As it slowly takes root, a little known festival, the East African Nights of Tolerance (EANT), is gradually working to establish contemporary dance as an art form in Rwanda.

Now in its fifth edition, the festival which took place at Kigali’s Zenith Hotel from November 25 to 27 showcased more than 10 performances by 20 dancers from Rwanda, France, Cote d’Ivoire, Kenya, Cameroon, Uganda, Belgium, the DRC and Tanzania.

The festival uses workshops and stage acts to showcase contemporary dance as a tool for dialogue in East Africa. The unique and intriguing performances this year left a deep impression on the audience.

Choreographed by Nestor Kouame and Vincent Harisdo Ibeiji, which means twins, was the opening act, performed by Ivory Coast’s Nestor Kouame and Rwanda’s Wesley Ruzibiza.

The performers used contemporary dance to show how twins are perceived in Africa, the connection and close chemistry they share. In the beginning bound together, sharing and connecting, they are separated when each begins the search for their individual identity.

However, they again rediscover each other; attracted by their common behavioural traits, culture and customs. The drama is acted to a background of African drums.

Je Prenos Ma Liberté, from France and Cameroon is a dance act that shows a woman’s struggle to regain her freedom by breaking chains that bind her.

This sole performance, which premiered in Congo earlier this month, and in France last year, takes the audience through the agony and pain of bondage and triumph over adversity.

From Kenya, Bainishi, a piece by four performers mainly showcases how through each individual lies strength — a pillar for all to stand. In one scene a table is used as a platform; depicting power, growth, superiority, altitude, which each individual craves for through a tactical fight.

Unité Dans La Diversité, a collaborative act between Congo and Rwanda revolves around conflict, which is depicted among society, the acts regularly are seen back and forth on stage, as each aspires to possess a sparkling beam of light which hangs high above their heads, but far out of reach.

Through imaginative dance tactics which are a blend of acrobatic moves and hip-hop moves, they for long fight over possession. In the end, after re-uniting jointly, hence acquiring the light- which represents happiness, joy, peace shared as it spreads through them all.

From Belgium, Ma Tetê Est Mon Village, a unique act by Jan Wallyn bridges two art acts dance and live visual to emerge with a painting. Using his body, which is partially immersed in paints, making movements all over the canvas floor, he does an abstract piece. This being its African premiere a Ugandan piece is weaved around sensitisation role of contemporary dance.

Founded in 2012, by Amizero Dance Kompagnie’s director Wesley Ruzibiza, the festival aims to promote contemporary dance in Rwanda and East Africa, while using dance to promote peace and tolerance.

Unlike initially, when participants presented acts under a single guided theme, this edition, opens the platform for dancers to freely express their desired themes.

Also special about this year is that the festival set up a charge of Rfw2,000 on entrance fees for each day. The festival has for the past four years built an audience it believes can afford the payments.

Having been sponsored by the Swiss Co-operation for the past three years, organisers also believe that it is time to prove that the festival can develop towards self-sustainability.

The organisers also staged a free show at Kimisagara – Maison des Jeunes, a One Stop Youth Centre, to reach out to those who were unable to access or to afford an the fee to the festival.

Much as it is steadily picking up, contemporary dance hasn’t been embraced in Rwanda, and the by entirely East Africans, due to the perception that it is a foreign art “Most people think that this art is a foreign activity, which necessarily isn’t the case,” said Mr Ruzibiza.

Mr Ruzibiza further states how building the art of contemporary dance all begins with what artistes possess, right from the traditional dance, poetry and culture, which are integrated with other creative skills.

Elisha Davis Ssebulime, a choreographer and founder of Soul Expression, a Ugandan dance group shares the same view on society’s perception, “It isn’t recognised as a profession and yet rebuked by most people in society, which has demotivated most talented youth from embracing it,” he affirms.

Another persistent challenge the festival faces since it started is lack of ready space for organising dance, which has continuously affected the event’s schedules and