Jacques Bana Yanga, the Congolese dancer and choreographer who founded Me Ya Be, created the festival after discovering International Dance Day-a global celebration held annually on April 29-during an international tour. With Me Ya Be, he sought to offer his compatriots the opportunity to discover dance or showcase their talents. Beyond its festive and artistic core, the event carries a humanist vision, rooted in the universalist and social values that drive Yanga’s work.
An Artistic Celebration, a Cosmopolitan Spirit
The name of the Me Ya Be festival, which means “Me with you” in Yanzi, reflects its ambition for connection: bringing together a broad and diverse audience around a shared love of dance.
This year, Kinshasa was energized by a richer and more eclectic program than ever before. The focus was on intercultural dialogue, with around a hundred dancers and choreographers from all over the world. Six Congolese companies showcased the vibrancy of the local scene (SP Dance Academy, Ak’art, Bina na Nga, Tatem Danse, The Angels, and the Art 243 collective), while international companies-EDC-EurAsia Danse (Italy), Oups Danse (France), and Nomada (Spain)-offered a beautiful demonstration of the universality of choreographic language.
The performances attracted nearly 3,500 spectators-locals and international professionals alike-underscoring the festival’s growing recognition on Africa’s artistic stage.
Nurturing Young Talents
This edition marked the culmination of an ambitious training program led by Yanga alongside the festival. Launched in 2022 as a three-year initiative, it aimed to professionalize 50 Congolese dancers and 25 choreographers through workshops and masterclasses with international experts.
This year, four final trainings were conducted by renowned figures: Yanga himself guided participants in translating daily experiences into dance; Spain’s Roberto Torres focused on staging and the use of slowness in movement; French choreographers Emilie Joneau and Clémence Juglet introduced hip-hop contemporary dance; and Italy’s Stephano Fardelli taught structured choreographic composition.
The program culminated on April 29-International Dance Day-with a closing performance titled Muinda (“Light” in Lingala). Presented to a large audience, including global professionals, it allowed emerging talents to gather feedback and contacts vital for their careers. A new cohort will begin the program in November, reaffirming the festival’s commitment to cultivating Congo’s next generation of artists.
Bringing Danse into the Heart of the Community
A standout initiative of the 2025 edition was a performance at an orphanage in Mombele, Limete, aimed at reaching audiences marginalized from traditional cultural circuits. For the young spectators, it was a magical moment-and perhaps the spark of a future vocation.
This effort aligns with Yanga’s philosophy of social inclusion. Having grown up in a Kinshasa neighborhood and begun dancing in the streets at 14 after his father’s death, he views dance as more than art: it is a tool for emancipation and personal growth, especially for youth in underserved areas. His Ntongo Elamu dance center (“Good Morning” in Lingala), founded in 2021, embodies this vision by providing Kinshasa’s youth with a space for expression and learning, away from the pitfalls of street life.
Me Ya Be continues to solidify its role as a major event, advancing not only choreographic art but also social inclusion and the professional development of Congo’s youth. Through its blend of artistic excellence and community engagement, the festival illuminates the transformative power of dance-one step at a time.
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