This legislation represents a shift in how France manages its public collections, which have long been protected by the legal principle of inalienability. Under that doctrine, any object entered into a state museum becomes the permanent property of the French Republic, previously requiring a specific, separate act of Parliament for every individual return. This new framework creates a permanent administrative mechanism to bypass that requirement for certain categories of contested heritage.
The law specifically targets items acquired through looting, theft, or sales conducted under coercion, a term often applied to transactions made during colonial occupations or under the shadow of military force. While the bill covers a broad 157-year timeframe, it maintains several restrictions that prevent an automatic or total emptying of museum shelves.
Military equipment and specific archaeological finds remain exempt from the streamlined process, and the French state retains final authority over the interpretation of an object’s history via a specialised scientific committee. Furthermore, the law applies only to state-owned museums and does not mandate returns from private collections or galleries.
The legislative move follows years of mounting diplomatic pressure from former colonies, primarily across Africa and Asia. Sub-Saharan nations such as Benin, Senegal, and Mali have been at the forefront of these demands, following the high-profile 2021 return of the Abomey Treasures to Benin.
In the Maghreb, Algeria continues a complex dispute with France regarding archives and artefacts taken during the 132-year colonial period ending in 1962. Similarly, Southeast Asian nations, including Vietnam, Cambodia, and Laos, have identified thousands of artefacts, ranging from religious statuary to royal regalia, held in major French institutions. Indigenous groups in Oceania, specifically in New Caledonia and French Polynesia, have also sought the return of ancestral remains and sacred ritual objects under similar ethical claims.
The version passed on Wednesday was a compromise text drafted by a joint committee of deputies and senators, intended to resolve previous disagreements over the level of parliamentary oversight versus executive power. Critics of the bill have pointed out that while it simplifies the legal path for restitution, it does not guarantee the return of items.
The process remains contingent on a claimant nation initiating a formal request and a French-led committee verifying the illicit nature of the original acquisition. The draft law now moves to the Senate for a final review, and if approved, it will proceed to the President for official promulgation into law.
Former culture minister Rachida Dati at a ceremony marking the official restitution to Côte d’Ivoire of the sacred drum “Djidji Ayôkwé,” also known as the “talking drum,” at the Musée du Quai Branly in Paris, on February 20, 2026. The Ayôkwé djidji, nicknamed the “talking drum.”
Founded by self-taught Rwandan artist Olivier Kwitonda, Inkingi goes beyond the idea of a traditional gallery. As its Kinyarwanda name suggests, it is a “pillar”, a space built to support, connect, and elevate artists across disciplines.
“I wasn’t thinking of a gallery or a center,” Kwitonda told IGIHE during a visit to the space. “I was thinking of an arts space, somewhere every art form could meet.”
Today, that vision is alive. Inkingi hosts more than 25 artists, primarily from Rwanda but also from across Africa, including Uganda, Zambia, Nigeria, Ghana, Burundi, and Sudan. The diversity is intentional. Collaboration is at the heart of what makes the space unique.
The art space features artworks from dozens of creatives.
Kwitonda’s path to founding Inkingi was anything but conventional. Born in 1987, he discovered art early, sketching in school notebooks and on blackboards, even when it got him into trouble.
“I was expelled once for drawing the headmaster,” he recalls with a laugh.
Without access to formal art education after high school, he carved his own path, visiting local studios, learning materials, and slowly building his craft. He worked through established spaces like Yego Arts and later Niyo Arts Centre, gaining experience not only as an artist but also as a manager and collaborator.
But the idea of something more personal never left him.
“After COVID-19, I couldn’t sleep with my ideas anymore,” he says. “I needed a space where I could create freely and also bring different artists together.”
That idea became Inkingi Arts Space, officially launched in 2023.
Olivier Kwitonda says Inkingi Arts Space, as its Kinyarwanda name suggests, is a “pillar”, a space built to support, connect, and elevate artists across disciplines.
A space where art forms converge
What sets Inkingi apart is its openness, not just in layout, but in philosophy. Unlike traditional galleries focused solely on visual art, Inkingi welcomes multiple forms of expression under one roof.
While the space is primarily active with painters and visual artists on a daily basis, it expands into a multidisciplinary platform through its Inkingi Open Mic sessions, held once a month. During these gatherings, poetry, storytelling, live music, and traditional Rwandan cultural expressions, such as proverbs and riddles, come together in a shared creative experience.
“You wouldn’t find many places that bring all these talents together,” Kwitonda says. “That’s our uniqueness.”
The space also serves as a bridge beyond Rwanda’s borders. Visiting artists regularly collaborate on exhibitions and workshops, strengthening ties across the continent. One such collaboration involves a Zambian artist, David Daut Makala, who runs Studio 225, highlighting Inkingi’s growing international reach.
Makala, considered a renowned artist in Zambia and beyond, is set to hold his second solo exhibition, opening on May 8, 2026. The IGIHE team met him hands-on as he prepared for the show, which focuses on what he describes as the “Geography of Knowledge.” He has gained recognition for his versatility across various mediums, including sculpture, painting, printmaking, digital art, and performance.
“By hosting different workshops, trainings, and exhibitions, it has helped Inkingi grow, not only as a space, but also in supporting artists to grow and receive mentorship,” Kwitonda says.
Inkingi hosts more than 25 artists, primarily from Rwanda but also from across Africa, including Uganda, Zambia, Nigeria, Ghana, Burundi, and Sudan.
Art as memory, healing, and responsibility
For Kwitonda, art is deeply tied to Rwanda’s history, particularly the Genocide against the Tutsi. His earlier works, such as In the Deep Sorrow, reflect on loss, memory, and human responsibility.
“It’s a call for people to think before harming others,” he explains. “To imagine: what if it were you?”
This philosophy extends into Inkingi’s programming. During this year’s annual commemoration period, the space organised a visit for young artists to the Kigali Genocide Memorial, encouraging reflection and dialogue through art.
“It’s about learning from the past,” Kwitonda says, “so we can create work that builds peace and protects the future.”
Gorilla artworks at Inkingi Arts Space highlight one of Rwanda’s premium tourism offerings.
Nurturing the next generation
Beyond exhibitions, Inkingi plays a critical role in mentorship and education. The space regularly hosts workshops, trainings, and internships, particularly for students from Nyundo Art School, Rwanda’s primary institution for formal art education.
Some interns stay on as resident artists, gradually becoming part of the collective.
“My proudest moment,” Kwitonda says, “is seeing young artists grow here, seeing this space become a home for them.”
That sense of belonging is key. In a country where art is still often seen as inaccessible or expensive, Inkingi is helping shift perceptions. More locals are attending exhibitions, engaging with artists, and beginning to see art as part of everyday life.
“People say art is expensive,” Kwitonda reflects. “But they forget, it’s priceless. You’re buying someone’s soul, their time, their sleepless nights.”
Though still young, Inkingi Arts Space is already making its mark on Kigali’s cultural landscape. And Kwitonda’s ambitions stretch far beyond its current walls.
In the next five years, he envisions it as a training center. In the long term, he imagines something even bigger, a museum-scale institution contributing to Rwanda’s cultural heritage.
“It should be huge,” he says with quiet confidence. “A place that stands alongside the country’s museums and tells our stories through art.”
For now, Inkingi remains grounded in its original purpose: a space of freedom, collaboration, and growth. A place where Kigali’s creative talent doesn’t just pass through, but finds a home.
Watch the full video below for an inside look at Inkingi Arts Space in Kacyiru.
Inkingi Arts Space in Kigali’s Kacyiru neighbourhood.While the space is primarily active with painters and visual artists on a daily basis, it expands into a multidisciplinary platform through its Inkingi Open Mic sessions, held once a month.Inkingi Arts Space founder Olivier Kwitonda with the IGIHE team. He says his mission goes beyond himself, focusing on mentoring the next generation of creatives.Some of the creative pieces at Inkingi Arts Space.
Rooted deeply in Rwanda’s social fabric, each dance tells a story and plays a vital role in marking important events, ceremonies, and festivals.
One of the most iconic forms of Rwandan traditional dance is the Intore dance, often referred to as the “dance of the warriors.”
This dynamic and energetic performance was originally performed to honor kings and to celebrate Rwanda’s bravery and valor during times of conflict. The dancers, adorned in elaborate attire, including leopard skins, reflect the courage and strength of the nation’s ancestors.
Their powerful, rhythmic movements and high jumps symbolize the spirit of resilience, and their footwork mimics the precision of warriors preparing for battle.
The dance is accompanied by traditional drumming, which provides a deep, resonating rhythm that enhances the intensity of the performance.
Another important dance is the Ubwuzuzanye, which emphasizes unity and togetherness. This dance is typically performed by a large group of people, often in community settings, to symbolize harmony and cooperation within Rwandan society.
It is characterized by synchronized movements and the collective energy of participants, who work in perfect harmony to perform complex steps and patterns.
This dance is a vivid reminder of the central role community and social bonds play in Rwandan life.
Umushagiriro, on the other hand, is a dance that has been practiced for centuries and is often performed during harvest celebrations or to mark agricultural achievements.
With graceful movements, the dancers sway their bodies to represent the joy and abundance that the harvest brings to Rwandan families. This traditional dance is closely linked to Rwanda’s agrarian roots and is a reminder of the country’s deep connection to the land and its rhythms.
Beyond their aesthetic beauty, these dances serve as community events, bringing people together to celebrate shared cultural heritage.
Today, they are an integral part of Rwandan festivals and ceremonies, including the Umuganura Festival.
These events are deeply significant, as they not only showcase traditional dance but also reinforce values of unity, respect for elders, and cultural pride.
The legacy of traditional dance in Rwanda extends beyond performance; it plays an important role in educating the younger generation about their cultural identity and history.
Schools across the country incorporate dance into their curriculum, ensuring that these traditional arts are preserved for future generations. Through these performances, Rwandans continue to honor their ancestors, celebrate their cultural identity, and foster a sense of pride and national unity.
In recent years, Rwandan traditional dance has gained international recognition, often featured at cultural events abroad to showcase the country’s rich cultural heritage.
The dance is not only a source of entertainment but also a powerful tool for cultural diplomacy, allowing the world to experience Rwanda’s vibrant traditions.
Dancers in vibrant attire perform the iconic Intore dance, celebrating Rwanda’s rich history and warrior spirit.Traditional drumming accompanies the powerful rhythms of Rwandan dancers, enhancing the energy and spirit of the performance.The synchronized movements of the Ubwuzuzanye dance symbolize unity and togetherness within the Rwandan community.Rwandan traditional dance brings people together, fostering pride and cultural pride in every graceful movement.
This vehicle is one of only two prototypes ever created, essentially serving as a road-legal version of the legendary Mercedes-Benz W196 R. Its sale remains a landmark event not just for its price, but also for its purpose. Mercedes-Benz confirmed that proceeds from the auction would serve as seed capital for the beVisioneers: The Mercedes-Benz Fellowship, a global initiative providing scholarships in environmental science for young people.
In the modern market, bespoke commissions from luxury manufacturers have reached similar levels of exclusivity and cost. The Rolls-Royce La Rose Noire Droptail, inspired by the Black Baccara rose, is estimated to cost over $30 million.
This vehicle is one of only two prototypes ever created, essentially serving as a road-legal version of the legendary Mercedes-Benz W196 R.
It is a masterpiece of craftsmanship, featuring an interior parquetry design made of 1,603 pieces of black sycamore veneer and a custom-integrated timepiece by Audemars Piguet. While it set the initial benchmark for the Coachbuild series, it has since been joined by the Rolls-Royce Arcadia Droptail, which reportedly reached a price of $31 million for a client in Singapore.
The auction market continues to show strong momentum in 2026, particularly for historic Italian marques. In January 2026, a 1962 Ferrari 250 GTO known as the “Bianco Speciale” (Chassis 3729GT) was sold at the Mecum Kissimmee auction for $38.5 million.
The Mercedes-Benz 300 SLR Uhlenhaut Coupé set the all-time record when it sold for approximately $143 million (approximately Rwf 208 billion) at a private auction held at the Mercedes-Benz Museum.
This specific car holds the unique distinction of being the only 250 GTO ever finished in factory white. Although it did not surpass the $51.7 million record set by another 250 GTO in 2023, its sale reinforced the model’s status as a premier investment asset.
The identity of the person who paid $143 million for the world’s most expensive car remains officially undisclosed by Mercedes-Benz, which describes the buyer only as a “private collector.” However, within the elite car-collecting community, the winning bid was placed by Simon Kidston, a renowned British car broker and consultant, acting on behalf of an anonymous client.
Intense rumours in the automotive press have frequently linked the purchase to Sir James Ratcliffe, the British billionaire and chairman of INEOS, who has a long-standing partnership with Mercedes-Benz and a known passion for rare engineering.
It is a masterpiece of craftsmanship, featuring an interior parquetry design made of 1,603 pieces of black sycamore veneer and a custom-integrated timepiece by Audemars Piguet.
The film Ben’Imana has been selected for the 2026 Cannes Film Festival, specifically in the prestigious “Un Certain Regard” section, dedicated to distinctive storytelling and emerging voices in world cinema.
Written by Rwandan filmmaker Marie-Clémentine Dusabejambo, the film stands among the most accomplished productions made in Rwanda to reach this level.
In a brief interview with IGIHE, she expressed her excitement:
“It is a great joy because, for the first time in the history of Rwandan cinema, a film made entirely in Rwanda has reached the level of Cannes. It is a project I have worked on for a long time, I have grown with it over the past 10 years before its release.”
This marks the first time a film directed by a Rwandan woman has been selected in the festival’s official lineup, offering strong hope for the continued growth of Rwanda’s film industry.
The film tells the story of Veneranda, a survivor of the Genocide against the Tutsi, who struggles to rebuild her life while coping with deep trauma from her past.
Through this narrative, the filmmaker explores powerful themes such as memory, resilience, and intergenerational transmission.
The selection of Ben’Imana in the “Un Certain Regard” section reflects the festival’s continued interest in original stories from countries whose film industries are still emerging.
This section is well known for discovering new talent and showcasing films that bring fresh social and cultural perspectives.
Beyond being selected, Ben’Imana will also open the “Un Certain Regard” section.
A delegation of 12 people from Rwanda will represent the film on May 19 — a key moment at Cannes, during the iconic red carpet ceremony known in French as the “montée des marches,” followed by the film’s official premiere before an audience of international press and leading figures in global cinema.
Ben’Imana also carries a strong pan-African dimension. It is co-produced by Gabonese producer Samantha Biffot, alongside Rwandan and international partners.
This collaboration highlights the growing strength of African film cooperation.
Beyond its artistic value, the film’s selection confirms the rise of an ambitious Rwandan cinema, one capable of telling universal stories while remaining deeply rooted in its own history and truth.
Marie-Clémentine Dusabejambo, director of the film Ben’Imana.The cinematography of Ben’Imana was handled by Mostafa El Kashef
To put that figure into a local context, at current exchange rates, the sale represents approximately 658.2 billion Rwandan Francs, a sum that rivals the infrastructure budgets of massive projects in the continent.
The divine composition
At its core, Salvator Mundi (Latin for “Savior of the World”) is a powerful theological statement. The painting depicts Jesus Christ in Renaissance-era dress, facing the viewer with a steady, ethereal gaze. In his left hand, he holds a transparent rock crystal orb, representing the celestial sphere of the heavens and the entirety of the universe.
The painting was auctioned for approximately 658. 2 billion Rwandan Francs.
His right hand is raised in a traditional gesture of blessing, with two fingers extended. This specific composition was meant to convey Christ’s role as the divine guardian of the world, balancing the physical realm with the spiritual.
A lost masterpiece found
The journey of Salvator Mundi is as cinematic as its price tag. For centuries, the painting was considered lost or destroyed. It reappeared in 1958 at an auction in London, where it was sold for a mere £45. At the time, it was dismissed as a poor copy made by one of Leonardo’s students, heavily overpainted and damaged.
It wasn’t until 2005, after being purchased by a consortium of art dealers for less than $10,000, that the painting underwent extensive restoration. Layers of grime and secondary paint were stripped away to reveal brushwork that many experts identified as the hand of Leonardo himself, specifically the ethereal sfumato technique and the intricate detail of the crystal orb held by Christ.
The auction in 2017 lasted nearly 20 minutes, an eternity in the world of professional bidding. While the buyer used a proxy to remain anonymous, intelligence assessments and investigative reports later linked the winning bid to the Saudi Crown Prince, Mohammed bin Salman.
The acquisition was seen by many as a major cultural power move, signalling a desire to turn the region into a global arts destination. Loïc Gouzer, the Chairman of Post-War and Contemporary Art at Christie’s, who secured the work for the auction, captured the weight of the moment perfectly: “Salvator Mundi is a painting of the most iconic figure in the world by the most important artist of all time. The opportunity to bring this masterpiece to the market is an honour that comes around once in a lifetime.”
Despite the record-breaking price, the art world remains divided. Some scholars argue that while Leonardo likely designed the composition, much of the execution may have been handled by his workshop assistants. This debate has kept the painting out of major museum exhibitions recently, adding a layer of mystery to its status.
Beyond the price tag
While $450 million is a figure that captures headlines, the sale of Salvator Mundi represents a broader trend: the treatment of masterpiece-level art as a primary global asset class. It raises fundamental questions about the intersection of cultural heritage, historical truth, and extreme wealth.
Whether it is viewed as the ultimate Renaissance discovery or what art advisor Todd Levin described as a “thumping epic triumph of branding and desire over connoisseurship,” Salvator Mundi remains the singular benchmark for value in the art world today, proving that even in a digital age, the allure of the “Old Masters” remains untouchable.
People take pictures of a copy of Leonardo Da Vinci’s Salvator Mundi, the world’s most expensive painting.
Zimbabwean President Emmerson Mnangagwa presided over the handover ceremony at State House, attended by South African Minister of Sport, Arts and Culture Gayton McKenzie, and Zimbabwean government officials.
Mnangagwa hailed the repatriation as a triumph of Pan-African solidarity and a decisive step toward addressing historical colonial injustices. He emphasized that reclaiming such artifacts is essential for restoring the nation’s cultural identity and rectifying the “salient testament” of past plunder.
“For far too long, this vital piece of our national soul and dignity resided in a foreign land… My government will continue to ensure that Zimbabwe’s rich heritage is freed from the hostage in foreign museums, public spaces and private galleries,” the president said.
For his part, McKenzie described the return as a significant historical milestone, expressing his hope that the eight ancestors would finally find peace in their native soil and that the day’s events would help in the long journey of restoring Zimbabwe’s national wholeness.
The Zimbabwe Bird, known in the Shona language as Chapungu, is a national emblem and symbol associated with the country’s cultural and historical identity, and is featured in the national flag, coat of arms and currency.
Carved from soapstone, this specific artifact was the first of eight carvings looted from the ruins of Great Zimbabwe — the Iron Age capital located in the country’s southeast — and later sold to Cecil John Rhodes, then the prime minister of the Cape Colony, in the 1890s.
The eight ancestral human remains were collected from Zimbabwe — then known as Southern Rhodesia — during the late 19th and early 20th centuries. They were acquired by colonial officials, medical practitioners and researchers, and donated to what became the Iziko South African Museum as scientific specimens.
Zimbabwe on Wednesday welcomed the return of a centuries-old “Zimbabwe Bird” stone sculpture and eight ancestral remains from South Africa.
The monument also recognises the contribution of Ghanaian peacekeepers during the genocide, paying tribute to Major General Henry Kwami Anyidoho (Rtd) and the contingent he led, who played a key role in sheltering and protecting targeted Tutsis, alongside other African soldiers who intervened to save lives during the crisis.
The unveiling ceremony, held under the theme “Remember, Unite, Renew,” brought together members of the university community, representatives of the Rwandan High Commission, the Ghana Armed Forces, and other invited guests. Participants also joined a symbolic procession titled “A Walk to Remember,” reinforcing the importance of unity and collective memory.
The monument honours victims of the 1994 Genocide against the Tutsi and also recognises the contribution of Ghanaian peacekeepers.
Speaking at the event, Rwanda’s Minister of Education and Guest of Honour, Joseph Nsengimana, commended the Ghanaian peacekeepers and other African forces for their role during the genocide. He emphasised African solidarity, noting that their actions reflected the principle that “our destiny cannot be outsourced.”
He described the initiative as a significant milestone in remembrance efforts, praising the university for raising awareness about the genocide and stressing that the lives lost, men, women, and children, remain central to shared African humanity.
Rwanda’s Minister of Education and Guest of Honour, Joseph Nsengimana, commended the Ghanaian peacekeepers and other African forces for their role during the genocide.
The university’s President and Founder, Patrick Awuah, said the Genocide against the Tutsi had a profound influence on his decision to return to Africa. He noted that witnessing the tragedy while working abroad strengthened his commitment to reshaping narratives about the continent through education and storytelling, and urged Africans to elevate stories of courage and resilience.
On behalf of the peacekeeping contingent, Major General Anyidoho expressed gratitude for the recognition and paid tribute to colleagues who lost their lives during the mission, saying their service was guided by duty and shared humanity.
He also reflected on Rwanda’s recovery, commending its progress in reconciliation and development, and called on African nations to prioritise peace as a foundation for sustainable development and the preservation of human dignity.
Participants joined a symbolic procession titled “A Walk to Remember,” reinforcing the importance of unity and collective memory.The unveiling ceremony brought together members of the university community, representatives of the Rwandan High Commission, the Ghana Armed Forces, and other invited guests.
Directed by Marie-Clémentine Dusabejambo, the film has been selected in the Un Certain Regard category. This section of the festival is dedicated to films that present unique storytelling approaches and often highlights emerging and innovative voices in global cinema.
It is the first film directed by a Rwandan filmmaker to be selected for this festival, following Munyarugabo, which was released in 2007 but directed by American filmmaker Lee Isaac Chung.
The film tells the story of Veneranda, a survivor of the Genocide against the Tutsi, who rebuilds her life and finds stability after enduring profound trauma.
However, her emotional wounds are reopened when her daughter faces an unplanned pregnancy, triggering painful memories from her past.
The cast features prominent names in Rwandan cinema, including Clémentine Uwimana Nyirinkindi, widely known for her role as Marigarita in Papa Sawa, who takes on the lead role of Veneranda.
Other notable actors include Isabelle Kabano, Nishimwe Kesia Kelly, Uwabeza Léocadie (popularly known as Nyiragitariro), Uwamahoro Antoinette (known for her role as Siperansiya in Seburikoko), and Tuyisenge Aimé Valens.
Prior to directing Ben’Imana, Dusabejambo built a strong reputation through her earlier works, including A Place for Myself, Icyasha, Behind the World, and Lyiza.
The film was produced by Samantha Biffot in collaboration with Rwandan producer Uwayezu Marie Epiphanie and Egyptian producer Mostafa El Kashef.
The 2026 edition of the Cannes Film Festival 2026 is scheduled to take place from May 12 to May 23 in France.
The film Ben’Imana has become the first film directed by a Rwandan to be officially selected at the prestigious Cannes Film Festival in France.
This isn’t just any souvenir. The steel spiral staircase, which once connected the second and third floors of the Eiffel Tower when it first opened in 1889, is made of riveted sheet metal and includes 14 steps resting on a cross-shaped base. The section stands 2.75 meters tall and spans nearly 1.75 meters in diameter.
Over 300 million people have climbed the tower since its debut at the Universal Exposition celebrating the 100th anniversary of the French Revolution, but for nearly a century, those steps were part of the journey to the top. In 1983, the tower underwent a massive overhaul, replacing sections of the original staircase with elevators. Most of the dismantled steps ended up in private collections, while a few were placed in museums like the Musée d’Orsay, Cité des Sciences, and even as far afield as Japan and New York.
Now, Section No. 1 is coming back into the spotlight. Artcurial’s Art Deco department in Paris will put it up for auction on May 21, with an expected price tag of €120,000 to €150,000 (approximately 205.4 million to 256.7 million Rwandan francs).
The staircase has been in a private collection for over 40 years and underwent a full restoration for the sale, according to Sabrina Dolla, associate director at Artcurial.
“It’s more than just a piece of history,” Dolla told CNN. “It’s an immersive experience, a stationary journey through time and space. Imagine yourself in 1889, perched hundreds of meters above Paris on this staircase, with a 360-degree view and no safety barriers.”
Artcurial has auctioned other staircase sections before, with one record-setting section selling for €523,800 (approximately Rwf 896.5 million) in 2016 to a determined collector from China. According to Dolla, such sales often come down to “circumstances and opportunities,” making this upcoming auction a rare chance to own a tangible piece of the Eiffel Tower.
So, do you have the space, the money, and a flair for the historic? If yes, this 14-step slice of Paris might just be yours, history included.
Over 300 million people have climbed the tower since its debut at the Universal Exposition celebrating the 100th anniversary of the French Revolution.
