The work, Vision of Zacharias in the Temple (1633), disappeared from public view after being sold to a private collector in 1961. It had previously been excluded from a catalogue of Rembrandt’s works in 1960.
The painting resurfaced when its current owners submitted it for testing at the Rijksmuseum, which conducted a two-year analysis.
Experts confirmed that the signature is genuine, the wooden panel dates from the correct period, and the materials and painting techniques match those of Rembrandt’s early works.
“When I saw it in our studio during restoration, I was immediately struck by the incredible power it has,” Rijksmuseum director Taco Dibbits told BBC. “It’s very high quality. You really feel that he dedicated his soul to it.”
The painting depicts the biblical moment when priest Zacharias is told by the Archangel Gabriel that he and his wife will have a son, John the Baptist. Rembrandt innovatively suggests Gabriel’s presence without showing him visibly, capturing the decisive moment before the archangel reveals his identity.
At the time, Rembrandt primarily painted portraits, making this one of the few history paintings from his early career. The Rijksmuseum plans to put the work on public display starting Wednesday.
While its market value is unknown, other Rembrandt works have sold for millions, including a record £20 million in 2009.
Rembrandt was 27 when he painted the high priest Zacharias, father of John the Baptist
The museum is dedicated to the Romantic movement, which flourished in France between the late 18th and mid-19th centuries, celebrating emotion, imagination, and the sublime.
Housed in the former residence of Dutch-French painter Ary Scheffer, the museum preserves the legacy of both Scheffer and novelist George Sand.
Between the 1830s and 1850s, Scheffer hosted Friday salons at the residence, welcoming artists and intellectuals inspired by figures like Dante, Lord Byron, and Goethe.
Located in Paris’ ninth arrondissement, the property was originally surrounded by orchards and gardens before the area developed into a hub for literary and artistic activity.
After Scheffer’s death in 1858, the residence changed hands several times before being acquired by the city and transformed into a museum in the 1980s. Today, it holds 2,340 works, with around 300 on display, and drew 230,000 visitors in 2023.
The restoration aimed to return the building to its 19th-century appearance.
“For the woodwork and window frames, we tried to restore the house’s original color,” Gaëlle Rio, the museum director told Le Monde.
The courtyard, greenhouse, tea room, and first-floor exhibitions were also updated to enhance visitor experience while respecting the building’s status as a historical monument.
To mark the reopening, the museum is launching a new exhibition, Facing the Sky, Paul Huet in His Time.
Huet, a contemporary of Scheffer, is considered a precursor of French Romantic landscape painting.
“This one echoes the ‘Nature and Landscape’ section and invites visitors to pause and reflect. I enjoy highlighting a single artist while exploring a subject through their perspective,” Rio explains.
Few cities embraced Romanticism like Paris, which became a stage for artistic experimentation and a break from classical traditions.
The Musée de la Vie Romantique now continues that legacy, offering visitors a glimpse into the passions and creativity that defined the era.
The Musée de la Vie Romantique has reopened in Paris after a lengthy renovation.
As Rwanda’s creative economy continues to grow, the platform addresses long-standing barriers including low visibility, fragmented networks, unpaid opportunities, and lack of trusted professional infrastructure.
Developed in partnership with the Ministry of Youth and Arts, L’Espace, KinaRwanda, and the Swiss Agency for Development and Cooperation (SDC), MURIKA represents an important step in building long-term digital infrastructure for Rwanda’s creative economy.
Supporting professional growth and opportunities
Built as a structured ecosystem rather than a social network, MURIKA brings together verified creative profiles, professional portfolios, transparent opportunity listings, collaboration spaces, and practical industry resources.
The platform enables creatives to showcase their work professionally, connect with clients and collaborators, and access knowledge on pricing, intellectual property, contracts, and career development.
By creating trusted professional infrastructure, MURIKA helps move creative work from informal activity to sustainable, income-generating careers.
Malik Shaffy, Managing Director of KinaRwanda, welcomed the platform as an important development for the industry.
“For a long time, talent has been everywhere, but opportunities and visibility haven’t been organized. MURIKA changes that. It gives creatives a place to be seen, trusted, and get paid. It gives clients a direct path to verified talent, and this is how we grow a creative economy that pays,” he said.
Creative professionals also say the platform will help strengthen the industry.
David Sindambiwe, a Rwandan visual creative said, “MURIKA creates a professional space where my fellow creatives and I can showcase our work and connect with real opportunities. The resources will also help us build structure, trust, and visibility, which are essential for us to grow sustainable careers in our industry.”
Now live
The platform is currently in its beta phase, allowing creatives, clients, and institutions to join, explore features, and provide feedback to help refine the platform.
MURIKA is now open to creatives, clients, institutions, and partners across Rwanda, via http://www.murika.rw/
The platform addresses long-standing barriers including low visibility. The platform was developed in partnership with the Ministry of Youth and Arts, L’Espace, KinaRwanda, and the Swiss Agency for Development and Cooperation (SDC). MURIKA brings together verified creative profiles, professional portfolios, transparent opportunity listings, collaboration spaces, and practical industry resources.The platform enables creatives to showcase their work professionally.
On a quiet afternoon in Kigali, the sound of traffic softens behind high compound walls. Inside, canvases lean against brick exteriors, paint dries in the sun, and artists move between studios with brushes still in hand. In a restored villa across town, visitors pause in front of layered abstract works, debating texture and meaning. Not far away, curators arrange lighting for an upcoming contemporary exhibition, fine-tuning how each piece will be encountered.
These are not isolated pockets of creativity. They are signs of a city steadily constructing its cultural identity.
Over the past decade, and more visibly in recent years, Kigali has developed a confident and increasingly structured contemporary art ecosystem. What began as collective studios driven by experimentation has expanded into a network that includes museums, research-based institutes, socially driven galleries, photography centres and private collector spaces.
Here are 10 art spaces at the heart of that transformation.
1. Inema Art Centre
More than a gallery, Inema, situated in the Kacyiru neighbourhood, functions as a living studio complex. Founded by brothers Emmanuel Nkuranga and Innocent Nkurunziza, the centre helped redefine what professional art practice could look like in Kigali.
Brothers Emmanuel Nkuranga and Innocent Nkurunziza founded Inema in 2012 in an effort to share their creative passion with Rwandans and visitors alike.
Visitors rarely encounter a silent, static space. Instead, they find artists actively working on large-scale canvases characterised by bold colour palettes, textured layers and recurring motifs that draw from Rwandan daily life. The centre regularly hosts themed exhibitions, dance performances, poetry evenings and workshops for young creatives.
Artworks on display at Inema Art Center.
Inema’s impact lies not only in the artwork it produces, but in how it normalised the idea that contemporary art could be visible, collaborative and commercially viable within Rwanda.
2. Ivuka Art
As Rwanda’s first contemporary art collective, Ivuka Arts, situated in Kacyiru, represents the roots of Kigali’s modern art movement. Its open compound model, where artists share space, critique each other’s work and collaborate across mediums, created an early support system in an otherwise limited infrastructure.
An artwork at Ivuka.
The space is known for its colourful murals and sculpture installations that spill into outdoor areas, blurring the line between exhibition and environment. Ivuka fostered experimentation at a time when contemporary art was still gaining recognition locally, helping shape a generation of artists who would later exhibit regionally and internationally.
3. Rwanda Art Museum
Set within the former Presidential Palace in Kanombe, the Rwanda Art Museum offers one of the most layered art experiences in the country. The building itself carries political history, and the preserved wreckage of the presidential plane in the garden serves as a reminder of the nation’s past.
The museum carries deep political history.
Inside, the museum houses more than 120 works by over 50 artists, providing a structured overview of Rwanda’s visual art evolution. The collection spans painting and sculpture, capturing shifts in style, subject matter and technique over time. Unlike studio spaces, the museum offers institutional framing, placing contemporary Rwandan art within a curated historical narrative.
4. Gihanga Institute of Contemporary Art(GICA)
Opened in December 2025, the Gihanga Institute of Contemporary Art (GICA) represents a decisive step toward institutional maturity in Rwanda.
The Gihanga Institute of Contemporary Art (GICA), Rwanda’s first non-profit institution dedicated to contemporary art, officially opened in Kigali on December 20, 2025.
Situated in Kimihurura, GICA is the country’s first independent, non-profit center dedicated to high-end contemporary art and Pan-African exchange.
Co-founded by international curator Kami Gahiga and artist Kaneza Schaal, the 777-square-meter facility, designed by architect Amin Gafaranga, moves beyond exhibition alone. It functions as a complete ecosystem, integrating curated shows with a reference library curated by Christian Nyampeta, a screening room, and artist residency studios.
Its inaugural exhibition, Inuma: A Bird Shall Carry the Voice, featured world-class talent and underscored a multidisciplinary mission that positions Kigali as a rigorous hub for global art dialogue and structured cultural infrastructure.
5. Niyo Art Gallery
At Niyo Art Gallery in Kacyiru, artistic production is directly tied to social impact. Founded by Pacifique Niyonsenga, the gallery operates as a social enterprise supporting vulnerable children through education and creative training funded by art sales.
The gallery doubles as a learning space, where young artists receive mentorship and exposure.
The artwork displayed often reflects scenes of rural and urban Rwandan life, rendered in vibrant tones and layered textures. The gallery doubles as a learning space, where young artists receive mentorship and exposure. Here, art functions as both livelihood and opportunity, reinforcing its social dimension within Kigali’s ecosystem.
6. Tongo Art Gallery
Tongo Art Gallery, located in Kacyiru, offers a quieter but deeply engaging experience. Known for abstract and mixed-media works, it provides space for experimentation in form and technique.
Exhibitions often rotate, allowing emerging and mid-career artists to test new ideas before an intimate audience. Live painting sessions and pop-up events keep the space fluid. Tongo’s strength lies in its accessibility; conversations between artists and visitors unfold naturally, demystifying the creative process.
7. Indiba Art Space
Indiba Art Space, nestled in the vibrant neighbourhood of Kimihurura, leans toward carefully curated exhibitions that explore identity, heritage and contemporary urban life. The gallery’s programming often includes workshops and discussions, reinforcing its role as more than a display venue.
Artists making murals.
Works presented at Indiba frequently engage with memory and transformation, reflecting Rwanda’s rapid social and economic evolution. The gallery contributes to a growing culture of critical engagement around art in Kigali.
Group of students visiting the gallery for ‘Mural Day’.
8. Choose Kigali
Choose Kigali introduces a different model, merging contemporary art with high-end dining. Founded by Emmanuel Nkuranga, the space located in the Kiyovu neighbourhood caters to collectors and patrons seeking a more exclusive setting.
Choose Kigali merges contemporary art with high-end dining.
Artworks are displayed within a refined interior, encouraging slower viewing and private acquisition. This hybrid concept reflects the expanding commercial dimension of Kigali’s art scene and the rise of a discerning local and international clientele.
9. Kigali Center for Photography
While painting dominates much of the city’s gallery landscape, the Kigali Center for Photography (KCP), situated in the creative heart of Kimihurura, anchors a different visual medium.
The centre aims to explore and promote Rwandan and foreign photography.
As the first dedicated space of its kind in Rwanda, the center prioritizes visual storytelling as a tool for social change and historical preservation. Beyond its gallery walls, KCP serves as a vibrant ‘learning lab’ where founder Jacques Nkinzingabo and local mentors provide free workshops, equipment access, and residencies for emerging talent.
By focusing on documentary and artistic photography, the center actively works to reclaim the Rwandan narrative, shifting the lens away from past trauma toward a multifaceted view of contemporary identity, resilience, and daily life.
10. Inkingi Arts Space
Inkingi, which translates to “pillar” or “support” in Kinyarwanda, lives up to its name by serving as a foundational space for both established and emerging artists.
Nestled within a lush, green compound, Inkingi is incredibly photogenic and welcoming.
Founded in 2023 by Olivier Kwitonda and located in Kacyiru, the gallery exudes a distinct atmosphere that feels more like an intimate garden sanctuary than a bustling, high‑traffic space.
Nestled within a lush, green compound, Inkingi is incredibly photogenic and welcoming. Like Inema, it functions as an active studio where visitors can often meet the artists at work, and many guests describe the hospitality here as among the warmest in Kigali, making every visit feel personal and engaging.
While bold acrylic paintings, a hallmark of Rwandan contemporary art, are on display, Inkingi distinguishes itself through diversity. Visitors encounter a mix of paintings, sculptures, intricate beadwork, and textiles, reflecting a wide range of creative practices.
The gallery also offers a strong connection to Rwanda’s cultural heritage. Every third Saturday of the month, storytelling sessions are paired with traditional food, allowing guests to engage with the country’s oral traditions while surrounded by modern visual interpretations of those same stories. In this way, Inkingi bridges the gap between heritage and contemporary expression, creating a space that is both reflective and forward-looking.
Opening in theaters this weekend, How to Make a Killing brings a fresh twist to the classic comedy-thriller genre. The film follows a charming yet scheming man, played by Glen Powell, who devises a plan to eliminate his wealthy relatives and secure his inheritance. Packed with sharp humor, clever twists, and edge-of-your-seat suspense, this film delivers an engaging mix of comedy and thriller elements. It is perfect for those who love dark humor with a side of suspense.
2. Kokuho
Now playing in theaters, Kokuho is a powerful Japanese drama that tells the deeply moving story of a teenager who, after the loss of his father, seeks refuge in a kabuki theater. The film’s poignant narrative, coupled with its stunning visuals, makes it a standout piece. Nominated for an Oscar for Best Makeup and Hairstyling, Kokuho blends tradition with heart, offering a visually striking and emotionally rich experience. Ideal for viewers seeking a deeply emotional journey that touches on grief and personal growth.
3. 56 Days
Streaming on Prime Video, 56 Days is a gripping romantic mystery that weaves between two timelines as it unravels the secrets of a relationship that ends in a suspicious death. The movie keeps the audience guessing with its intricate plot and unexpected twists. If you love films that combine romance with elements of thriller and mystery, 56 Days is perfect for a weekend binge-watch. It’s an engaging story that explores the complexities of relationships and trust.
4. Shoresy (Season Five)
Fans of the beloved Canadian comedy series Letterkenny will want to check out Shoresy on Hulu. This spinoff series, now in its fifth season, mixes humor and ice hockey antics, delivering witty character interactions, hilarious one-liners, and over-the-top sports shenanigans. If you’re in the mood for something lighthearted with a fun mix of sports comedy and fast-paced banter, Shoresy offers just that. A perfect choice for a feel-good and funny viewing experience.
5. EPiC: Elvis Presley in Concert
For music lovers and fans of Elvis Presley, this limited theatrical release offers a rare and intimate look at the King of Rock ‘n’ Roll’s live performances in Las Vegas. Featuring rare archival footage, EPiC: Elvis Presley in Concert brings the vibrant energy of Elvis’s live shows back to the big screen. A must-watch for anyone who appreciates music history or wants to experience the magic of one of the most iconic entertainers of all time.
6. Strip Law
Available on Netflix, Strip Law is an animated comedy that pairs a straight-laced lawyer with a flashy Vegas magician, leading to a series of quirky and hilarious misadventures. The film’s unique premise and vibrant animation make it a fun choice for fans of lighthearted, offbeat comedy. With its playful narrative and clever humor, Strip Law offers a great escape into an entertaining and visually appealing world.
7. A Knight of the Seven Kingdoms (Season Finale)
Stream the season finale of A Knight of the Seven Kingdoms on HBO Max for a lighter adventure set in the Game of Thrones universe. Combining fantasy, action, and comedic moments, this series follows the journey of knights and adventurers through a world of magic and danger. Whether you’re a die-hard GoT fan or just love a good fantasy tale, this show offers something for everyone. Don’t miss the action-packed season finale for a satisfying conclusion to this magical adventure.
8. Vanished
If you’re craving an intense thriller, look no further than Vanished, streaming on MGM+. This four-episode series delves into international intrigue, mystery, and suspense as it follows the disappearance of several high-profile individuals. The show’s tightly woven plot, unpredictable twists, and high stakes will keep you on the edge of your seat from start to finish. A perfect pick for viewers who enjoy fast-paced, gripping drama with a touch of mystery.
9. Urchin
Streaming on Hulu, Urchin is a gritty drama that explores the harsh realities of life on the streets, tackling themes of poverty, addiction, and survival. The movie offers a powerful central performance and is an emotional rollercoaster that will resonate deeply with audiences. If you appreciate films that delve into the human condition and offer raw, thought-provoking narratives, Urchin is a compelling choice that provides a window into resilience and hope amidst adversity.
10. The Night Agent (Season Three)
Returning to Netflix for its third season, The Night Agent continues to deliver gripping action and intense suspense. Following a young FBI agent thrust into a conspiracy that reaches the highest levels of government, the series combines high-octane action with political intrigue. With new conspiracies and fresh mysteries, this season promises even more twists and turns, making it a must-watch for fans of spy thrillers and edge-of-your-seat suspense.
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.
Her journey from the streets of Europe to the heart of Rwanda’s cultural stage is a story of passion, persistence, and the transformative power of dance.
Hilde was born in New York but grew up in Belgium, where she moved frequently with her family due to her parents’ work. Early exposure to different environments shaped her adaptability and curiosity about cultures beyond her own.
From a young age, she found herself drawn to cultural dances rather than classical Western forms like ballet or jazz. Hip-hop, flamenco, and Egyptian dance were her first loves, each reflecting a unique cultural rhythm that fascinated her.
In a recent exclusive interview with IGIHE, Hilde revealed that after earning a degree in mathematics and physics, she briefly taught at a school in Belgium. However, the classroom could not contain her creative spirit.
In 2004, she moved to England to pursue dance and visual arts at the University of Brighton. Her formal dance journey had begun, but it was not until her first visit to Rwanda in 2006, when she came for a friend’s wedding, that she discovered her true calling.
“I had never been to sub-Saharan Africa, so for me it was mind-blowing,” Hilde recalls. “Everything felt different. Seeing women walking with baskets on their heads was so inspiring. The beauty, the colours, the culture, it all captivated me.”
At the Ubumuntu Festival, she watched Inganzo Ngari, a troupe formed in 2006 to promote Rwandan dance, music, and culture, perform for the opening night. The female dancers in their flowing umushanana left her breathless.
“They were flowing like water, and I felt goosebumps all over,” she says. “I thought, this is magical. I want to learn this dance.”
Hilde returned to Europe, hoping to find a teacher who could guide her in Rwandan dance, whether in England or elsewhere in Europe. She soon realised that there was no substitute for learning the art in its homeland.
Over several years, she made repeated trips to Rwanda, studying intensively for short periods. After a few visits, she decided that the only way to truly master the dance was to move to Rwanda. In 2018, she took the life-changing step of relocating to study traditional Rwandan dance full-time.
The journey was not without challenges. “Some styles, like Ikinimba, are like fire,” Hilde explains. “My essence is flowing like water, so these dances demand a different kind of energy. But that’s the joy, you are always learning.”
Beyond the physical demands, cultural adjustments tested her patience. Homesickness and unfamiliar customs initially made her question her path. Yet, over seven years, Hilde found a rhythm not just in dance, but in life in Rwanda.
Her dedication extends beyond personal mastery. Hilde’s seven-year-old son shares her passion for traditional dance, already beginning lessons with aspirations of performing alongside his mother.
“It would be my dream to share the stage with him,” she says. Hilde also hopes to inspire other foreigners to experience Rwandan culture, whether through intensive workshops, retreats, or collaborative performances with local artists.
Today, Hilde Cannoodt is more than a Westerner dancing with Inganzo Ngari. She has become a bridge between cultures, a living testament to the idea that art can transcend borders. Through her dedication, she shows that when passion meets culture, it can flow as effortlessly as water, resilient, adaptable, and profoundly moving.
Curious to see her in action? Watch the full interview and experience Hilde Cannoodt’s mesmerising Rwandan dance moves below.
