management of my company which I am fully dedicated to right now.”

After eight years in the industry, Nibagwire started writing plays in 2007.

In regards to the number of plays she has written so far, she says she has approximately eight plays under her belt, including "La femme de mon pere” (my father’s wife), her first.

"I wrote "My father’s wife” in 2010 though it was in French. I wrote, directed and performed in it. Everyone was amazed and praised me for my good work. I also wrote and directed another play about children’s rights where we toured schools. People liked that one too,” she says.

Nibagwire is inspired by the likes of Carole Karemera, the lead actress in the movie based on the 1994 Genocide against the Tutsi, "Sometimes in April”.

"She was the first person I showed "My father’s wife” to after I completed writing it. And she said I was a born playwright. Her comment alone gave me the motivation I needed,” she adds.

For Nibagwire, writing plays is as hard as it gets. Sometimes, she says, you might put your heart and soul into coming up with something only to be devastated when told that it doesn’t make sense.

"The effort behind the writing is insane because you have to think about how the audience will react. Are you using the right words? Did you choose the right people for the roles?” she says.

Since theatre and movies go hand in hand, one might wonder if she has thought about the latter. But Nibagwire says movies are not her thing. Her true passion is theatre.

"Even though I have acted in some movies, they are one of the hardest things I have had to do. But if I wrote something and it turned out really good and somebody wanted to use it for a movie, I would be okay with that,” she says.

Like any other career path, acting comes with its challenges. According to Nibagwire, the life of an artist in Rwanda isn’t exactly peaches and cream.

"For musicians, life is not that hard but for people in theatre, it’s not something you can solely do for a living. So I had to embark on other small jobs to boost my income.

"Also, the way people perceive us is a bit discouraging. I mean artists have all sorts of hair styles; for example, I have twisted hair, but people see that as hooliganism or something. They imagine we are ill behaved people yet we are not,” she says.

In regards to complaints about sexual harassment from new actresses seeking employment, Nibagwire seems shocked and says it never happened to her.

"Luckily, that never happened to me. I don’t know if it is because I worked with good people or if the high number of women in theatre hinders it,” she says.

Like some Hollywood actors who wish they could erase a role they played, Nibagwire too has some moments she is not particularly fond of.

She says: "I regretted a role when someone prominent in the movie industry criticised the acting of a certain play I featured in. I played the role of an aunt but it didn’t suit me at all. And this only occurred to me after everyone despised the play. I felt dumb and regretted taking part in it.

"My most challenging role to date is when I played a village girl who had just come to town and had to work as a maid. I had to look miserable and make the audience feel it too. So I had to use real emotions and couldn’t stop myself from actually crying,” she says.

Nibagwire adds that she would like to make a change in the industry by providing management for some artists who might be struggling to find employment.

But as far as uncomfortable or awkward roles go, Nibagwire says she wouldn’t be caught dead in a kissing or "inappropriate” scene.

"It’s not because those who can act those roles are wrong or bad, it’s because everyone has a different perspective on things,” she says.

Nibagwire is a Genocide survivor, orphaned with three siblings.

editorial@newtimes.co.rw