A Quote by Paul Kagame

I'm not British. I'm not American. I'm not French. Whatever thing they practise, that is their business. I am an African. I am Rwandese. — © Paul Kagame
I'm not British. I'm not American. I'm not French. Whatever thing they practise, that is their business. I am an African. I am Rwandese.
I am African-American, and I am a proud African-American. I just don't like to put myself in a box and say, 'I'm an African-American actress.' I am an American actress, and I can do any kind of role.
I am an American. Black. Conservative. I don't use African-American, because I'm American, I'm black and I'm conservative. I don't like people trying to label me. African- American is socially acceptable for some people, but I am not some people.
I am not a priest, I am not an imam, I am not a rabbi and I am implementing the French laws on every French citizen.
Anytime an African-American writes an unconventional novel, the writer gets compared to Ellison. But that's O.K. I am working in the African-American literary tradition. That's my aim and what I see as my mission.
I am fine with my books being categorized as African-American literature but I hope they are also considered Haitian-American literature and American literature. All of these things are part of who I am and what I write.
I am constantly swimming on the margin, neither 100% American, French, nor Lebanese. I am none of those. I am the result of those three. Sometimes it's an asset: no one can put you in a category. That I do not make typical Lebanese, European or American films does not bother me.
For African-American people, I am in the business of inventing a reality that gives a different perspective - on history, on crime, on art, on love.
Even if I am French, I have African roots. Helping African sport to develop is something that is very important to me. If I can use my reputation or other means to help, then I will.
I am famous because I am an African American jazz artist.
America has had an influence on me, as has going out with a Cuban-American guy and having lots of American friends. But I am still fundamentally British and speak with a British accent and feel very English.
I am looked at as an African American guy because of the color of my skin. I am darker.
When African-Americans come to France, the French show them more consideration than they would show an African or a Black Caribbean. When African-Americans come to France, the French people are like, 'Oh, wow. Oh my God.' But if it's an African, they're like, 'Whatever.' It's all because of the past, because of our history.
I do not suffer; I cannot suffer because I am not an object. Of course there is suffering. But do you realize what this suffering is? I am the suffering. Whatever is manifested, I am the functioning. Whatever is perceptible I am the perceiving of it. Whatever is done I am the doing of it; I am the doer of it, and, understand this, I am also that which is done. In fact, I am the total functioning.
People often presume I'm from whatever country they're from. So Americans presume I'm American and the British presume I'm British. And they're surprised to discover I actually am Australian. And actually some Australians are surprised too.
When you set a play in the French Quarter in New Orleans, it's hard not to acknowledge the whole African-American, French, white mixing of races. That's what the French Quarter is: it's a Creole community.
I have to admit, I am aware of my Latin roots now. In the past, people couldn't place me. They thought that I was Danish or English or French. They never got that I am Italian. I'm not typical, maybe because my visual education was very mixed. There was a lot of London in my aesthetic: The Face, i-D, British music, and a lot of British fashion . . . But I really enjoy this contrast. I can go from Lady Gaga to Brian Eno in a split second.
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