Wesley Ruzibiza's selection to choreograph Rwanda's national event marking the beginning of the 100-day commemoration of the 1994 Genocide against the Tutsi was unexpected, given the relative obscurity of contemporary dance in Rwanda.

"The Gift of Time" was a collaborative creation involving Wesley Ruzibiza, Dida Nibagwire, Herve Twahirwa, Samuel Kamanzi, Cedric Mizero, and Cicy Uwera, featuring a cast of 130 dancers.

The performance unfolded in three distinct phases: The past conveyed messages of healing, inviting individuals to recover from trauma and rebuild themselves. The present called upon participants to harness their energy and youth to build unity and strengthen bonds. Looking to the future, a vision emerged of a strong, beautiful, and developed nation as a collective aspiration.

Ruzibiza is a versatile artist, working as a choreographer, director, performer, and actor with experience in Rwanda, Senegal, France, among others.

Also read: Meet Ruzibiza, a-contemporary dance maestro and choreographer

In an interview with The New Times, Ruzibiza reflected on his journey over the past 19 years, starting from his time at the University of Rwanda’s Center of Art and Drama in Huye. He noted that contemporary dance was virtually nonexistent in Rwanda at that time, unlike traditional dance, which has always been a vital part of the culture. "Other dance styles such as hip-hop, urban, and modern were also quite scarce back then.”

The excerpts:

How has dance evolved over the years in Rwanda, and what potential do you see for its future development?

Over the years, I&039;ve witnessed an evolution in dance. There are now many new initiatives, choreographers, young performers, and trained dancers in contemporary, urban, and modern dance flourishing in Kigali and across Rwanda. We have come a long way to reach where we are today, and I see great potential for the years ahead.

How has directing the Kwibuka ceremony, presenting your creation contributed to healing and reshaping Rwanda's image through art?

We envision a nation where the youth are flourishing, forging connections across the globe, the country, the continent, and the region, while also imparting knowledge. This vision is realized through a renewal of our current selves, invigorating the spirit of unity, the vibrancy of youth, and the power of love. In essence, that is ‘The Gift of Time.’

We bring three gifts to the play: the gift of healing, the gift of unity, and the gift of renewal.

Serving as the creative director, show director, and choreographer for the Kwibuka ceremony was significant to me. It marked one of the first times art was leveraged as a platform to elevate our creative vision to something greater than art itself—our nation's narrative.

As a performer in past Kwibuka ceremonies, I've explored themes surrounding the 1994 genocide against the Tutsi. However, this occasion was the first where I had the chance to craft and present my own creation within such a context.

Also read: Inside Fierce Femmes exhibition

What did the performance mean to you personally and how did it reflect the narrative of your nation and people?

Artists have played a role in Rwanda's healing journey. Art, in its simplicity, serves as a space where connections are made, emotions are bridged, and understanding is fostered without the need for words, particularly through dance. It's a realm where storytelling and listening occur simultaneously.

Art also encompasses three fundamental societal elements: listening, connecting, and collaborating. As the saying goes, art reflects society, offering a perspective of oneself through a lens that transcends the individual.

I think everyone saw how it went beyond words; it was about embodying emotions and imagery that resonated with people, and we achieved that goal. For me, it's more than an honor; it's deeply personal because it reflects my own journey and experiences, and this is not only for me but for all the artists involved in this project.

After the devastation of the 1994 genocide against the Tutsi, I struggled to embrace my Rwandan identity. Art became my sanctuary, allowing me to comprehend my story and find peace.

This journey informed my role as a creative director for the 'Gift of Time', coordinating 130 dancers was intense, yet witnessing their collaboration was beautiful, revealing untapped potential in the youth and performing arts.

How do you perceive the growth of young creatives in Rwanda's artistic landscape, and what opportunities do you foresee for them in the coming years?

Being an artist is comparable to any other profession; it requires dedication and effort to succeed. Consistency, quality work, and ongoing education are essential.

Talent alone is not enough; a supportive network is crucial for progress. While the industry's growth may not be as extensive as desired, there are positive developments taking place.

Young creatives are making strides with their work, leading various initiatives across the country and achieving success. I foresee their continued growth because of initiatives that offer training, production support, and opportunities for financial remuneration, signaling positive developments on the horizon.

How can the arts industry be further advanced and elevated to reach new heights of growth and visibility?

To propel the industry forward, we must establish connections with the private sector, engaging with those involved in conferences and individuals seeking art for entertainment and social engagement.

Critical to this advancement is the establishment of a production platform where artists can showcase and sell their work, allowing us to experience their creations more readily. As time progresses, more venues will emerge, further integrating art into our daily lives and work.

We are currently addressing Rwanda's cultural policy, which is undergoing revision. It is vital to establish an art and cultural policy that protects artists, fosters the arts sector, and enriches cultural life in Rwanda.

Copyright issues pose significant challenges, particularly in contemporary dance, theater, performance, and poetry, where controlling the replication of work remains an issue.

Creating L’Espace

Three years ago, my friend Didacienne Nibagwire and I established L'Espace to advance and broaden our professional reach.

L'Espace serves as a creative hub where young artists can exhibit their work, receive mentorship, coaching, and ongoing support, and secure modest funding for their projects.

We embrace all forms of art, including theater, music, poetry, writing, and dance, believing it's essential to establish a robust production network that nurtures creativity and talent.

Without a venue to showcase creativity, it remains unseen, and without a marketplace for art, it stagnates. L'Espace provides the opportunity to engage internationally, connecting with theaters and organizations beyond our borders.

Through L'Espace and my initiative, Amizero Dance Kompagnie, we offer training programs that rely on funding to support our projects. We provide training for dancers, theater performers, directors, and producers, recognizing the need for individuals who can navigate the arts sector. There is immense potential, but the structure must support both young and experienced artists as they navigate their careers.

Expanding the East African Night of Tolerance

For the past 12 years, we have observed a growing demand for expansion into the region.

The festival provides a platform for creative and contemporary dancers to showcase their talents. Participants receive compensation, gain exposure, and attract attention from others. The event also draws international programmers who may attend performances and consider purchasing them for regional or global theaters or platforms.

Venue challenges

Rwanda lacks a national theater—a dedicated space where people can gather and purchase art. Initiatives like L’Espace, Goethe Institut Kigali, and the French Cultural Center exist, but more spaces are needed for artists to work and showcase their creations.

We require multiple venues, not just one. It would be beneficial for those with the means—be it the private sector or the government—to invest in venues where artists can sell their work and where the public can enjoy theater or dance performances on weekends. Currently, such spaces are limited, with initiatives often reliant on external funding.

Our industry also faces challenges with training facilities and schools. The Nyundo School of Music, for instance, has improved music quality in the country, and its Art department is enhancing the quality of paintings and visual arts.

While these institutions provide formal training that elevates quality, opportunities for theater and dance within Rwanda remain limited. Most of my training, including choreography and technical skills, was completed abroad.

Although short-term training programs exist, we urgently need long-term programs. Universities should consider establishing art faculties that include theater and dance, expanding opportunities for artistic growth and development. There is much work to be done to foster a thriving artistic community within Rwanda.

Any parting thoughts, upcoming plans for your artistic endeavors?

I'm currently developing a new dance piece that started in January. We just completed the second residency in Tanzania with four dancers from East Africa: Rwanda, Uganda, Kenya, and Tanzania.

Next, the piece will undergo another residency in Europe this summer and is scheduled for performance in Rwanda this November.