by Dias NYESIGA
Photo: German Ambassador Peter Fahrenholtz and Minister of Finance Claver Gatete (File photo)
Germany is optimistic that Rwanda’s approach to develop technical skills will register success in shaping the economy into middle income, considering the current strides the country has already taken.
Peter Fahrenholtz, the German ambassador to Rwanda, says that Rwanda’s holistic approach towards investing in developing all skills without specializing is the right approach in addressing the country’s skills challenge.
The country is looking at developing technical and vocational skills to address the challenge of skilled labor and boost the budding private sector mainly in enterprise, industry, and service sectors.
“Investing in all technical and vocational skills will help the country solve the problem of lack of skilled labor force,” he said during the signing of RWF 9.8 billion financing agreement between Rwanda and Germany.
Germany, through its German Development Bank, has extended financing worth RWF 9.8 billion enshrined in two financing project agreements for Technical and Vocational Education Training and decentralization.
Experts believe that to achieve its ambitious target of middle income by 2020, Rwanda needs to invest much in vocational skills development that are needed to supply the growing industry sector.
“Rwanda is trying its best to promote skills development that can sustain economic development”, Claver Gatete, Minister of Finance said.
With its strategy to boost the industry sector, the government is setting up model processing industries throughout the country in an effort to boost the growth of industries that would increase value addition in the country’s exports.
“In Germany, we value much traditionally the work people do with their hands. When you become a master in your craft after vocational training, you are open to earning more money and you are respected in the society,” Fahrenholtz said.
“The big part of this funding will go to TVET, and the purpose is to increase the number of qualified graduates in the selected TVET institutions, said Gatete, adding that the other portion of funding will go to support continued priority development and infrastructure projects in all districts in the country.
According to the agreements signed between the two countries last week, RWF 6.3 billion will go to supporting Technical and Vocational Education and Training (TVET) banking on selected institutions while RWF 3.6 billion, will support continued priority development and infrastructure projects in all districts in the country.
The funds will be channeled through the Rwanda Local Development Support Fund, which will be tasked to help build capacities of districts in project preparation, planning, monitoring and evaluation, and budgeting processes to ensure effective utilization of the funding.
“This funding is really important to our economy considering it is going to help the entire infrastructure,” Minister Gatete said.
Since 2006, the German Development Bank has contributed RWF 21 billion to support decentralization through local infrastructure investments that include roads and bridges, markets and terracing, health centers, and institutions of learning.
If someone were looking for simple and effective means to prevent the genocide in Rwanda, wrote the US-American journalist Philip Gourevitch, the radio station “Radio Télévision Libre des Milles Collines” (RTLM) would have been a good place to start.
Photo: gogo power
In the months of April, May and June 1994, an estimated 800,000 to 1,000,000 of its Tutsi minority and thousands of moderate Hutus were killed in only 100 days. The tools used to humiliate and kill people of all ages and genders were simple: machetes, sticks, and a few guns. Indeed, the most powerful instrument of the genocide was the “Radio-Télévision Libre des Mille Collines” (RTLM).
With unspeakable cynicism, the staff of the popular station had been preparing the genocide like an election campaign for months. The program consisted of pop music, riveting sports coverage, political communiqués, and remarkably hateful calls to murder. The newest Congolese music and the most aggressive racial analyses were combined into a dreary few square meter laboratory of racist ideology.
HATE RADIO is a project launched by the International Institute of Political Murder (IIPM). In its artistic reenactments, the IIPM pays utmost attention to factual accuracy of an RTLM show. Extensive archival research and interviews with witnesses and survivors provide the foundation upon which the institute develops its projects. Run by its hosts : Three Hutu extremists and the white Italian-Belgian Georges Ruggiu, HATE RADIO returns RTLM to the airways in a reconstructed backdrop that remains faithful to the original survivors of the genocide are standing on stage.
With this approach the project shows how racism functions, how human beings are “talked out of” their humanity an instillation reconstructed from documents and witness statements provides the answers to these questions so that people can feel and experience these happenings for themselves.
An extensive volume of material, and various events accompanying the exhibit, help to expand HATE RADIO into a broad, interdisciplinary intervention examining the current forms and manifestations of racist violence in Europe and Africa, as well as the ability to represent racist violence as a work of art.
See Press Kit: Press-Kit_Hate-Radio_11_08_02
The International Institute of Political Murder was founded at the end of 2007 by writer and director Milo Rau, to strengthen exchange between theater, the fine arts, film and research about reenactment – the reproduction of historical events – as well as to reflect upon the theoretical aspects of this exchange.
The previous productions of IIPM, which were shown at numerous theaters in Germany, Belgium, France, Switzerland, Africa, Austria, the USA and Romania, met international response and represent a new, documentary and aesthetic compressed form of political art.
The IIPM has its Headquarters in Switzerland and Germany.
For more information about the institute like project, lectures etc., please visit the site:
Upcoming Performances of HATE RADIO:
18 May 2013, Halle Kalk Köln (Germany) Sommerblut
23 May 2013, CaféTeatret Kopenhagen (Denmark) Cafeteatret
Sources: IIPM, gogo power
Nana is a young Ghanaian photoblogger who’s studying at the University of Cape coast in Accra, Ghana.
There are many things I pray for 2013. One of the most important among them is that in such a rich world, may no child go to be hungry; and may no mother ever have to sell her self for food this year….(Nana Kofi Aquah)
Photos from: A window to Ghana and Africa. No hungy child and other prayers for 2013…
The African premiere of ‘Sweet Poison’, an 89-minute documentary on the blessings and curse of foreign development aid took place at Kigali Serena Hotel on Tuesday.
Kenya’s Turkana Fishplant in ruins.
Written and directed by Peter Heller, the film had its first world premiere two weeks ago at the Hamburg Film Festival in Germany.
The movie’s subtitle ‘Aid as Business’ displays a clear view of foreign aid from various African perspectives. It is estimated that over 800,000 people worldwide survive on aid.
Production crew during a shooting session of the film.
Another scene in the movie that demonstrate the orgies of aid.
Focusing on Mali, Kenya and Tanzania as case studies, from over a period of thirty years, ‘Sweet Poison’ demonstrates that development aid has had only limited and sometimes questionable effects.
First, the documentary reveals the initial impression Africans get as they receive aid in the form of food, infrastructure and machinery. But as a result, the aid creates a dependency syndrome among the people/countries who end up discarding activities that sustained them before.
The film also highlights the taboos of north to south relations and the African complex with provocative analytic statements, views and opinions from African journalists and experts. It then offers options for African countries to develop towards a self-determined future.
Once aid is then withdrawn, people become vulnerable and are compelled to cope up with the situation.
Heller, who is a veteran filmmaker, has made films for the last 40 years. “For forty years, I have been making films on Africa- our neighbouring continent, searching, observing and analysing its connections and relations,” Peter Heller, of ‘Sweet Poison’ told The New Times.
Another scene in the movie that demonstrate the orgies of aid.
“I felt that as most African countries have had 50 years of independence, what the progress has been made so far-especially as most of them receive foreign aid?” he posed.
The film’s premiere comes in at a time when Rwanda is currently embroiled in a tussle with powerful Western nations over ‘Foreign Aid’.
“I was very satisfied with the strong reactions people expressed after its screening. I didn’t expect people to welcome and appreciate it that way,” he added.
The filmmaker is expected to begin the promotional tour of his film promotional tour throughout his native Germany in November, alongside Mohammed Gueye, one of the commentators in the film.
Official Trailer “Süsses Gift”, Peter Heller (german):
Source: ANDREW ISRAEL KAZIBWE, 27 OCTOBER 2012, The New Times, allAfrica.com
Annette Uwizeye is a Rwandan filmmaker who has made several short films and commercials and opens a platform to encourage young women to venture into various fields.
The founder of ‘A WIZE Films’ production company, Annette Uwizeye, is one of the few women working in Rwanda’s nascent film industry. The South Africa-educated 31-year-old discovered her passion for the arts while pursuing a degree in Auditing and Accounting at the University of South Africa.
In an interview with Women Today, the eloquent and open-minded Annette narrates how she switched from a career that many consider ‘safe’, to embrace her true passion.
“My dad is an accountant by profession. One would think that numbers come naturally in my family but in my final year, I struggled and wasn’t really focused. I asked myself if I could settle as an auditor because my family thought it was the most promising career. I repeated my final year three times due to retakes and eventually my dad decided to transfer me to another school. It was either that, or think things through back at home,” the Kenyan-born narrates.
“I was drawn to the art but was not sure on whether to do theatre or film. I’m glad that Rwanda Cinema Centre opened doors for me. I had to take a course in film but wasn’t sure whether my dad would pay for it. But there was something in me that would just not let go. I applied to a film school in South Africa and fortunately, after the interview I was accepted,” she explains.
“One thing that cemented my desire to change career direction was taking a trip down memory lane. I was just six years old and a lady saw me drawing and sketching funny things and when she asked me what I wanted to be when I grow up, easily, I said I wanted to be an artist. Paulo Coelho’s book The Alchemist, says that as you grow up, the child in you has the purest sense of what you ought to be,” she reveals.
She further said you should always look back into your childhood because it holds the answer to who you are and what you want to be.
“Things don’t happen by coincidence, once you identify your path and purpose in life, things fall into place. For example, a typo in my admission letter to film school indicating tuition fees for a year was only R7000 an approximate $1000, this easily prompted my family to once again sponsor my tuition for a film degree, but 6 months later we discovered that everyone else was paying R17,000 – the first digit had been omitted and there was no turning back,” She narrates.
She has written, directed and produced several projects in South Africa and Rwanda. Other than co-producing the award- winning TV show, the M-Net Edit (Emerging Dynamics in Television) 2010 competition, she has also produced many of the MTN Rwanda commercials that aired last year.
She is currently working on a film called ‘Uwera’,due to be released next year.
On the subject of overcoming challenges she said, “There is this term called servant leadership. In leading teams, you inspire individuals to achieve the best and maintain a level of professionalism. You lead a team not to dominate but to collaborate. We also make sure that we pay people fairly and on time. These are things I have come to learn and appreciate just by observing my role models.”
This year, she founded A WIZE Films and partnered with Moukhtar Omar Sibomana, who is also passionate about film.
“At A WIZE Films, we describe ourselves as ‘story-mongers’. We are here to trade stories. Our slogan is, “Bring the World to Rwanda and take Rwanda to the World.” Our aim is to create entertaining and heartening content for film and television. I believe film is a tool for inspiring change, mirrors society and cultural exchange,” Annette explains.
The filmmaker advised women to embrace their true calling.
“It’s okay to be scared; we all get scared at some point. Through my journey, I hesitated at times but you need to trust that if you’re in the right path, things will work out, so have some faith. Acknowledge your talent and passion because no one will do it for you; one baby step at a time,” Annette adds.
She also said that women in Rwanda, who have succeeded in different fields, need to tell their story to inspire others.
“A platform showcasing women achievers would really encourage young women to venture into various fields. Women need to believe that they can do anything, not just in business but life in general,” she explains.
The funny and outgoing filmmaker is still single but to sweep her off her feet, candidates need to have at least five qualities.
“He should be God fearing, family oriented, passionate about what he does, a Rwandan, and taller than 5ft 11 inches,” she laughs.
Anette Uwizeye: Show Reel (Youtube video)
Source: DOREEN UMUTESI, 25 OCTOBER 2012, The New Times, allAfrica.com
Let’s end this week slowly but surely, even if this is an end with many unanswered questions.
– What will the ICC decide for Mugesera
– Was the organised hearing of the Subcommittee on Africa, Global Health, and Human Rights good for anything?
– Will the Congolese government stop accuse Rwanda and realise that instead of working against the Rwandan government they should try to mend those broken pieces. Will both governments start taking their responsabilities and protect the ones affected by this chaos…
So I was looking for an image that could best reflect the hope and optimism I put in these two countries, and found Abdoulaye Barry’s series “Pêcheurs de nuit” (Night Fishermen) taken on Lake Chad in 2010.
“Through Photography I Want To Take My Own Share Of Responsability”*
Abdoulaye Barry is a Chadian photographer, who was born in N’Djamena in 1980
* I thought that’s a wonderful quote to end this week…
Makata’s collages reflect a clash of traditional artistic practices and contemporary influences, of the figurative and the abstract, and of the lighthearted and the threatening. Obinna Makata’s artistic approach confronts the viewer to question their definition of contemporary African art, and, in the process, forces an understanding of art made on the Continent out of a solely assimilative paradigm and one that could proudly and distinctly be defined as “African”.
Obinana Makata is currently having her first solo exihition “Metahistories” in Ikoyi, Lagos. See Facebook Page
The 75-minute movie in Kinyarwanda was produced by Trésor Senga, director of The Rwandan Eagles GRP film Production Company, with technical support from Almond Tree Films Rwanda.
Hundreds of youth and adults, as well as students from various schools attended its premiere two weeks ago at Serena Hotel in Kigali.
Speaking at the launch, the Permanent Secretary in the Ministry of Youth and ICT, Rosemary Mbabazi, commended the producer of the movie, noting that it would help the youth realise the dangers of drug abuse.
“With this film, we realise that Rwandan youth have solutions to the problem eating up our society and we shall support them so that they can educate others about the effects of using drugs,” said Mbabazi.
The “Chora Chora” movie shows how the young generation gradually starts engaging in the use of drugs at an early age at school.
It shows that although some youth may forcefully be influenced, others do it willingly and end up dropping out of school and becoming drug dealers.
Rudoviko is an 18 year-old, an angel, who leaves his country village to study in a city of drugs consumption and trafficking.
In order to get money to cover some teenagers’ needs, he finds himself involved in this drugs circuit to which the local Police doesn’t hesitate to put an end.
The film pictures Rudoviko’s step by step confrontation with the world of drugs. And even when he ends up regretting and getting rid of all drugs, he can’t escape the Police’s black list.
Sources: allAfrica.com, igihe.com
[…]Worldwide, more than a billion people live in slums. As many as one million of them in the Kenyan slum of Kibera. Slum Survivors tells the stories of a few of them and charts their remarkable courage in the face of extreme poverty. […]
IRIN is an award-winning humanitarian news and analysis service covering the parts of the world often under-reported, misunderstood or ignored.
It delivers unique reporting from the frontlines of humanitarian action to over a million online readers.
IRIN exists to make a difference. According to a 2008 survey by the global marketing research company ACNielsen, IRIN is the premier online humanitarian news source for people who describe themselves as having a “strong impact on humanitarian issues”. Its reports are used directly in planning, advocacy and policy development.
The survey also found that when it comes to keeping abreast of humanitarian news and issues, IRIN’s coverage was preferred to its closest rival, BBC Online, by a ratio of 4 to 1.
For more information on the work of IRIN, please visit:
(Sources: YouTube, IRINnews.org)
Johannesburg artist Kemang Wa Lehulere has won the 2010 MTN New Contemporaries Art Award, beating shortlisted contenders Donna Kukama, Stuart Bird and Mohau Modisakeng.
Kemang wa Lehulere. Don’t steal. Government doesn’t like competition. Paint on wall. 2007
Chuma Sopotela in a performance piece by Mwenya Kabwe, Chuma Sopotela and Kemang Wa Lehulere, U nyamo alunampumlo (the foot has no nose), February 2008, at Spier Contemporary 2007
Kemang Wa Lehulere’s installation Remembering the Future of a Hole as Verb, 2010.
Born in Cape Town in 1984 and currently resident in Johannesburg, where he is completing a BA(FA) at Wits, Wa Lehulere has in the last few years worked in a range fo media (video, print, paint, installation and performance). A former member of Gugulective and current member of the Dead Revolutionaries Club – his bio on the latter’s website states that “he un-ashamedly has BEE aspirations and hopes to be a house ‘Nigger’ one day” – Wa Lehulere recently (August) attended a ten-day workshop at the Paul Klee Centre in Bern, Switzerland, where critic Jan Verwoert supervisied proceedings. Visitors to the blustery opening of Dada South? last December may also remember Wa Lehulere’s performance involving a megaphone, cheese grater and school textbooks.