Ikiringo Project — Telling Own Stories Through Dance

The Ikiringo Project was launched in 2019 with the aim of promoting and preserving authentic cultural heritage. It seeks to achieve this by conducting research and publications, producing documentary films, organizing exhibitions and cultural events.

Lead Facilitators

Ngabonziza Benoit, NTAGUNGIRA Maurice, INGABIRE Grace

PROJECT Community Partners

Diverse Communities in Rwanda, Rwanda Cultural Heritage Academy, Local leaders & Community leaders

Expanded Summary:

Additionally, the project strives to use cultural heritage as a foundation for sustainable development in local communities through culture tourism promotion, collection and commercialization of art/craft works, and the establishment of a cultural dance academy. The project has already worked with four communities in Rwanda (Ikinyemera, Ikinimba, Urusengo, and Gusaama). Due to the significant interest generated from various people and organizations, the project has evolved into a social enterprise under the name of Ikiringo Africa Culture Hub. As a social enterprise, it is now operational in Guinea, Tanzania, and Eswatini.

The Unexpected:

To ensure the success of the project, I anticipated two challenges. Firstly, I needed to assemble the right team to bring the project to life. The team consisted of two sub-groups, with all members sharing a passion for culture and the arts. The first group was tasked with implementing the project and required individuals with the necessary skills, who were to be permanent staff at Ikiringo. As I lacked connections in the art world, finding the right people for this group was challenging. However, through headhunting in November 2019, I was able to connect with Miss Grace INGABIRE, who recommended Mr. Maurice NTAGUNGIRA, a cinematographer, to lead our video production activities. The team gradually grew using the same approach, with the majority of members being artists. The second team was formed to build relationships with local communities. We headhunted young artists and influencers from these communities who shared our passion for preserving and promoting their cultures.

Secondly, at the outset, I anticipated potential criticism of the idea of documenting and promoting cultural diversity in a country with a dark history of ethnic and tribal conflict, which culminated in the 1994 Genocide against the Tutsi. Some may view it as a potential threat to the hard-won unity and reconciliation of Rwandans. However, I believed that authenticity could be a healing factor and a means to advance the socio-economic agenda. Given that tribalism, regionalism, or any form of division is not an open topic for discussion in Rwanda, our targeted communities could not take the risk of discussing their cultures, history, and how they differ from others in the country or region. To help them share their knowledge and information freely, my diverse team adopted a unique and compelling approach that we called "Telling our own stories through dance." This approach allowed us to promote regional dances and other cultural performances in the country. By studying the cultural dance movements, learning their motives, and understanding their historical background, we were able to comprehend the cultural diversity. To date, we have produced four documentary films on four different cultural dances from various regions of Rwanda. We have also organized culture nights for local cultural artists to showcase their authentic cultural dances and provide them with a national platform to share their beautiful cultural heritage.

By studying the cultural dance movements, learning their motives, and understanding their historical background, we were able to comprehend the cultural diversity.

OUTCOME:

Since its launch in 2019, the Ikiringo Project has made significant progress. We have produced 9 documentary films, and we organize a monthly Ikiringo series, which provides a platform to discuss various topics related to living authentically in a diverse world. Our project has also had a positive impact on the local economy, creating 104 jobs for members of the communities we work with. Additionally, we have created a safe space for people to share their authentic cultures freely and proudly. To celebrate the cultural diversity of Rwanda, we have organized cultural nights featuring cultural performances, documentary film screenings, and tours. Through partnerships and sponsorships from local communities, government entities, NGOs, and private companies, we have been able to achieve even more.

QUESTIONS

Each community has its own unique historical background, challenges, and issues that can make it difficult for them to open up to outsiders like ourselves. Building trust requires a thoughtful and sensitive approach. How can we create a safe and welcoming environment for local cultural artists to share their ideas, perspectives, and art with us?

CONSIDERATIONS:

It is crucial for cultural owners to derive moral and economic benefits from their cultural heritages to incentivize their investment of time and resources in preserving these legacies for future generations. One key question for projects aimed at promoting cultural heritages is how they can create economic opportunities for cultural artists.

—

Director Wendy Preston spoke about the level of care required for participants that goes beyond the rehearsal room floor. “Care for us at Mixit means commitment well beyond the creative activities in the floor. It's about supporting each individual holistically. This is different for everyone - it may require mentoring around family relationships, exploring and supporting career options, walking beside individuals when they stumble…To make a meaningful difference and walk the talk of truly empowering young people once creativity opens doorways it's critical that the support doesn’t stop when the creative engagement ends but CARE remains steady and consistent for the whole person.”

RESOURCES

To learn more, or for more information please see:

Case Stories ✲ Case Stories ✲ Case Stories ✲ Case Stories ✲ Case Stories ✲