Maniraguha Vincent, widely known as Africa, is a Rwandan professional gaffer whose work shapes emotion, atmosphere, and meaning through light. In an industry where lighting is rarely seen but always felt, his journey shows how technical skill becomes storytelling. Working mostly behind the scenes, Vincent has contributed to some of Rwanda’s most recognizable screen productions, proving, as he often says, that “light is not just illumination — it is a language.”

Early life

Born on November 11, 1985, in Muhanga District, Nyamabuye Sector, Kavumu Cell, Vincent is the firstborn in a family of three children. From an early age, he showed a strong curiosity for technical things. While he enjoyed sports, he was more fascinated by how objects worked. He remembers opening electronic devices just to see what was inside and how the parts connected.

“I didn’t want to break them,” he recalls. “I wanted to understand them.”

Sometimes, he would use the pieces he found to create small handmade tools of his own. Looking back, Vincent believes this curiosity quietly prepared him for a technical career long before cinema entered his life.

Dreams before cinema

As a child, Vincent never imagined working in film. His dream was to work in a car manufacturing factory, a field he believed matched both his passion and natural ability. Cinema was something he enjoyed watching, not something he thought he could be part of.

“I liked films, but I never imagined myself behind the camera,” he says. “It felt very far from my reality.”

At the time, filmmaking seemed distant and inaccessible, with no visible path for someone like him to enter the industry.

Discovering cinema without knowing it

Vincent’s relationship with cinema began quietly. He loved watching films but had never seen how they were made. Without exposure or reference points, becoming part of the industry felt impossible. That perception slowly began to change when he started watching Rwandan films. For the first time, cinema felt closer — still challenging, but real.

“That’s when the questions started,” Vincent explains. “I kept asking myself, ‘How do people enter this industry? Where do you even start?’”

There were no clear answers, only curiosity, hope, and belief.

2011: The moment light chose him

In 2011, Vincent participated in his first film as an actor. Whenever he was not acting, he naturally found himself assisting the Director of Photography. The production had only one light, used as a topping light and held by hand throughout filming. More often than not, Vincent was the one holding it.

When someone else replaced him, the DOP complained. When Vincent held it, the shots worked.

“At first I thought they were punishing me,” he admits. “I kept asking myself, ‘Why me?’ Then I realized — maybe this is not punishment. Maybe this is talent.”

Though he returned to music after the project, the seed had already been planted.

The pause and the return

In 2016, cinematographer Bora Shingiro invited Vincent to work on the television series City Maid. He worked for one week as a test. After that, he returned home and resumed his normal life, told only that he would be contacted.

“I didn’t want to sit and wait,” Vincent says. “I used that time to observe, learn, and prepare myself.”

In 2018, the call came again. This time, Bora Shingiro confirmed that they would work together permanently, as he was the Director of Photography for City Maid. That moment marked the true beginning of Vincent’s professional life in cinema.

Choosing lighting as a profession

Vincent officially became a professional gaffer in 2018. Lighting was the first place where his talent was recognized, even when resources were extremely limited. That early experience pushed him to understand lighting deeply — both technically and creatively.

“Lighting is not easy work,” he says. “It needs strength, patience, and a lot of thinking. That’s why many people try and quit.”

For Vincent, the difficulty is what gives the craft meaning. Lighting, to him, is not just a job; it is essential to storytelling.

Lighting as storytelling

According to Vincent, lighting carries much of a film’s emotional weight. A joyful scene cannot be lit the same way as a tragic one, and horror relies heavily on light and shadow to create tension and fear.

“Lighting delivers the message before dialogue does,” he explains. “It tells the audience how to feel, not just what to see.”

A demanding but purposeful journey

Vincent’s journey has been physically demanding, with financial returns often small compared to the effort required. Early in his career, equipment was extremely limited. Instead of treating this as a setback, he learned how to achieve strong results with minimal resources.

“When you don’t have equipment, you learn creativity,” he says. “You learn to always have a Plan B.”

This mindset shaped him into someone who adapts quickly, delivers under pressure, and never tells a DOP that something is impossible. The role of a gaffer also involves risk — climbing heights, carrying heavy equipment, and working in demanding conditions — all accepted as part of the responsibility.

Gratitude and professional respect

Vincent credits Bora Shingiro as one of the most influential figures in his career. He also expresses deep gratitude to Wilson Misago, CEO and Founder of Zacu Entertainment, for trusting him with major projects early on.

“Trust is very important in this work,” Vincent says. “When someone believes in you early, it changes everything.”

He also thanks directors, DOPs — especially Nshuti Obed — fellow gaffers, actors, and crew members he has worked with over the years. Above all, he acknowledges his mother for her constant encouragement, recognizes the Rwandan government for supporting the growth of the industry, and places God at the center of his journey.

Rwandan cinema: Growth and reality

Having spent over a decade in the industry, Vincent believes Rwandan cinema has grown significantly, both technically and creatively.

“We have grown a lot,” he says. “But the industry is still fragile.”

Limited investment, unstable income, and weak monetization systems remain major challenges. Vincent believes stronger partnerships, including with digital platforms such as YouTube, could help stabilize the industry and create opportunities for young filmmakers. Professionalism, he insists, is key.

Challenges and motivation

One of Vincent’s biggest challenges remains the lack of consistent work and the high cost of equipment. Still, he continues — not driven by money, but by love for cinema.

“If you do cinema only for what you expect to gain from it,” he says, “you will never become creative.”

Projects that defined his career

Vincent’s first project, Icyabuze, was never released, but it marked the beginning of his learning process. His true professional breakthrough came with City Maid, followed by projects such as Bishop Family.

“Seeing my work on screen helped me correct myself,” he explains. “I could see my mistakes and grow.”

These projects exposed his work to a wider audience and helped build a lighting style that viewers began to associate with quality.

Award recognition

In 202, Vincent’s work received regional recognition when won the Best Gaffer Award at the Mashariki African Film Festival (Edition 11).

“For me, the award was not about the trophy,” he says. “It was confirmation that the work we do behind the scenes matters.”

The recognition marked an important milestone, acknowledging years of dedication, technical discipline, and creative contribution to Rwandan cinema.

Maniraguha Vincent’s story is not one of shortcuts or comfort. It is a story of endurance, patience, and choosing to contribute where one is most needed. In his hands, lighting becomes more than illumination — it becomes emotion, message, and memory.

For the next generation of filmmakers, his journey stands as proof that even one light, when used with purpose, can shape an entire story.