Faisal Kiwewa is the founder of the Bayimba Cultural Foundation in Uganda, an organisation working to transform the arts scene in East Africa.By Rwandet Choge
Faisal Kiwewa considers himself a student of failure.
At a time when most of his peers were navigating the terrains of early-career, he quit his job and took a leap into the unknown – to pursue what he felt was a higher calling. And who would blame him?
Born and raised in Kampala, Uganda, in the 1980s, growing up, the arts were a big part of his life.
“I think from the age of six I was already performing in a community theatre group, which my parents used to support,” he recalls. “We would sing and stage plays, especially during the festive periods. In fact, part of my primary school education was funded by a school drama programme I belonged to.”
This would continue until he joined high school where, perhaps feeling saturated, he ditched the arts for sciences. But there was really no escaping because soon after high school, he was back at it, dabbling in music, dance, acting, and the like, even as he undertook a course in film and TV production.
“When it comes to my passion for the arts, I would say these were really the defining years,” he says. “The foundation for my work in the arts was shaped during this period.”
This is because although he was active in the Ugandan arts scene, he was becoming more and more discontented.
“I wasn’t satisfied with what I was doing as an artist. The challenges were more than the benefits, and I am not only talking about the financial aspect.
“I felt like I wasn’t doing enough, not because I wasn’t passionate or talented, but because I was operating in an environment that did not make me feel happy about what I was doing.
“There were just huge structural gaps that needed to be addressed if the Ugandan arts and culture industry was to thrive.”
This marked a turning point in his career – he decided he no longer wanted to be an artist, but an arts manager.
“I say an arts manager in terms of institutional development, in terms of ideas, in terms of management and creating opportunities for others. I wanted to start an initiative that would also serve others, so I started researching arts management and cultural economics.
“Anything and everything: events, capacity building, arts education, arts sustainability, performance spaces, arts entrepreneurship, arts leadership, arts documentation – the works.”
Yet he still had no idea how to bring all this together.
Then one day, while on assignment shooting a documentary in western Kenya, the idea for the Bayimba Cultural Foundation was born.
“We were finalising a project I was working on, and my friends were asking what next?” he recounts.
“To be honest, I didn’t feel comfortable being employed, and I wanted to do something for myself. I felt the need to address the challenges within the industry, so I just said: ‘I’m going to start my own organisation’.”
The year was 2006, and Kiwewa was barely in his mid-20s.
“Of course, I didn’t know what I was really going to do, but I was convinced that this was the right thing to do. Throughout that year, I worked on developing the concept, trying to understand its goals and objectives, and getting people on board.”
By the end of the year, he knew what needed to be done.
“I had to organise a multi-disciplinary arts festival that would not only serve as an introduction to the organisation, but whose main focus would be on education and capacity building for the industry. An event that would serve as an advocacy platform, creating awareness about the role of the arts.”
Two years later, in 2008, that dream became a reality when the first Bayimba International Festival of the Arts was held.
The festival not only continues to date, but has spawned more events and programmes, including the Kampala International Theatre Festival, DOADOA | East African Performing Arts Market, the Amakula International Film Festival, International Reggae Fest, and the Bayimba Academy, among others.
And that’s not all. In 2017, Bayimba Cultural Foundation acquired 92 acres of land on Lunkulu Island on Lake Victoria where it’s setting up the Bayimba Centre for Visual and Performing Arts – Africa’s largest creative space.
Why such a massive space?
“When you look at the state of the arts and culture in our context, it’s important to understand that we don’t have the advantage of institutional investments like other countries.
When you understand that, then you have to work towards your own sustainability,” he explains.
“There are so many ways of looking at sustainability. Some people focus on financial sustainability, others on capacity, others content. But for me, I think the most important bit has always been space. As a nonprofit organisation that works in a country where there is no support for culture at all levels, you are bound to always ask for funding to do what you hope to do. Unlike in Europe, where you can find performance spaces in almost every city, we don’t have that luxury here.
“So for me, I’ve always believed that I can only be sure of continuity if I have a space where I can do my work without being harassed for rent and other charges. A place you can access anytime you want.
When it becomes fully operational, the Bayimba Centre for Visual and Performing Arts will accommodate the foundation’s growing annual festivals and events, arts education, and advocacy activities that will contribute to the long-term sustainability of Uganda’s creative sector. The centre will also serve artists, peer organisations, and local communities by combining all mediums of art for visitors to get a comprehensive artistic experience.
As a matter of fact, there are more bad days than good days. That’s why I consider myself a student of failure
So what does he make of the East African arts scene today?
“I think the scene is vibrant despite the many challenges we face. The COVID pandemic provided us a moment to pause and reflect. The period was an eye-opener for many in the sector.
“The growth is visible, but it varies from country to country because of the different realities on the ground.”
And what does he consider the highlight of his career?
“Every moment is a highlight. There are good days and bad days. As a matter of fact, there are more bad days than good days. That’s why I consider myself a student of failure.”
It would seem his ‘failures’ have not gone unnoticed. Today, Kiwewa sits on the boards of several arts and culture organisations around the world, including the Music In Africa Foundation, Jeunesses Musicales International, and the International Independent Cultural Council.
He is also a member of the African Music Forum, Visa For Music, IGODA, Arterial Network, African Culture Connection, and CultureCOP, among others.
You can learn more about the Bayimba Cultural Foundation here.
