Performing the New Rwanda

Music, poetry, and dance hold profound significance within Rwandan culture, and alongside the visual art showcased in this exhibition, we invite you to immerse yourself in curated playlists, deepening your connection to the artistic narrative of Fierce Femmes

Performing the New Rwanda”, curated by Dr. Ceri Chillier-Whatley, examines the pivotal role of female exile singers in shaping Rwanda’s post-genocide national identity. This playlist is rooted in Ceri’s extensive research outlined in her Ph.D. thesis “Musical Traffic: Transnationalism and Reconstruction in Rwanda and Uganda” (2019, University of Birmingham, United Kingdom), the culmination of 12 months of ethnographic fieldwork primarily conducted in Kigali, Rwanda, during 2014 and 2015, as well as engagement with Rwandan diasporas in Uganda and Europe. In this playlist commentary, Ceri refrains from making reference to individuals’ ethnicities, recognising the preferences of contemporary Rwandan society. 

The Curator’s Collection” presents a selection of Rwandan music chosen by curator Kakizi Jemima, spanning a range of musical genres and offering insights into Rwanda’s diverse music scene. 

Playlist 1: Performing the New Rwanda

This playlist presents a curated selection of five influential Rwandan songs alongside a spoken-word poem, each linked to historical events. Contextualising the perspectives of the recording artists within historical frameworks offers a unique lens into the relationship between art and politics, spanning from the 1980s to the present day. 

The playlist consists of two parts, Significant Historical Songs and An Enduring Message of Unity and Hope. The first four tracks were composed by three female singers during their exile in the 1980s and early 1990s. Following these, the fifth and sixth tracks, produced in 2013 and 2014 respectively, are by two younger women inspired by the earlier compositions. Their lyrics revolve around the theme of ‘national unity’, highlighting the profound impact of the women exile singers on Rwanda’s contemporary music scene.

Significant Historical Songs

Rwanda is often associated with the tragic events of the 1994 Genocide against the Tutsi, with foreign-made films, such as Hotel Rwanda (2004), attempting to portray the atrocities that took place. During Rwanda’s troubled times, the influence of ‘hate media’, notably songs on the radio station RTLM, contributed to spreading anti-Tutsi sentiment. Nevertheless, amidst this turmoil, other forms of expression emerged, including songs promoting national unity, composed by Rwandans living in exile.

During the 1980s, exile songs, born from the Rwandan Patriotic Front’s (RPF, the current ruling party, originated in Uganda in the 1980s) ‘Liberation Struggle’ and a longing for their homeland, or iwacu, played a crucial role in reinforcing RPF ideology and fostering national pride.  

Exiled singers like Mariya Yohana, Kamaliza, and Cécile Kayirebwa were influential figures during this period. Mariya Yohana and Kamaliza, both RPF soldiers and singers, expressed strong ideological messages aligning with the vision of ‘national unity’. Cécile Kayirebwa, who fled to Belgium in 1974, did not view her music as political, but aimed to preserve umuco gakondo (cultural traditions) and express nostalgia for her lost homeland.

Despite being banned within Rwanda, the songs of these women circulated among Rwandans in exile, gaining popularity and being used by the RPF for fundraising. After the genocide, Rwanda underwent a cultural transformation, and most musicians returned alongside former refugees. The RPF government pursued the vision of a ‘New Rwanda’, rooted in tradition and emphasising ‘national unity’ to unify the population regardless of ethnicity or gender.

The songs of Mariya Yohana, Kamaliza, and Cécile Kayirebwa received government support as part of reconciliation efforts. Today, they are revered as traditional musicians, underscoring their significance in post-genocide Rwanda. Their influence extends to contemporary recording artists like Malaika Uwamahoro and Teta Diana, reflecting the enduring impact of their music in inspiring hope and unity among Rwandans.

In the words of Teta Diana:

“These singers were encouraging Rwandans who were not in Rwanda because of history to come back to fight for the country; to love their country and not go and live in Kenya, Uganda, Burundi, everywhere, and forget about where they actually come from. So, this music is the music I grew up listening to. They were hope songs. They gave us hope.”
Teta Diana interview, September 2015
Click for the song-by-song analysis

Track 1: “Umunezeo” by Cécile Kayirebwa (1986)

Track 1: “Umunezeo” by Cécile Kayirebwa (1986)

In 1986, Cécile Kayirebwa composed one of her most cherished songs, “Umunezero”, translating to “Joy”. Within this captivating track, Kayirebwa tenderly delivers an evocative phrase, echoing throughout the melody with poignant resonance. The rhythmic cadences of Kinyarwanda lyrics eloquently convey Kayirebwa’s deep yearning for her lost homeland. She weaves references to Rwandan cultural traditions, including drums, horn ensembles, and the “poems of the boys”. As she praises Rwanda’s natural beauty, the song’s fervor intensifies, enriched by the fusion of modern drums and the strumming of an electric guitar.

“Umunezero” has sustained remarkable popularity in Rwanda, earning the title of “our unofficial national anthem” among Kayirebwa’s devoted fans. During a live performance of the song in Kigali, in 2015, the atmosphere in the hall surged with excitement. Friends in the audience exchanged glances, their faces lit up with pride and familiarity. The crowd erupted with cheers, whistles, and rhythmic clapping, eagerly singing along with the lyrics. Kayirebwa, with widened eyes and a radiant smile, delivered expressive gestures with her hands, captivating the audience with her heartfelt performance. As the song progressed, women and men began to turn towards each other, gracefully raising their arms and swaying to the music. Emboldened members of the audience rose from their seats, joyfully dancing down the aisles, converging in front of the stage to honor their “Rwandan queen”.

Track 2: “Intsinzi” by Mariya Yohana (1994)

During the civil war, Mariya Yohana composed her most renowned and overtly political song, “Intsinzi,” which translates toVictory”. The lyrics aimed to reinforce RPF ideology, portraying Rwanda as a “nation of a united trio” – referencing the country’s three ethnic groups: Hutu, Tutsi, and Twa. Despite its unifying message, “Intsinzi” unmistakably served as a partisan military anthem, effectively bolstering the morale of RPF soldiers. Yohana’s lyrics foresaw the eventual victory of the RPF and inspired her comrades to persevere. The song’s melody is simple and memorable, characterized by short, repetitive lines that allow for easy adaptation with additional lyrics. Indeed, verses four and five showcase post-genocide era additions.

The lyrics provided were excerpted from a privately-organized pop concert held in Kigali in 2014, coinciding with Liberation Day, a national holiday celebrating RPF heroes from the Liberation War. As long as the RPF maintains its hold on power in Rwanda, “Intsinzi” remains a vital nationalist anthem, utilized both by the government and as a means to demonstrate allegiance and loyalty. Quoting the words of a Yohana fan:

“‘Intsinzi’ is that song that is played everywhere! If Rwanda win against another [sports] team they play that song. If President win election, they play it. Anything that happens on a government basis and is successful, you know? And to me that song will stay forever and ever.” 

Track 3: “Humura Rwanda by Kamaliza (1995)

“Humura Rwanda”, translating to “Don’t Worry Rwanda”, was recorded  in 1995, just one year after the genocide. In this uplifting song, Kamaliza embodies the idealized persona of the RPF, portraying it as a benevolent force for unity and progress. “Don’t worry beautiful Rwanda”, she sings: “I bring you love/Source of unity and peace/The unity of three”. In the aftermath of the genocide, the song became a staple on Radio Rwanda, the country’s sole state-owned radio station at the time.

Track 4: “Iwacu” by Cécile Kayirebwa (1998)

In 1998, Cécile Kayirebwa marked her return to Rwanda with the release of "Iwacu," translating to "Homeland," featured on her renowned "Amahoro" ("Peace") album. This poignant song captures the essence of Kigali's streets, as beautifully described by spoken word artist Eric 1Key, who sampled it in his own 2015 album "Entre 2."

An Enduring Message of Unity and Hope

Amidst the RPF’s efforts to redefine the nation’s identity and promote reconciliation, the government has supported and promoted artistic expressions that resonate with its vision of the ‘New Rwanda’. This initiative has included showcasing the music of the aforementioned female exile singers who played a pivotal role in shaping the evolving post-genocide national identity. This identity is depicted as peaceful, modern, progressive, and even ‘cool’, while remaining rooted in tradition, thus receiving widespread acceptance among Rwandans. Malaika Uwamahoro and Teta Diana are two contemporary Rwandan female artists whose lyrics embody these discussed ideals and have garnered endorsements from the state. 

Click for the song-by-song analysis
Track 5: “Rwanda is NOT Hotel Rwanda!!!” By Malaika Uwamahoro (2013)

Many of Rwanda’s contemporary artists, born around the time of the genocide, reject being solely defined by it – a sentiment articulated by Malaika Uwamahoro in her spoken-word poem, “Rwanda is  NOT Hotel Rwanda!!!” (2013) Uwamahoro, born in Rwanda in 1990 - the year the civil war began – was given the name Angel Uwamahoro by her mother, symbolizing ‘Angel of Peace’. Seeking an “authentically African name,” she later adopted Malaika, meaning peace in Kiswahili. Spending her formative years in Uganda before relocating to the United States, Uwamahoro eventually returned to Kigali at the age of 11.

As an aspiring actor, Uwamahoro embarked on international tours with the Mashirika Performing Arts and Media Company. Recognized for her talent, she was awarded the Rwandan Presidential Scholarship for excellence in performance arts, captivating the First Lady with her spoken word. This led her to pursue a BA in Theater at Fordham University, New York. Over the years, Uwamahoro has proudly represented Rwanda at numerous state gatherings, including the African Union Summit 2006 held in Kigali.

When composing her poem in 2013, Uwamahoro appeared to have an English-speaking international audience in mind: “We are united back home- /Where I come from”, she declares with conviction. Countering the prevailing image of Rwanda associated with violence, she presents the ‘New Rwanda’ as she and others perceive it. Her verses echo the sentiments of many Rwandans today, who, while acknowledging the deep wounds of the past, are resolutely focused on the future. Her lyrics resonate with themes of “hope, resilience, and ambition,” “forgiveness, unity and peace,” as well as the ideals of beauty, perseverance, progress, and agaciro – a cultural concept tied to self-respect, dignity and patriotism.

Track 6: “Ndaje” by Teta Diana (2014)

Teta Diana consciously modelled her voice and lyrics after the late Kamaliza’s. She embarked on her musical journey by performing Kamaliza covers with the Gakondo Group. Under the mentorship of the group’s leader, Massamba Intore, Diana composed and performed “Ndaje” at Kwibuka 20, the 20th commemoration of the 1994 Genocide against the Tutsi, in 2014. The song’s resounding message of unity, reconciliation and hope mirrors the official RPF narrative and echoes the themes of the exile songs previously discussed.

In recognition of her impactful performance at Kwibuka 20, Diana was honored with the Celebrating Young Rwandan Achievers Award (CYRWA) by the First Lady Jeanette Kagame. She has performed at several prestigious events, including accompanying President Kagame to Amsterdam in 2015, where she performed at ‘Rwanda Day.’ Continuing to proudly represent her nation, in 2016, she sang “Ndaje” at the UN summit in Kigali.

Playlist 2: The Curator’s Collection

“The Curator’s Collection,” showcases Rwandan music handpicked by Fierce Femmes curator, Kakizi Jemima

Part 1 includes music that celebrates Rwandan tradition, unity and resilience – from the historic rhythms of gakondo and inanga performances to the heartfelt melodies of memorial and gospel songs. 

Part 2 showcases Rwanda’s embrace of global musical influences. As globalisation accelerates, Rwandan artists exhibit an openness to diverse genres from around the world. From afrobeats to hip-hop, R&B, ragga, and more, Rwandan music reflects the rich cultural diversity of our interconnected world today. 

Rwanda’s music scene is undergoing a digital renaissance, marked by a surge in electronic music production and the emergence of innovative genres like Kinyatrap. In Kigali, languages blend seamlessly, forming a rich linguistic tapestry expressed in song and poetry, spanning Kinyarwanda, Kiswahili, English, French, Luganda, Lingala, and more. Rwandan artists are expanding their reach globally through collaborations, exemplified by Bruce Melodie’s recent partnership with Shaggy. 

Allow “The Curator’s Collection” to navigate you through Rwanda’s diverse soundscape, where tradition intersects with innovation, and unity embraces diversity.

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