Kizito mihigo biography definition

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Originally published in French by Clarisse A. Mukundente et Philibert Muzima

On March 10, 2020, the NGO Global Campaign for Rwandans Human Rights published the first of a series of three documentaries entitled “Kizito Mihigo’s journey of the cross: from the explanation of death to death itself”, translated from the original titled in Kinyarwanda: “Inzira y’umusaraba ya Kizito Mihigo: Kuva ku gisobanuro cy’urupfu kugeza k’urupfu“.

New twists and turns of an assassination that has led to unpredictable consequences.

“Until the lion learns to write, every story will glorify the hunter” goes the African adage. If that were so, the brave Kizito would have sold his own skin, defending his life until exhaustion, to deny his hunters the last word.

From within the Kigali hell-on-earth known as “1930” prison, Kizito Mihigo aptly delivered a prerecorded audio message to the world, revealing, undeniable detail. The harassment served upon him from the country’s highest political authorities following the release of his song “Igisobanuro cy’urupfu” (the definition of death). He came close to his own death before being hauled to a “safe house”, where he suffered many more forms of tor

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Afropop Worldwide

Banner image: Kenny Mirasano performing during his concert True Mutu at L’Espace on December 9. Photo from © The New Times Rwanda

Rwanda is not often mentioned among those countries currently driving the global momentum of pan-African musics, but the East African nation’s contemporary music scene has been particularly vibrant in recent years. Rwanda is witnessing a growing emergence of young artists who are redefining modern music-making by drawing on their country’s traditional music heritage.

The revival of traditional customs in Rwanda fits into an overarching process of re-appropriation of home-grown practices, repurposed for the nation’s rebuilding efforts after the devastating 1994 genocide against the Tutsis.^[1]The genocide also brought about significant cultural losses. Prior to that time, various music ensembles, known as orchestres, shaped what is now considered modern Rwandan folklore, commonly called Karahanyuze.^[2] This genre is characterized by a blend of folk music, Kinyarwanda poetry, as well as influences from Congolese rumba and West African highlife. Many orchestres were torn apart by the genocide, which also claimed the lives of numerous musicians and artists. These included André Sebanani, frontman of the popular Orc