Sonic Interventions

In the last episode of season 5, Jan Dammel is in conversation with musician and sound artist Elsa M’Bala. They talk about the 2021 performance parcours "Eigensinnige Leben" in Berlin's Treptower Park, Cameroonian anti-colonial organisers in Berlin during the interwar period, such as Victor Bell, and what it means for Elsa to work with sound archives in European universities and museums. Learn more about her ongoing project Kribi Archives, which makes ethnographic recordings of Cameroonian music accessible in Kribi, and her general investment in creating listening spaces.

In Conversation With

Elsa M'Bala, internationally known as A.M.E.T., is a Cameroon-born sound artist, performer, and experimental music creator recognized for her innovative approach to live podcasts blending DJ’ing, field recordings, spoken-word interviews, and immersive sound design. Her work has been showcased at leading global art institutions, including Akademie der Künste Berlin (DE), Casino Luxembourg – Forum d’Art Contemporain (LUX), Dak’Art Biennale (SEN), and Gessnerallee Zürich (CH). She also produced the official trailer for the 10th Berlin Biennale for Contemporary Art. Her recent projects include to host listening sessions with the Ass Niang collection and to direct the Kribi Archives in Kribi, Cameroon.

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Earlier episodes referenced: “Lower Frequencies” (Feb 2023) and “Mit und gegen das Archiv” (Feb 2025)

Mendi + Keith Obadike (blacksoundart.com) awarded the first Ogene Art Prize to Elsa M’Bala in 2021 (press release)

The performance-parcours Eigensinnige Leben. Eine Performance auf den Spuren Schwarzer Aktivist:innen im Berlin des frühen 20. Jahrhunderts [A performance tracing the footsteps of Black activists in early 20th-century Berlin], premiered in September 2021 in Berlin’s Treptower Park.

Concept and Script: Joel Vogel and Vincent Bababoutilabo, Performers: Elsa M’Bala, Jeanne-Ange Wagne, Maïmouna Coulibaly, Mmakgosi Kgabi, Osman Osman, Rebecca Korang, Serge Fouha.

Find the 10 min video essay and texts (in German by historian Laura Frey) on early 20th century Black activist in Berlin such as Martin Quane a Dibobe, Bernard Epassi, Joseph Bohinge Boholle or Maria Diop (née Bell) and on Afrikanischer Hilfsverein and Liga zur Verteidigung der N*rasse on the project website.

Eigensinnige Leben was preceded by decolonial audio walk zurückERZÄHLT (premiered in 2020 in German, available also in French and German since 2021), which tells the stories of 106 children, women and men from the former colonies who worked as contract workers to the colonial exhibition in Treptower Park in the summer of 1896. (English website)

The audio walk is based on historical research by Laura Frey, Yacine Riebel, Mihir Sharma and Joel Vogel which drew partly on the findings in the ongoing, permanent bilingual exhibition zurückgeschaut | looking back at Museum Treptow (information)

Victor Bell and the Lautarchiv

Elsa mentions two exhibitions on Duala Manga Bell: “Hey Hamburg, do you know Duala Manga Bell?”. April 14, 2021 til April 7, 2024 at MARKK museum Hamburg and “Il était une fois la naissance du / Once upon a time the birth of the Staat Kamerun 1884 – 1914”, October 30, 2024 til February 28, 2025 at Musée National, Yaoundé.

The Humboldt University’s Lautarchiv, now housed in the Humboldt-Forum, holds four recordings, made by Diedrich Westermann in February 1934, in each of which Victor Bell sings a song. They are called: „Lied der Fischer (LA 1331)“, “Wiegenlied” (LA 1332), “Lied der Schwimmer” (LA 1333), and „Arbeitslied“ (LA 1334).

In his 2014 article, ethnomusicologist Nepomuk Riva argues, based on conversations with musicians and linguists (such as Valère Epee) in Cameroon, that Westermann did not understand the Duala language while he was recording Bell nor that one song (“Lied der Schwimmer”) was not sung in Duala. Riva furthermore argues that “Lied der Fischer” “in fact is not a harmless fishermen’s song, but a song from the period when Cameroon was affected by the transatlantic slave trade” (Riva 2014:215) translated by J.D.) in which an enslaved African man expresses his wish for revenge against the white enslavers. Overall, Riva reads Bell’s choice of songs as a critical comment on, and act of resistance against, systemic racist discrimination in Germany in 1934.

Kribi Archives

Instagram @kribiarchives

Elsa M’Bala / Maria Ellendorf “Shifting Focus: Collaborative Approaches in the Kribi Archives Project”, Journal of Social and Cultural Anthropology, Vol .150 No. 2 (2025) (Online)

Elsa mentions the musicologist Kofi Agawu (Professor at CUNY Graduate Cener, New York City)

Listening Sessions featuring the Ass Niang Collection

Listening Session including conversation with curator Ibou Diop in July 2024 at KINDL – Centre for Contemporary Art, Berlin (information and video recording)

Listening Sessions on Cashmere Radio (#1 February 2024; #2 April 2024, #3 July 2024)

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Artist and researcher Rehema Chachage is in conversation with Jan Dammel about mixed-media installations in Johannesburg, Leipzig and Stade. They discuss Rehema’s long-term engagement with her matriline, how songs can serve as “unlikely witnesses to history”, and how the marigold speaks to both colonial uprooting of plants to Tanzania and intergenerational transmissions.

In Conversation With

Rehema Chachage maintains a research- and process-based practice characterized by a diverse range of media and methods. Grounded in generational knowledge, and alternative modes of storytelling, remembering, and re-membering, her work integrates performance, photography, video, olfactory elements, voice, sound, text, and installation to produce immersive, multisensory experiences. Central to her practice is an exploration of matrilineal family memory, developed in collaboration with her mother and grandmother. Together, they create a “performative archive” that weaves memory, stories, songs, rituals, and oral traditions into an ongoing, open-ended process—akin to an open weave—where the body functions simultaneously as site and medium of historical knowledge production.

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The sound installation Avoid/Devoid (2022) and the film installation The Journey (2022) by Rehema Chachage and Valerie Asiimwe Amani are part of exhibition Berge Versetzen (in collaboration with artists collective Para) as part of the exhibition REINVENTING GRASSI.SKD which has been open to the public since March 2022 at GRASSI Museum Leipzig.

The installation Notes on Baking (A recipe for togetherness), 2022, fabric, text, scent, wood, and sound, was part of exhibition A Different Now Is Close Enough To Exhale On You, curated by Bonaventure Soh Bejeng Ndikung, at Goodman Gallery Johannesburg.

Rehema Chachage reads two texts on the song Yee Kididi Kiziha. The first text, called Yee Kididi Kiziha (It is Indeed Pleasing). A performative transgenerational encounter with togetherness, can be found here. The second text, Further notes on the song ‘Yee Kididi Kiziha’, is part of Rehema Chachage’s dissertation Yee Kididi Kiziha (It is Indeed Pleasing), defended in June 2025 at Academy of Fine Arts Vienna (Announcement).

Installation Where the Ashes Rest, A Single Marigold Bloomed (2025), video, sound, image, soot, olfactory elements, woven and wooden objects, lights.

The exhibition AMANI. kukita | kung'oa. German and Tanzanian perspectives on a colonial collection in Stade (February 15 – June 9, 2025) was curated by Rehema Chachage, Sebastian Möllers, Antonia Schmidt and Lea Steinkamp at Schwedenspeicher & Kunsthaus, Museen Stade.

Trilingual exhibition catalogue: Chachage, Rehema / Sebastian Möllers / Antonia Schmidt / Lea Steinkampf (Ed.): AMANI kukita | kung'oa. Bönen: Kettler 2025. (de/en/sw)

The group exhibition Beyond Coolness. Gletscherschmelzen und darüber hinaus is on view at MaximiliansForum Munich until April 14, 2026. (info)

During colonial times, Amani Institute was a subordinate to the "Botanical Central Office for the German Colonies", a department to Botanical Garden Berlin (further information here).

Demere Kitunga

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Hörspielmacher:in Joel Vogel und Musiker Vincent Bababoutilabo sind im Gespräch mit Jan Dammel über ihre Arbeitsweise bei der research performance monostatosspiegel (2025) ) zu queeren Bewegungen im Berlin der 1920er und dem dekolonialen Hörspaziergang zurückERZÄHLT (2020). Dieser stellt Akte des Widerstands von 106 Personen aus den damaligen ‚deutschen Kolonien‘, die im Sommer 1896 im Berliner Treptower Park arbeiteten und lebten, ins Zentrum. Sie berichten von ihrem Umgang mit dem (kolonialen) Archiv, von der Möglichkeit mit Sound eine gewaltvolle Geschichte anders zu erzählen und davon, wie ihr Audiowalk seit fünf Jahren Menschen versammelt.

Im Gespräch mit

Joel Vogel hat Soziologie studiert, macht politisch-historische Projektarbeit, ist Autor:in und Hörspielmacher:in und Teil von studio lärm, einem Kollektiv für politische Audioproduktion. Für den dekolonialen Hörspaziergang zurückERZÄHLT, der 2022 mit dem 1. Platz des Audiowalk-Awards ausgezeichnet wurde, sowie den Performance-Parcours eigensinnige leben (2021) verantwortete Joel Vogel u.a. Text/Skript und Ideen - zusammen mit Vincent Bababoutilabo. Mit Bababoutilabo entwickelte, schrieb und performte Joel Vogel ebenfalls die research performance monostatosspiegel (2025).

Website studio lärm

Vincent Bababoutilabo ist Musiker und Autor aus Berlin und politischer Referent der Initiative Schwarze Menschen in Deutschland (ISD). Er studierte Doppelfach Musik an der HMT-Leipzig und ist Sideman im Andromeda Mega Express Orchestra (Deutscher Jazzpreis 2025). Mit seinen eigenen Projekten Rosa Shakur und Shevek Iyapo veröffentlichte er u.a. das Album Rosa Shakur (2022) und zuletzt die Congo Suite (2025). Mit Joel Vogel verantwortete Bababoutilabo Text/Skript und Ideen für den dekolonialen Hörspaziergang zurückERZÄHLT (1. Platz des Audiowalk-Awards 2022) und den Performance-Parcours eigensinnige leben (2021). Ebenfalls mit Joel Vogel entwickelte, schrieb und performte er die research performance monostatosspiegel (2025).

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Wie Vincent Bababoutilabo im Podcast erwähnt, war "mit und gegen das Archiv" eine der Arbeitsformeln des Teams bei der Erarbeitung des Audiowalks.

Die research performance monostatosspiegel wurde aufgeführt in Berlin im Museum Friedrichshain Kreuzberg (Ankündigung) im April 2025 und in der Mittelpunktbibliothek Wilhelm Liebknecht / Namik Kemal im Juli 2025 (Ankündigung mit Foto).

Informationen zu zurückERZÄHLT

Text und Ideen: Joel Vogel und Vincent Bababoutilabo

Weitere Erwähnungen

Im Gespräch werden genannt Kwassi Bruce (geboren am 11.5.1893) und Kekui Bruce (geboren ca. 1882). Kekui lebte seit 1890 in Berlin.

Biografien zu allen Personen finden sich auf deutsch und englisch in der

Die Begriffe entinnern und Entinnerung wurden etabliert vom Kultur- und Politikwissenschaftler Kien Nghi Ha (siehe etwa hier).

Saidiya Hartman: Wayward Lives, Beautiful Experiments. Intimate Histories of Riotous Black Girls, Troublesome Women and Queer Radicals (2019); Aufsässige Leben, schöne Experimente. Von rebellischen schwarzen Mädchen, schwierigen Frauen und radikalen Queers (2022)

2026 wird ein Essay von Vincent Bababoutilabo erscheinen im Band Politics of Dis/Assembling (HumDrumPress), in dem er über drei Kunstprojekte reflektiert, in die er involviert war, u.a. zurückERZÄHLT. Ebenso erscheint 2026 die Monografie Relationale Begegnungen und Sorge (Neofelis) von Karina Rocktäschel, in der sich ein Kapitel mit dem Audiowalk auseinandersetzt.

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Season 5, curated by Jan Dammel, focuses on artistic interventions in Germany that deal with colonialism and its ongoing legacies. This first episode features multi-disciplinary artist Percy Nii Nortey and curator Nadja Ofuatey-Alazard, who collaborated on the group exhibition “Colonial Ghosts – Resistant Spirits” in Berlin’s St. Nicholas Church. Learn more about Nortey’s dialogue with, and celebration of, the working class in Ghana and how bold fabric and sonic artworks, also by Theresa Weber, challenge and transform post/colonial (church) spaces.

To listen to Nortey's full-length sound installation and read more about the persons represented on the textile works, go to his website.

In Conversation With

Percy Nii Nortey is a multidisciplinary artist based in Kumasi, Ghana. His practice explores materiality, identity, labour, and memory, blurring the boundaries between performative objects, painting, sound installation, moving sculptures, and video installation. His practice is deeply rooted in his personal history, the environmental and economic conditions of Ghana and aims to decolonize minds and empower black communities, reclaiming agency over their narratives and identities. Nortey holds a bachelor's degree in Fine Art (Painting) from Kwame Nkrumah University of Science and Technology (KNUST). Next to the Dekoloniale Berlin Residency and Dekoloniale Festival 2024, Nortey’s work has been presented at multiple festivals and art venues, such as Kunstenfestivaldesarts in Brussels, Museum of Science & Technology and Brazil House in Accra and Kaserne Basel. In 2025, he completed residencies at Artlink at Fort Dunree, Art Hub Copenhagen and Künstlerdorf Schöppingen.

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Nadja Ofuatey-Alazard is a cultural activist, curator, production manager, journalist, editor, and filmmaker. She is co-director and artistic director at Each One Teach One (EOTO) e.V. in Berlin where she curates the annual Afrolution festival. She was responsible for the discursive and performative formats within the five-year collaborative project Dekoloniale Memory Culture in the City (2020-2024). Her works include: Narrating African FutureS (co-edited with Susan Arndt, 2020) and the documentary series ReMIX. Africa in Translation (with Nicolas Grange, 2017). She lives and works in Berlin and Munich.

Website EOTO

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The exhibition Colonial Ghosts – Resistant Spirits. Church, Colonialism and beyond (November 14, 2024 – September 14, 2025), Museum Nikolaikirche Berlin, was part of the larger, decentralized exhibition Dekoloniale – What remains?! at various locations in Berlin-Mitte.

Exhibition brochure: Ébené, Philippa / Suy Lan Hopmann / Nadja Ofuatey-Alazard (Ed.): Dekoloniale – What Remains?! : Koloniale Gespenster – widerständige Geister : Kirche, Kolonialismus und danach / Dekoloniale – What Remains?! : Colonial Ghosts – Resistant Spirits : Church Colonialism and Beyond. Berlin: Verlag M, Stiftung Stadtmusem Berlin 2025. (available at desk in Nikolaikirche)

Final publication by Dekoloniale project: Berlin Postkolonial / Each One Teach One (EOTO) / Initiative Schwarze Menschen in Deutschland / Stiftung Stadtmuseum Berlin (Ed.): Dekoloniale: Erinnerungskultur in der Stadt / Dekoloniale: Memory Culture in the City. Berlin: Falschrum 2025.

Installations Mentioned

Percy Nii Nortey, Poetics of Material Memory (2019), Brazil House, Accra

Poetics of Material Memory

Percy Nii Nortey, Transporter 31500 (2020), Top High, Kumasi

Percy Nii Nortey, Break from Reality (2024), Museum Nikolaikirche, Berlin (More info and photos)

Theresa Weber, Entangled Histories of the Blue (2024), Museum Nikolaikirche, Berlin (More info and photos)

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In the last episode of this season, Adriana Raczykowski is in conversation with Polish artist and curator Patrycja Rozwora, who founded the Kitchen Conversations Podcast. Patrycja talks about her podcast practice and Eastern European and Central Asian narration in the arts.

In conversation with

Patrycja Rozwora (she/her) is a Warsovian artist, author, curator and podcaster based in Berlin. With her background in Conceptual Art and Critical Studies, Patrycja is interested in curatorial and accommodating practices, investigating narratives about Eastern Europe, Central Asia, specifically the post-socialist sphere. She studied at the Gerrit Rietveld Academie and the Sandberg Institute in Amsterdam. Her graduation project of the Kitchen Conversation Podcast has led her to become the host of a continuous platform of over 50 episodes featuring voices of artists and creatives, who speak about their urgency to create from an eastern positionality. Through her multifaceted work, she has collaborated with various institutions, such as the Tate Modern, William Morris Gallery, the Polish Cultural Institute London, Muzeum Sztuki in Łódź, Berlinale, or the GoEast Film Festival.

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Mala Herba and dogheadsurigeri from the Oramics collective meet with Adriana Raczykowski to talk about the politics of the dance floor and sonic spaces curation. Guided by the motto “Your periphery is our center”, they address Western hegemony in contemporary electronic subcultures.

In conversation with

Paulina Trzeciak (she/her) is a Polish DJ based in London. Under her stage name dogheadsurigeri, she has performed in different clubs all over Poland and at venues including Colour Factory (London), Fuga (Bratislava), and Garage Noord (Amsterdam), as well as festivals like Tauron Nowa Muzyka Katowice, Open Source Art Festival, and Upper Festival. Her sets include rhythmic switch-ups blending cut-up deconstructed club-music with energetic and fast techno, trance and gabber. Her mixes have been showcased at HÖR Berlin, Red Light Radio, or NTS Radio.

Website (Oramics)

Zosia Hołubowska (they/them) is a sound artist, queer music activist, researcher and producer, also known under their stage name Mala Herba. They have composed sound designs and installations for a variety of institutions, such as the Mumok in Vienna, the Guggenheim Museum in Bilbao, and La Gaite Lyrique in Paris. As Mala Herba, they performed at festivals such as Tauron Nowa Muzyka in Poland, the Popfest in Austria, or the Fekete Zaj in Hungary. Their music draws from darkwave and industrial techno and aims to create experimental polyrhythmic soundscapes. In 2023, they released the Album “Singing Warmia” centering on questions of family archives and places of birth.

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Oscillator Composition – composed and performed by Mala Herba

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Episode Cover: Oramics profile VA by Oramics

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In this episode in Polish language, Adriana Raczykowski is in conversation with Lulla La Polaca, who is widely recognised as the oldest Drag Queen of Poland. She traces back her roots as a performer in times of PPR, and talks about musical inspirations, the importance of friendship and community, and her hopes and wishes for younger generations of drag artists in Poland today.

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Andrzej Szwan was born in 1938 into a Jewish family in Warsaw, where he survived the Warsaw Ghetto and the Uprising in 1944. As a witness of these times, Andrzej often speaks about his experiences as a child in Second World War Warsaw and is an advocate of collective memory and commemoration. Andrzej always dreamed of studying theater, which he was not able to pursue professionally at the time. In the period of the Polish People’s Republic, Andrzej performed in crossdress in private spaces around friends and community where the persona Lulla was born, inspired by Polish pop cultural icons, such as Hanna Banaszak or Irena Santor.

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Kim Lee – is a prominent figure in the Polish Drag scene, who is often attributed to be the Warsovian Queen of Drag. The Vietnamese-Polish artist & activist, born Andy Nguyen, played an integral role for the Warsaw Drag community as well as the Vietnamese diaspora. She passed away in 2020 in relation to COVID-19. In 2023 the Wola Museum (part of the Museum of Warsaw) presented an exhibition in memory of her legacy and artistry.

Hanna Banaszak – born 1957 in Poznań, is a Polish singer and songwriter. In 2014 she was awarded with the Knight’s Cross of the Order of Polonia Restituta. Among her most famous songs are “Modlitwa” or “Pogoda ducha”.

Irena Santor – was born 1936 in the village of Papowo Biskupie, Poland. She performed as a singer and also starred as an actor in several movies and TV shows. Her Career started in 1950 as a member of the folk group Mazowsze and transitioned to perform as a soloist from 1959 on. She received numerous awards from Poland and internationally. In 2021 she decided to end her career.

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Season 4 of Sonic Interventions takes listeners to Poland, and is guest-curated by Adriana Raczykowski. In episodes 14 to 17, she is in conversation with Polish artists, activists and curators who intervene into society through curation, drag performance, visual arts, and podcasting. This episode features 100Lesb.com, a portrait cycle of 100 Polish lesbians and non-binary people in Warsaw. Co-curators Ola Kamińka and Wojtek Zrałek-Kossakowski touch upon reclaiming representation and queer resourcefulness as forms of intervention.

In conversation with

Ola is a queer-feminist scholar, writer, creative and publisher, investigating topics of girlhood, queer time and related narratives in comic and youth culture. She holds a Ph.D. from the University of Warsaw in Gender Studies and Queer Theory and is currently a member of the Gender/Sexuality Research Group at the American Studies Centre, University of Warsaw. In 2015, Ola founded the DIY queer-feminist zine collective Girls and Queers to the Front together with her best friend, Agata Wnuk. They organize workshops, events and publish zines in Polish and English, each centering a different topic that is examined through the lens of hundreds of participants and authors. Ola is invested in creating safer spaces of expression for the queer community and together with her partner, photographer and curator Katarzyna Szenajch, she co-created 100Lesb.com. Ola is part of the Warsaw based queer post-punk project NANA, which can be heard in this episode.

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Wojtek is a dramaturg, writer, director and sound designer for theater and radio. In Poland, his work is tied to institutions such as Teatr Studio in Warsaw, Teatr Wybrzeże in Gdańsk, or Teatr Nowy in Poznań. Outside of Poland he has also worked as a dramaturg for the Maxim Gorki Theatre in Berlin. As part of the socio-political platform and NGO Kultura Polityczna, Wojtek is a curator of the cultural center Jasna10, a place dedicated to provide collective, artistic and educational space for artists and creatives, through grants and residencies for example. Together with curator Elżbieta Zasińska, Wojtek co-hosted the 100Lesb.com project at the Jasna10 Cultural Center in 2021 in Warsaw.

Jasna10

Adriana Raczykowski is a German-Polish researcher and graduate student in Urban Studies in the Erasmus Mundus Program “4Cities”. She curated this guest season during her time as a student research assistant at the Collaborative Research Center Intervening Arts (Leuphana University, Institute for Philosophy and Art History). Adriana is engaged in radio community, experiments with audio formats and knowledge production, and questions of heritage.

References

Stop Bzdurom – was a queer-feminist anarchist collective, fighting for LGBTQIA+ rights and intervening against queerphobic legislation. The group has been attributed with spreading the viral slogan “Dyke, you are not alone!” on stickers and banners.

Karolina Breguła – Let them See Us (Niech nas Zobaczą), 2003, Portrait cycle of queer couples in public space.

Hanna Jarząbek – Margin of Difference (Margines odmienności), Photo Report of Lesbians in everyday life.

Ela (Elżbieta) Zasińska – is also a Co-organizer of 100Lesb at Jasna10 Cultural Centre. Ela is involved in the Jasna10’s program for supporting marginalized artists and organizes a queer-feminist debate cycle "Ciałostanowienie".

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This conversation with Zara Julius concludes the third season of Sonic Interventions on South African Sound Art. Zara Julius shares about her debut solo exhibition “Whatever You Throw At The Sea” at the Weltmuseum in Vienna critically reflecting about postcolonial structures in museums and archives. She speaks about her editorial work, her research, and her artistic practice.

In Conversation with

Zara Julius (1992) is an interdisciplinary artist, researcher and cultural worker based in Johannesburg, South Africa. She is also the founder of Pan-African creative research and cultural storytelling agency, KONJO. Working with sound, video, performance and image-based installation, her practice involves the collection, selection, collage and creation of archives (real, imagined and embodied) through extensive research projects. Informed by her working methodology of ‘rapture’, Zara Julius is especially engaged in thinking through the internal workings of the Black sonic, and how they might help us imagine new futures, and experience different present(s) in the face of various unfreedoms, as well as thinking through the carceral logics of intimate and museological archiving practices. Many of Zara’s projects have focused on mapping the sonic and spiritual mobilities of spiritual rapture and rupture with congregants of syncretic traditions, and on (post)apartheid / (post)colonial narratives around race, place and time as. Zara holds a BAHons in social anthropology from the University of Cape Town (2014) and a MAFA in Fine Art by Research and Practice from the University of the Witwatersrand (2021). Zara has exhibited her work across South Africa and internationally. As a vinyl selector, Zara’s sets reflect her desire to travel land, seas and time. She is currently in residence at the Oscillations project, a cooperation between the Akademie der Künste (Germany) and the Centre for Humanities Research, University of the Western Cape (South Africa).

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In this episode recorded at the University of Pretoria, Prof. Nompumelelo Zondi, gives insights into her book on women’s song in rural Zulu culture. She presents an understanding of song as a medium of resistance and resilience, and uses her own voice to share examples.

In conversation with

Nompumelelo Zondi, also known as “Mpume”, is a Vice-Dean of Research and Postgraduate Studies in the Faculty of Humanities at the University of the Free State in South Africa. Prior appointments include: University of Pretoria (Professor and Chairwoman in the Department of African Languages), State University of New York at Albany, and University of Zululand (Associate Professor). Her research engages with gender, performance, literary traditions, and folklore in Zulu and Shona cultures. As an activist, she advocates for women’s and children’s rights such as gender-based inequalities and has published several articles and papers in local and internationally acclaimed journals.

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