Category: Arts & Culture

Spanning 777 square metres, the Gihanga Institute was designed by Rwandan architect Amin Gafaranga and is located in Kigali’s Kimihurura neighbourhood. It’s equipped with state-of-the-art facilities, including a library, exhibition spaces, performance platforms, a screening room, and artist studios, all intended to foster creativity and provide artists with the resources needed to thrive.

The opening exhibition, Inuma, curated by Kami Gahiga, co-founder of GICA, presents works by an impressive lineup of contemporary artists from Rwanda and beyond. Featured artists include Francis Offman, Kaneza Schaal, Innocent Nkurunziza, Feline Ntabangana, Christian Nyampeta, Sanaa Gateja, and Cedric Mizero. Each artist’s work reflects themes of memory, migration, survival, and the intersection of contemporary and traditional practices.

The title “Inuma” (which means “dove” in Kinyarwanda) symbolises the gentle yet powerful nature of the exhibition, which showcases works that communicate across borders and generations. Christian Nyampeta, for instance, explores communal living and cultural memory through a series of zines, charcoal drawings, and a film, while Kaneza Schaal presents a newly commissioned photographic series that challenges conventional perceptions of value and visibility.

Sanaa Gateja, known for his intricate beadwork, explores the intersection of craft, sculpture, and abstraction, while Francis Offman uses repurposed materials to create art that delves into themes of migration and colonial history. Feline Ntabangana adds a live performance piece that highlights gender, violence, and resilience, while Innocent Nkurunziza presents evocative barkcloth paintings that delve into spirituality and ecological reflection. Cedric Mizero merges photography and sculpture to create an immersive experience that engages with memory and material culture.

Sandrine Umutoni, Rwanda’s Minister of State for Youth and Arts, called GICA’s inauguration a “very special moment” for the country’s cultural arts, noting its role as a non-profit platform that makes the arts more accessible to all.

“We have artists from different disciplines and backgrounds, but we all share one thing in common: our relation to Rwanda,” she said.

She added that GICA’s location and accessibility are central to its impact. “To see the arts come back to Kigali and be presented to such a large audience in an affordable manner allows everyone to access and enjoy the arts. Art connects, it educates, and it has a powerful impact on society. This space brings a higher level to how art should be presented, following global standards, and it sends a strong message that art belongs to everyone, not just the elite,” she said.

Othman Lazraq, the founder of Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech, Morocco, expressed his excitement about the space and its potential.

“Art is a universal language, and this space will give more visibility to artists from Rwanda and beyond. It creates hope for the next generation of artists, offering them a platform where they can build their careers. I’m very proud to be here and support this initiative. It’s an immense addition to the cultural landscape of Rwanda,” he said.

Lazraq highlighted GICA’s role in fostering an international exchange, especially for artists from the region.

“This space provides an alternative, non-commercial environment that will be crucial for young artists starting their careers. The neutral, non-profit model here at GICA offers a platform that gives emerging artists the opportunity to think about the future of their craft, and I look forward to returning to see how it evolves.”

Kami Gahiga, co-founder of GICA, reflected on the institute’s journey and the support it has received from the community.

“This has been a real labour of love for me, for Kayneza, and for Amin Gafaranga, the architect. It took a village to build this place, and we are so thankful for the support from the community,” she shared.

“This is a place for Rwandans, by Rwandans. It’s about showcasing our talent, our love for the country, and giving a voice to perspectives that may otherwise be quieter.”

Gahiga emphasised the importance of GICA as an educational and cultural space. “We want to create a rich program focused on conversation, education, and the visibility of African art. This is Rwanda’s first non-profit institute dedicated to contemporary art, and it’s about time we had something like this. People often ask, ‘How can we think so high in Rwanda?’ But this is what Rwanda deserves. We have so much beauty in this country, and it’s time to showcase it.”

At the heart of the Gihanga Institute is its commitment to promoting African art globally while fostering intellectual and artistic exchanges. The institute’s name, “Gihanga,” honours the legendary Rwandan hero who is credited with introducing essential cultural practices and technologies that shaped Rwandan society. The institute’s founders hope to continue this legacy by offering a space where artists can reflect on Rwanda’s rich cultural heritage while pushing boundaries in contemporary art.

The institute’s debut exhibition, Inuma: A Bird Shall Carry the Voice, which ran from December 20-21, 2025, was a powerful introduction to the rich and evolving world of contemporary African art.

Held at Green Hills Academy, the event served as both a cultural showcase and a fundraising platform, with proceeds directed toward supporting 50 rural artisan cooperatives across Rwanda.

Organised by Intercultural Bridge Group CBC, a Community Benefit Company specialising in cultural advocacy, research, and education, the event aimed to create a space where diplomacy meets culture and philanthropy.

The inaugural edition featured vibrant performances from local traditional dance troupes, alongside cultural groups from the Indian community and other participating nations. Attendees also enjoyed a diverse culinary experience, sampling dishes prepared by various diplomatic missions in a celebration of global flavours.

Ten embassies and high commissions took part in the Bazaar, including Angola, Brazil, Ethiopia, Ghana, India, Kenya, Nigeria, Pakistan, Russia, and Sudan, each showcasing their country’s art, cuisine, traditional attire, and tourism attractions. The stalls, set up with the support of community members, gave visitors an opportunity to interact directly with diplomatic representatives and artisans.

Speaking at the event, Naeem Khan, the High Commissioner of Pakistan to Rwanda, emphasised the importance of cultural diplomacy as a pillar of international cooperation.

“I sincerely appreciate the efforts of the Diplomatic Charity Bazaar organisers. It’s a great initiative,” he said. “Politics, economics, and culture are equally important pillars of diplomacy. When we understand each other’s cultures and bridge the gaps in cultural communication, genuine public diplomacy emerges.”

He noted that events like the Bazaar help create the foundation for stronger economic and political relations between nations, stressing that culture must not be overlooked in global engagement.

India’s High Commissioner to Rwanda, Mridu Pawan Das, echoed this sentiment, describing the Bazaar as a “very good start” with the potential to grow into a major annual event.

“This is the first time ever that a diplomatic charity bazaar is being organised in Rwanda,” he said. “In the years to come, it will grow to become a really big event with more embassies and high commissions participating. It stands for a noble cause, benefiting 50 cooperatives of artisans, and we are all willing to work together to contribute.”

He highlighted the enthusiasm of the Indian community, which contributed cultural performances, artisan exhibits, and cuisine. He also praised the diversity on display across other country stalls, including jewellery, crafts, traditional attire, and tourism showcases.

Beyond cultural appreciation, the Bazaar served a critical economic purpose. Vendor fees, auctions, and raffle tickets raised funds to support rural artisan cooperatives.

“The money will be used to buy tools, materials, and training according to each cooperative’s needs,” stated Chief Organiser Edison Niyontegereje.

The organisers also announced that an e-commerce platform is under development to help artisans reach wider markets.

“The platform will support the artisans in showcasing their products to a much larger audience, beyond the physical Bazaar,” said Organising Committee Member Dr Saurabh Singhal.

Meanwhile, Edison noted that the success of the first edition sets a strong foundation for growth.

“The first edition gives us hope that the next edition, in 2026, is going to be an even bigger event,” the chief organiser said. “More embassies and partners are showing interest in joining. This is about coming on board to contribute to the cause of improving artisans’ lives.”

He added that the organisation plans to build a cultural centre that will allow visitors to experience different cultures through immersive exhibitions, languages, and virtual reality. The goal, he said, is to foster deeper cultural exchange while exposing Rwandan artisans to global craftsmanship techniques.

Artisans themselves expressed gratitude for the visibility and support the Bazaar generated.
Esperance Mukabaranga, a basket weaver and cultural artist, said the event helped her connect with potential business partners.

“We met different people, and they like our products. We exchanged business cards, and we believe they will become our business partners,” she said.

She added that the funds raised will help strengthen artisan communities: “If they support us, we will be supporting our families and communities as well.”

Despite the event’s success, organisers acknowledged challenges such as the Rwf 10,000 ticket price, which some embassies felt may have limited attendance. Several missions recommended making the event free in future editions to increase accessibility, and some have expressed their intention to sponsor entry for participants to encourage greater participation.

As the event concluded, envoys from the participating missions called for stronger lobbying within diplomatic circles and encouraged more embassies in Kigali to support the cause in future editions. Such backing will not only provide Rwanda’s artisan communities with the resources they need to scale their operations, but also help them gain glocal connections.

Born on May 6, 1987, Kigenza’s journey into the arts is unconventional yet inspiring. A self-taught artist, he initially pursued formal education in economics and management at the former National University of Rwanda, specializing in Accounting Sciences.

However, despite his formal education and career as a professional accountant since 2012, Kigenza’s passion for visual expression remained unshakeable.

This led him to leave his stable profession to pursue his true calling as an artist, a bold step that transformed his life and career.

In 2020, Kigenza took the leap from part-time to full-time artist, dedicating himself entirely to his craft. This transition not only allowed him to fully immerse himself in the creative process but also significantly enhanced his productivity and innovation.

Over time, his art evolved as he explored new techniques, expanded his mediums, and created works that connected with both local and global audiences.

Kigenza’s creative process spans multiple mediums. He predominantly works in acrylic and oil paints on canvas, often incorporating mixed media to create textures that evoke depth and emotion.

Beyond painting, he has carved a niche in sculpture, particularly using metal and iron to bring form and meaning to repurposed materials.

From old car parts to bicycle frames and motorcycle scraps, Kigenza transforms discarded objects into powerful artistic statements, reflecting his ingenuity and commitment to sustainability.

Central to Kigenza’s artistic philosophy is an exploration of themes that resonate universally yet remain deeply rooted in Rwandan culture. His work often celebrates life, nature, and wildlife, while also confronting the complex narratives of history.

One of his most acclaimed series, Season of Delight, showcases abstract representations of nature through vivid colors and intricate textures, inviting viewers to experience the environment not merely as observers but as participants in its rhythm and energy.

In the realm of sculpture, Kigenza has created iconic pieces that speak to Rwanda’s collective memory and resilience.

His monumental silverback gorilla sculpture, Renaissance, stands as a poignant tribute to Rwanda’s journey following the 1994 Genocide against the Tutsi.

Through this work, Kigenza intertwines the strength and majesty of wildlife with the nation’s history, creating a symbol of endurance, healing, and renewal that resonates both locally and internationally.

His works encourage reflection, conversation, and emotional engagement, bridging the gap between traditional storytelling and modern artistic expression.

Since moving into the art world full-time, Kigenza’s reach has expanded beyond Rwanda’s borders.

His paintings and sculptures have been exhibited in multiple venues around the world, including the United States, allowing global audiences to engage with Rwanda’s cultural narratives through his distinctive lens.

Back home, Kigenza is a central figure at the Niyo Arts Center in Kigali, where he serves as managing director and resident artist. The gallery, a vibrant hub for creativity, attracts thousands of tourists and art enthusiasts each year.

Through his efforts, Kigenza hopes to foster a thriving art scene in Rwanda that will not only elevate local talent but also contribute to the global appreciation of Rwandan artistry.

To be held at Green Hills Academy, the event is organised by Intercultural Bridge Group CBC, a Community Benefit Company specialising in cultural advocacy, research, and education. It aims to raise over US$100,000 (approximately Rwf 145 million).

Speaking at the pre-event press conference, Chief Organiser Edison Niyontegereje said the bazaar was born from years of working closely with cooperatives facing financial challenges and limited market access.

“We have spoken to artisans who create beautiful cultural products but often struggle to sell them or earn a sustainable income,” Niyontegereje said. “That is why we decided to organise this event, to bring the international community on board and help these youth- and women-led cooperatives continue their work and sustain their livelihoods.”

He added that while artisan work has traditionally been viewed as cultural heritage, there is a need to reposition it as a viable economic activity.

“In earlier years, many people did artisan work purely out of tradition, not as a business,” he said. “We want to show them that they can build a sustainable living through the artisan industry.”

Organising Committee Member Dr Saurabh Singhal described the bazaar as one of the biggest diplomatic charity initiatives Rwanda will see this year.

“Community and charity are in my blood, and that is why I am contributing my experience to this event,” the Indian businessman said, drawing on his philanthropy experience from Rotary Club events.

“This charity event is probably one of the biggest in Rwanda in 2025. Out of the ten BRICS countries, four are participating, and many of them are also members of the Global South. We expect a large gathering of Rwandans, foreign residents, and embassy representatives,” he stated.

He noted that the event has generated excitement, particularly among children preparing cultural performances representing different countries.

“We are expecting more than 2,000 visitors,” he said. “There will also be raffles and auctions worth around 10 million Rwandan francs, including a business-class airline ticket from a European airline.”

Operations Manager Karangwa Semwaga highlighted the event’s cultural depth, noting that each embassy will present its own traditions without local imitation.

“You won’t see a Rwandan imitating Indian culture,” he said. “It will be the Indian Embassy presenting India, the Ghana Embassy presenting Ghana, the Russian Embassy presenting Russia, and so on.”

He encouraged families to attend, saying, “If you love culture and good food, please come and have an amazing time.”

Other embassies expected to grace the event include Kenya, Uganda, Sudan, Nigeria, Angola, Pakistan, as well as representatives from Rwanda, among others.

The day will begin with a ribbon-cutting ceremony and continue with cultural showcases, live auctions, food stations and a dedicated children’s area.

“It’s for the public. It’s for all of us to enjoy multiple cultures and festivities all in the name of charity,” Semwaga remarked.

On the accountability of the funds to be raised, the organisers affirmed that they have established a clear fundraising target for the campaign. Niyontegereje clarified that no cash will be handed directly to the cooperatives.

“The money will be used to buy tools, materials, and training according to each cooperative’s needs,” he said. “Everything will be fully communicated. Payments will be cashless through SINC and via QR codes so we know exactly how much comes in.”

He added that the organisation is also developing an app to help artisans sell their products globally. “Giving cash is easy,” he said. “Building systems that help them grow is what truly matters.”

The organisers intend to make the bazaar an annual event. Dr Singhal emphasised that it will take place every year and noted that, beyond the main bazaar, additional cultural events will be held throughout the year to maintain and strengthen cultural connections.

Entrance to the event will cost Rwf 10,000 as a charity fee for adults. Children under 12 and seniors above 75 will enter free of charge, and families attending in groups will receive discounts. Tickets can be [purchased via SINC->https://interculturalbrigdegroup.sinc.events/rwanda-dip-2052] or at the gate.

With over 60 volunteers, numerous embassies, artisan groups and cultural performers involved, organisers say this first edition is only the beginning of a bigger vision.

The Rwanda Diplomatic Charity Bazaar will run from 9:00 a.m. to 6:00 p.m. at Green Hills Academy in Kigali.

Located in Jianhu County, this cultural landmark is built around Huai Opera, a national intangible cultural heritage. What struck me most was how the town blends the charm of an old village with vibrant cultural life, making it a place where the past and present breathe together.

As I wandered through the streets, I saw artisans showcasing their crafts and performers preparing for the next show. Later, I attended a Huai Opera performance based on The Small Town, a famous play that has won top national awards.

The show was immersive and beautifully staged. It felt as though the entire village was part of the performance. What moved me most was watching young performers on stage. It was a clear reminder that cultural heritage survives not through monuments, but through people who keep the stories alive.

My cultural journey continued at the China Yellow Sea Wetland Museum. From the outside, the building immediately catches your eye: a modern structure transformed from an old railway station, with the image of a red-crowned crane spreading its wings.

Inside, it is the first museum in the world dedicated to showcasing the natural and human history of the Yellow Sea wetland region. It houses more than 3,000 specimens, including a sperm whale skeleton and elk remains.

What made the visit truly memorable were the holographic exhibitions and sound installations. At one point, I stood in a darkened room listening to the echo of bird calls and whale sounds as if time itself had rewound.

The museum is more than a display hall. It serves as a platform for education, research, and cultural exchange. It showed me how technology can make heritage more accessible and engaging, especially for younger generations who may not easily connect with traditional exhibits.

In Huai Opera Town and at the museum, I found two sides of Yancheng’s cultural soul: one rooted in living traditions passed down through people, the other preserved and reimagined through modern interpretation.

Both are essential. Yancheng may be known for its wetlands and green industries, but its cultural heartbeat is equally powerful.

These places offer more than sightseeing. They offer a connection to history, to artistry, and to the enduring human spirit that keeps traditions alive.

Hirwa’s path to the arts began during his undergraduate studies at Southern New Hampshire University. In 2019, while still a student, he joined the Writivism Mentoring Program, a project by The Center for African Cultural Excellence. Under the mentorship of Nigerian writer Adeola Opeyemi, he learned a lesson that continues to shape his creative process on the importance of showing rather than telling.

“I am greatly indebted to my time in the program and my mentor Adeola Opeyemi,” he reflects.

“That is the first time I learnt to show, not to tell. Even now in my poetry practice, what sets me apart from my earlier version is that I make sure to show, not to tell. And I believe this makes the poetry more visual. I think that rule also influenced my love for photography, at least subconsciously.”

By 2020, at the age of 22, Hirwa was admitted into the MFA program in Creative Writing at Texas State University, moving to the United States a year later. There, he studied under acclaimed poet Naomi Shihab Nye and refined his voice as a poet. His chapbook Hairpins, published by Akashic Books in 2023, was selected by Kwame Dawes and Chris Abani for the African Poetry Book Fund’s chapbook boxset series. The collection, he explains, captured his early 20s’ struggles with identity.

“The book captures my early 20s’ grapple with identity,” he says. “Most of the poems are attempts at understanding my own masculinity. I wrote the book when I was around 23 years old, fresh out of high school and college, and I had questions about where I stood on the spectrum of masculinity. Am I a soft man, am I a tough guy, why does it matter etc. Those are the ideas the book captured.”

Alongside the chapbook, his poems, essays, and fiction have appeared in Wasafiri, Poetry Society of America, Lolwe, and Transition Magazine. Each piece, whether a poem about solitude or an essay on small spaces, reflects his interest in how identity, belonging, and culture intersect.

But Hirwa’s work is not confined to the page. In 2024, shortly after returning to Rwanda, he staged his first solo photography exhibition, Stilettos, Nikes, and a Basketball, at L’Espace in Kigali with support from the Goethe-Institut. The exhibition marked the start of his photography career and a significant return home.

“The solo exhibition was a marker of various shifts in my life,” he explains. “It also meant that this is a person returning home to show home who he has become. Since my photography captures how I see the world, an exhibition like the one at L’Espace was a way to say to my home ‘this is what I have seen’.”

The response from audiences in Kigali was immediate.

“Attendees had good responses to the exhibition. I remember there is this teenage boy I found sitting on the floor reading a piece of text I had printed on a transparent paper and attached on the white floor. He admired the experimental approach to the curation of the physical display of the artworks, and what more can one ask for?”

Hirwa has since participated in group exhibitions at the Kigali Center for Photography and at The Strand in London, expanding the reach of his street photography. His images often portray the quiet dignity of everyday life—motorcycle taxi drivers in colourful vests, children at play, the textures of Kigali’s neighbourhoods.

His forthcoming full-length poetry collection, Dear Zoe, was a finalist for the 2025 Sillerman First Book Prize for African Poetry. The book, still awaiting publication, focuses on the Rwandan diaspora and the ways people sustain cultural identity abroad.

“The book ‘Dear Zoe’ documents the ways in which the Rwandan diaspora makes a living abroad, such as running or working in hair salons, restaurants, and many other jobs and lifestyles in such cities as Dallas and Brussels,” he says.

“I hope when it gets published, it will spark conversations on how the Rwandan diaspora make a living abroad, and their experiences in relation to identity, belonging, and nostalgia.”

Hirwa acknowledges that his influences are wide-ranging. He cites Teju Cole’s Blind Spot as a model for pairing photographs with prose, Joel Meyerowitz’s mastery of street photography, and Warsan Shire’s poetry about migration and belonging.

“The two men, both Cole and Meyerowitz, have taught me to focus on simple things in my artworks in general, both writing and photography,” he notes. “That is why, as a photographer, I am interested in capturing the beauty in the mundane, which reflects my poetry too in a way. As in, what is a day like for a moto driver working in Kigali during weekdays and going to the provinces on the weekend to his wife and kids? That’s where Warsan Shire comes in. Her poetry is about the humanity of people.”

Living and creating between Rwanda and the United States has also shaped his sense of belonging.

“Living transnationally has distracted this sense of belonging to me,” he admits. “When I was in the US, my poetry was my attempt at staying connected to my roots, my Rwandan culture. But it’s a real hustle since being away most times means whether one likes it or not he or she is acculturating, hence trying to keep the writing originally Rwandan becomes hard.”

For Hirwa, poetry, prose, and photography are not separate practices but interconnected modes of expression.

“Yes, they feed into one another because they are on a spectrum of realism versus abstractedness,” he explains. “My poetry is a transcription of my photography, and my essays and pieces of fiction are translations of my poetry.”

Looking ahead, he envisions expanding into film. Inspired by Rwandan filmmaker Kivu Ruhorahoza and Senegalese director Djibril Diop Mambety, he hopes to bring the same attentiveness to story and image into motion pictures.

For now, Hirwa remains rooted in Kigali, balancing writing with photography and documenting Rwanda with the same patience he first learned under mentorship. Whether in verse or image, his work is an evolving archive of how Rwandans see themselves, at home and abroad.

Umuganura in modern Rwanda: The evolving celebration of culture, unity and growth

Far more than a harvest festival, Umuganura is a powerful reminder of Rwanda’s roots, an occasion to reflect on collective achievements, reaffirm national values, and celebrate the spirit of togetherness that has guided the country through generations.

Deeply rooted in history and embraced with renewed purpose, this celebration continues to bridge the wisdom of the past with the promise of the future.

Umuganura dates back centuries to the time of the Rwandan monarchy. It was one of the most important national ceremonies, held to mark the beginning of the harvest season.
Communities across the kingdom would gather to offer the first fruits of their labour, typically sorghum, millet, and beans, as a sign of gratitude for abundance and divine blessing.

At the centre of this tradition stood the King, who played both a symbolic and spiritual role. The harvest was presented to him and, in turn, symbolically offered to the ancestors.

This ritual was not only about agriculture; it was a reaffirmation of national unity, respect for authority, and spiritual connection. Umuganura served as a mirror through which the nation reflected on its values, productivity, and collective identity.

Traditionally, Umuganura brought together various aspects of Rwandan life. Alongside the offering of harvests, the day included rituals, traditional songs, dances, and storytelling. These cultural expressions helped reinforce social harmony and educate younger generations about shared values.

The celebration emphasised virtues such as hard work, humility, solidarity, and communal responsibility. It was also a time for communities to assess their achievements and set intentions for the seasons ahead.

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In contemporary Rwanda, Umuganura has evolved into a national reflection point. While its agricultural foundation remains, it now extends to celebrating achievements across all sectors—education, health, governance, entrepreneurship, and innovation. It is a day to acknowledge both individual and collective contributions to national development.

Ceremonies are held at community and national levels, featuring cultural performances, exhibitions of local produce and crafts, and forums for dialogue on the country’s progress. Youth engagement is a key component, with schools and cultural institutions working to educate younger generations about the meaning and importance of Umuganura.

As Rwanda continues to grow and modernise, Umuganura remains a powerful reminder of the country’s rich heritage.

IGIHE spoke to young Rwandans from different walks of life to explore what this treasured tradition means in today’s world, reflecting on its historical roots and how it has evolved over time.

Once centred around offering the first harvest to the king, Umuganura has grown to recognise achievements in all sectors of life. Brighton Rutikanga emphasised how today’s celebration extends beyond agriculture to include progress in education, business, and other areas. He noted that the holiday encourages Rwandans to reflect on past goals and set new ambitions for the future.

Others, like Patrick Nshimiyimana, highlighted the personal and cultural importance of sharing the day with family, recalling warm memories of village celebrations with loved ones.

He and Brighton both celebrated educational accomplishments, seeing university attendance and academic improvement as major milestones. Alongside them, Hirwa Prince and Mutoniwase Fabrine shared stories of personal growth and community contributions, reflecting the spirit of resilience, connection, and national pride that continues to define Umuganura today.

“In the past, Rwanda celebrated by sharing harvests like cassava, beans, and maize. They’d bring them to the king and celebrate together, and it was awesome!”

“Now, it’s more than that. Most people rely on services and other sectors, so we use agriculture as a symbol to celebrate achievements in any field. In my sector, I reflect on last year’s goals and plan for the future,” said Patrick Nshimiyimana.

Umuganura is also a time to reflect on individual journeys and milestones. For many young Rwandans, it’s an opportunity to measure growth, whether in education, career, or service to others.

“The grades that I used to get weren’t good, and I didn’t think it was possible anymore, but my achievement when I got to university is that I started getting good grades. That was a breakthrough, and I’m grateful. This year, I’m still growing professionally, financially, everything,” said Prince Hirwa.

Speaking during the celebration of Umuganura in Musanze District, the Minister of Local Government Dominique Habimana reaffirmed the enduring significance of this annual tradition in Rwanda’s cultural identity and national development.

“One may wonder if Umuganura remains relevant today. The answer is a resounding yes,” he said. “While its historical roots lie in agriculture and livestock farming, today’s Umuganura celebrates diverse sectors, including service output, technology, education, tourism, arts, and industries.”

The Minister emphasized that the foundational values of Umuganura, planning, resilience, hard work, gratitude, sharing, and patriotism—are as vital today as they were centuries ago.

Habimana also called on Rwandans to uphold and integrate the values of Umuganura into their daily lives and ensure its transmission to future generations.

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The project, led by award-winning architecture studio NLÉ in partnership with Masai Ujiri, president of the Toronto Raptors and founder of Giants of Africa, is scheduled for a grand opening next month.

Originally built in the 20th century as government housing, the building’s historical significance is deeply intertwined with Rwanda’s past.

Situated in Remera and adjacent to the recently renovated state-of-the-art Amahoro Stadium, it once served as the temporary United Nations headquarters during the 1994 Genocide against the Tutsi, providing refuge in one of the country’s darkest chapters. More recently, it housed the Rwandan Health Authorities during the COVID-19 pandemic, further embedding it in the nation’s collective memory.

Now reimagined by NLÉ, a firm founded by Nigerian architect Kunlé Adeyemi and co-led by Berend Strijland, Zaria Court has been transformed from a dormant modernist relic into a thriving centre for sports, hospitality, culture, and entrepreneurship.

“What excited me about Zaria Court was the opportunity to transform a historic site into a vibrant catalyst within Rwanda’s emerging sports ecosystem,” said Adeyemi, known for the Floating Music Hub in Cape Verde.

“Through this development partnership, we demonstrate how architecture can positively impact communities and provide a replicable model of innovative infrastructure, empowering African youth and accelerating sustainable urban development.”

The newly activated Zaria Court offers a diverse range of facilities designed to meet the needs of Kigali’s youth and the wider community. At its heart is a multifunctional event court that hosts sports, music, fashion, and cultural programs, providing a vibrant space for various activities.

The site also includes an 80-room hotel, equipped with a gym, co-working spaces, meeting rooms, a conference hall, a swimming pool, and a rooftop bar, blending comfort with versatility.

Outdoors, visitors can enjoy five-a-side soccer pitches, a dedicated callisthenics training area, and a children’s play zone surrounded by lush native landscaping and open green spaces that encourage safe and informal social interaction.

Adding to its innovative spirit, Zaria Court features a modular retail park constructed from stacked shipping containers, creating affordable commercial spaces for Kigali’s emerging designers, food vendors, and entrepreneurs.

The construction of Zaria Court began in August 2023, marked by a groundbreaking ceremony presided over by President Paul Kagame and Masai Ujiri.

With its completion, it now stands not only as a model of adaptive reuse architecture but also as a powerful symbol of urban regeneration and youth empowerment. As the first development of its kind in Rwanda, Zaria Court embodies a forward-looking vision for community-focused infrastructure across Africa.

The new facility will be unveiled during Imboni Xperience, a flagship event scheduled for July 12, 2025, from 4 p.m. to 8 p.m. at the Imboni Creative venue in Kigali (KG 550 St, No. 12). The event promises an immersive celebration of fashion, artistry, and community.

According to the organisers, Imboni Xperience will bring together some of the country’s most talented fashion designers, accessory makers, and visual artists in a vibrant showcase that reflects the richness and diversity of Rwandan creativity.

The Imboni Creative Hub is a dedicated space designed to support, connect, and nurture the next generation of designers and innovators.

Described as a “home for emerging talent,” the new Creative Hub will offer young Rwandan creatives access to workshops, mentorship, and collaborative opportunities.

At the heart of the initiative is a commitment to cultivating a community-driven approach to creativity, where artisans can co-create, share expertise, and collectively shape the future of Rwandan style.

“We believe the true magic of creativity shines brightest when it’s nurtured collectively. Our goal is to uplift these passionate talents so they can craft their own futures and inspire others to do the same,” said Ibambe Johnson, who co-founded Imboni Creative alongside two others.

Through the Imboni Creative Workshop, young designers and accessory artists will gain exclusive access to hands-on mentoring and the tools they need to hone their skills, spark their creativity, and bring their visions to reality.

With this celebration of art, fashion, and community, Imboni Creative invites all to come together and embrace the spirit of collaboration at the Imboni Xperience event, where “ideas blossom, tradition meets innovation, and artistry becomes a shared journey.”