Renowned as one of the largest dance festivals in Central Africa, Me Ya Be brings together local and international artists every year for an eclectic program on the occasion of International Dance Day.
Known to the general public for its colorful festivities, the event is far from limited to just a few days of performances. It includes a significant training component, in line with the vision of its founder Jacques Bana Yanga, who aims to make dance synonymous with inclusion.
The project of a committed man
To understand the festival’s philosophy, one must understand the vision of its founder, dancer and choreographer Jacques Bana Yanga. Now an emblematic figure of contemporary dance in the DRC, he grew up in a working-class neighborhood of Kinshasa. At 14, following his father’s death, he began dancing in the streets to support his family.
Gradually, he blended the traditional African dances of his childhood with modern, jazz, and hip-hop moves, developing the unique style that would make his reputation. In 2006, he created his own company. Discovered internationally, he began performing around the globe and collaborating with Western ballet companies, where he learned scenography.
Determined to use his notoriety to serve the most vulnerable, Jacques Bana Yanga aims to make dance a tool for inclusion benefiting Congolese youth and women. He intends to steer idle young people from the working-class neighborhoods of Kinshasa and the provinces away from delinquency by offering them structured activities. As for women, he wishes to support African female choreographers through specific programs.
Supporting talent through training
With this mindset, Jacques Bana Yanga created the Me Ya Be Festival in 2011 (“Me with you” in Yanzi) and in 2021 the Ntongo Elamu Center (“Good morning” in Lingala) in Kinshasa. The former offers young Congolese artists international visibility and a unique opportunity to exchange with artists from around the world; the latter provides them with rehearsal spaces and equipment for their artistic production.
“But being full of talent is not enough; it must be combined with training,” says Jacques Bana Yanga, who aims to professionalize the Congolese artistic scene. With this goal, he has organized master classes and workshops ahead of the festival for several years, with the ambitious objective of training 60 dancers and 15 choreographers in three years. For Jacques Bana Yanga, whose talent blossomed on the international stage, fostering intercultural dialogue and building bridges between African and European scenes is crucial. Therefore, classes are conducted in collaboration with international companies and are open to professionals from all countries.
With the theme “Dance, Stage Writing, and Choreographic Dialogue for Development,” the 2025 edition focuses on promoting dance as a driver of development and on the central role of the dancer at the heart of the creative process. With this in mind, the workshops held in February, centered on stage direction techniques, invited the ten participating dancers to draw inspiration for their creations from their social experiences.
From April 16 to 28, master classes will now allow participants to further develop their skills in stage writing, with the main theme exploring the links between choreographic creation and social impact.
A vibrant 14th edition
Preparations are well underway for the 14th edition of the Me Ya Be festival, which invites dance enthusiasts from April 22 to 29 for a particularly vibrant season. Over a hundred dancers and choreographers are expected in Kinshasa for around twenty shows scheduled in various cultural venues across the city.
True to its tradition, the festival promises to highlight the breaking down of artistic boundaries and cultural diversity. Congolese talents will be joined by dancers, choreographers, and performers from around the world, with guest companies from France, Italy, Norway, Spain, and Switzerland. Featured are “Muinda,” a local creation reflecting the vitality of the Congolese scene and showcasing Kinshasa’s talents; “MAYA,” an international show by the Italian company EDC-EurAsia Danse; “PARDON,” an innovative creation by the French company Oups Danse; and “EL PASTOR,” where the Spanish company Nomada blends contemporary dance with Mediterranean influences. This eclectic program will culminate on April 29, International Dance Day, with a major evening event celebrating the diversity of choreographic writing.
A beautiful moment in prospect, at the crossroads between local talents and international creators, tradition and modernity, artistic creation and social inclusion.
