When Rwanda's creatives hit a wall, Uwineza opens a door

Daftar Isi

A Visionary in Rwanda’s Creative Landscape

Andersonne Uwineza, a Rwandan singer and cultural entrepreneur, sees herself as a product of the country that shaped her. This isn’t just a poetic statement—it’s the core of her work. Every initiative she undertakes, from performance platforms to cultural nights and a consultancy service, is deeply rooted in her childhood experiences with local music, school stages, and a passion for art.

Growing up, Uwineza was inspired by figures like Cécile Kayirebwa on Rwanda Television, Destiny’s Child on repeat, and the powerful soprano voices in the Saint-André chapel choir. She found herself drawn to any space where performance thrived—football fields with school dance crews, church pews with young singers, and theater rooms where people rehearsed until a piece became part of their being. These early encounters laid the foundation for the artist and businesswoman she is today.

Uwineza now balances her life between stages, rehearsal studios, and the cultural programs she curates. When asked what she enjoys most, her eyes light up. Rehearsals are a thrill, and working with live bands is her playground. She loves arranging sound, directing musicians, and witnessing artists transform once they grasp the power of preparation. Her enthusiasm is infectious, reflecting a deep connection to her craft.

Another passion of hers is helping others, which earned her the nickname “the fixer.” Over the years, she has built relationships across media, venues, and creative circles. Artists began reaching out to her with various questions—how to reach radio stations, find a videographer, launch a podcast, or navigate taxes. She effortlessly connects the dots and has since turned this instinct into a selective consultancy service.

Uwineza’s mission stems from the gaps she observes in Rwanda’s creative industry. While the sector is young, energetic, and full of potential, it is also fragile. The upside is the freedom to build from scratch, allowing artists to experiment with new formats and create their own paths. Institutions quickly recognize talent and are open to collaboration. However, the downside is the lack of structure. There are few managers, few seasoned A&R professionals, and limited understanding of what creatives need to grow.

“We do not have a cultural center in Rwanda, yet we say we want young people to be mentally well,” Uwineza said. “Where do they go without alcohol involved? Where do they express themselves? People do not understand why you need money to build these spaces.”

Financial strain is a reality for many creatives in developing countries. There are no dedicated funds for artists, and art is rarely treated as a commodity worth investing in when communities still grapple with basic needs. Music videos demand budgets that performance fees cannot match. Even legends who shaped the industry struggle to monetize their work. Many artists build careers on unstable ground while trying to keep creating.

For Uwineza, touring and cultural export offer a way forward. She believes artists need to earn both at home and beyond Rwanda’s borders to reinvest in the creative spaces the country still lacks. Through her work, she aims to model this approach. With The Andersonne Experience, she has created platforms that help artists prepare for touring. She calls the performance branch Volume, and it is where she develops artists through rehearsed, intentional, full-band shows.

Her early collaborations showcase the power of this model. Artists like E.T., Sema Sole, and Ariel Wayz stepped into new territory under her direction and delivered performances that earned them attention from global cultural institutes and local venues.

Another creation is Rota, her cultural night at The Circle Kigali. It began as a digital idea to help children reconnect with Kinyarwanda stories and grew into an intergenerational space that draws both locals and foreigners searching for identity, language, and heritage. What she imagined for five to 12-year-olds is now a Monday gathering of dancers, elders, young professionals, diaspora kids, and curious visitors who want to rediscover what was once passed down naturally.

Uwineza envisions separate tracks for children, teenagers, and adults within Rota. She is also careful to document the stories she finds. Rwanda only has a recorded list of about 30 tales, a number she called shocking. She sees Rota as a place where communities decide what to keep, what to evolve, and how to build a cultural memory that holds everyone.

Across every project, a recurring idea emerges: Rwanda’s creative industry needs systems, spaces, and capital, but it also needs people willing to build them while the country is still defining its cultural future. Uwineza hopes to meet that need through her ventures by helping artists grow their craft, understand the business behind it, and reach audiences that can lift their work beyond Kigali.

“I know I am doing the right thing,” she said. “If twenty of us push like this, I cannot wait to see where we will be in our fifties.”