Diogène Ntarindwa, popularly known as Atome, was born and raised in Burundi, but his father never allowed him to forget where his family came from. On Saturday night in Kigali, the comedian turned that personal history into a powerful message about identity, the importance of understanding the past and the responsibility young Rwandans have for their country’s future.
The message was delivered through Carte d’Identité, Atome’s one-man theatre performance held at Kigali Convention Centre on November 7, 2026. First Lady Jeannette Kagame was among those who attended the show, which combined comedy, family experiences and Rwanda’s history.
“This play is also dedicated to honour the young people who fought for our country. They were young but brave,” Atome told the audience, explaining why he wanted his performance to recognise the sacrifices made during Rwanda’s liberation struggle.
Beyond the entertainment, the evening offered an opportunity to reflect on how family stories shape identity, how humour can help people understand difficult experiences and what young people can learn from previous generations.
A father’s memories and a son’s identity
One of the most personal parts of Carte d’Identité was the story of Atome’s father, Philippe Niwemuto, who fled Rwanda and eventually settled in Burundi.
Through changes in his voice, gestures and expressions, Atome portrayed his father and other people connected to his family’s journey.
He described how his father left Rwanda following experiences that made him fear for his safety. During that journey, Niwemuto had to leave his parents behind after they refused to flee. He never saw them again.
The family later travelled through what was then Zaire before settling in Burundi, where Atome was born and raised.
Although the family established a life there, the desire to return to Rwanda remained.
Atome’s father continued to teach him about his Rwandan identity, even though much of his childhood was spent outside the country.
That experience raises an important question for young people growing up today: how much do they know about the journeys their parents and grandparents made before they were born?
For some families, those stories involve exile and separation. For others, they involve the struggle to rebuild their lives, return home or create opportunities for the next generation.
Atome’s performance showed that family history can help young people understand not only where they come from, but also the experiences that shaped the lives they enjoy today.
It also demonstrated the value of conversations between generations. Stories that may never appear in school textbooks can still help young people understand their families and their country.
Why Atome used comedy to tell a painful story
Another striking part of the performance was how Atome used humour to tell a story filled with difficult memories.
Much of Carte d’Identité deals with experiences that would not ordinarily be associated with comedy, including exile, separation, the 1994 Genocide against the Tutsi and Rwanda’s journey towards reconciliation.
Yet Atome found ways to bring laughter into the performance without ignoring the seriousness of those subjects.
Rather than simply standing on stage and recounting historical events, he took on different characters, changing his voice, movements and expressions to recreate encounters from his life and family history.
The approach made the performance feel like a series of personal experiences rather than a conventional history lesson.
It also showed how theatre can introduce younger audiences to subjects they may otherwise find difficult to discuss.
A story about exile, for example, can become easier to understand when audiences hear what it means for a family to leave home, settle in another country and continue hoping to return.
Humour does not change what happened, but it can help people remain engaged with a story long enough to understand the emotions and experiences behind it.
That is one of the lessons offered by Atome’s performance: history does not have to be taught only through books and formal speeches. Theatre, music and personal stories can also help younger generations connect with the past.
The performance offered another example of how Rwandan artists can use their talents for both entertainment and education.
Young people have a responsibility beyond remembering history
The evening did not end with Atome’s personal story.
A discussion called Legacy Talks brought young people into the conversation, turning attention towards their role in Rwanda’s future.
Israel Mupenzi Nuru, Executive Director of Peace and Leadership Proclaimers (PLP), reminded participants that although today’s young people were not responsible for events that happened before they were born, they remain responsible for the choices they make now.
“As the youth now, we are not responsible for what happened then, but what is happening now is our responsibility,” he said.
His message introduced another lesson: understanding history should also influence how young people live and contribute to society.
They can learn about the sacrifices made during Rwanda’s liberation, but they must also decide what contribution they want to make themselves.
That responsibility can take different forms, from pursuing education and developing useful skills to creating businesses, supporting their communities and promoting unity.
The discussion connected the experiences of earlier generations with the opportunities available to young Rwandans today.
Atome also reminded the audience of the young people who took part in Rwanda’s liberation struggle, emphasising their courage and determination.
Their experiences formed part of the evening’s wider message about the responsibility of one generation to preserve and build upon what previous generations achieved.
Atome plans another project for 2027
The lessons from Carte d’Identité are also expected to continue through Atome’s next artistic production.
During the event, he introduced Legacy Project: Igitaramo cy’Inkotanyi, a project he plans to present in 2027.
The production will focus on Rwanda’s liberation history through theatre, music and storytelling, with particular attention to helping young people understand the experiences of those who participated in the struggle.
The Kigali audience received a preview featuring songs and musical arrangements connected to the liberation period.
For Atome, whose artistic career has taken him to different countries, the project represents another opportunity to preserve historical memories through performance.
His latest show also demonstrated the potential of Rwandan theatre to bring together entertainment, education and discussions about national identity.
The story that began with his father’s memories of leaving Rwanda has now become part of a wider conversation with a generation growing up in a different country from the one his parents knew.
And perhaps that is what makes Carte d’Identité meaningful beyond the stage: it encourages young Rwandans to listen to the stories of those who came before them, understand the choices that shaped their country and consider what they want the next generation to remember about them.
Elie GATETE
RADIOTV10