WHAT'S UP ZAMBIA: Recent Episodes
Sound Composed
For a nation of natural storytellers whose drumming is embedded deeply in the psyche from childhood through rhythmic games and play, it is oral tradition that connects us even if it is memories of that older relation who tells the best ghost stories or builds a clever kalulu animal world involving beautiful geographic landscapes and communities. Many of our stories are disconnected from the source but we can still tell our own.
Now it's your turn to listen starting with hip hop award winning Def Jam Africa signee Cleo Ice Queen openly speaking about her career, musical journey and what she misses about her own heritage and where she is headed next.
In upcoming episodes expect it to get funny, heated and engaging as Zambians tell their stories alongside looking at the reality of being a creative in Zambia.
The cultural audio guides are edutaining for anyone who wants insight to the chameleon like absorption and warmth of the blended Zambian territory. Zambians are talking openly and humourously about everything and can be very serious about issues they care deeply about.
The international guests in the series come from MOBO Unsung connected to Europe's largest and most successful black founded and owned platform and more. The professional sound sessions come from educator David Asomaning whose hip hop career, technical prowess, qualifications and activities are the most helpful sound experience you will be glad you stumbled upon.
Sound Composed is the website of virtual instrument designer, cultural composer & audio producer Robyn Agatha Phiri who has been researching the decolonisation of intellectual property and looking at sound rights amongst women in Zambia. As Zambian women cross the globe are reaching new creative heights from Sampa the Great to Ellen Aaku Banda - it's good for Zambia to share what's up as the home grown redefine their future in tandem with the world.
Websites:
CLEO ICE QUEEN www.cleoicequeen.com
SOUND COMPOSED www.soundcomposed.com
An overview in early 2022 which Zambians are able to use to compare to the 2024 realities. Season 3 is focused on providing what was discussed with creatives, platform owners, art organisations, community organisers and IP rights owners or managers of those who create. All use the phone or/and Zoom.
This episode looks at what engineer/producer Mwinga Chamundala sees and hears within his work as well as sound experiences. He speaks of the difficulties with microphones, audio interfaces, general sound equipment and sound treatment.
Mwinga discusses how listeners noticed the lower quality in comparison to their peers from other environments. He provides insight into courses he has taken and his thoughts in comparison to what is available as online knowledge share.
Provding a timeline of evolution and how little knowledge was handed down by earlier musicians and producers. He outlines where he feels changes were made.
He begins with a general overview of production and what happens with music making and distribution then goes on to go in depth over sound knowledge. He discusses how IP is not really taught within some of the music courses and discusses one of the newest offerings from a musican led music school which he believes has made a difference even if the equipment and in depth sound study is lacking.
Robyn from Sound Composed combines past, present and future to define how musicians in the early 90s were limited in access to musical instruments and the amount of control that venue owners and those who owned equipment had and why she took a plan to an MP that only came to light years later. Robyn outlines what she feels the error was when the first instrument duty tax was removed and how it inadvertently rewarded those who continued to take advantage of musicians and their inability to afford instruments.
The missing era is lightly touched on which alters the current perception when genres like hip hop, dance, rnb and others have an entry point much earlier than what is written in Zambia's music history. This aspect will be covered in detail in the last episode of the season where guests will be invited who experienced the missing era and were part of youth aspirational break away from the restrictions where DJs, musicians and producers began to look at more global feels for young audiences growing up in the early rap and hip hop era. Currently Zambia tends to credit the era with one music form when in reality, the most recorded form is the only one spoken about. In reality several genres were present with the unavailability of good studios taking most live which kick started live music changes with some of today's young bands still playing live remixing developed in the era without knowing the origin.
Mwinga aka Dizzy earned the nickname Sound Ninja from Robyn because of his continual passion for sound and his attendance of all workshops with David Asomaning of DM Sound Design UK. Mwinga was able to get that one on one session where David offered to mix one of his productions in order to walk him through mixing and mastering.
The introduction to Mwinga Chamandula is a 15 minute journey as he breaks down a timeline where his entry into music comes at a time when digital recordings are standard, even if equipment is hard to get your hands on. Recorded 2 years ago during an IP research project funded by British Council, Robyn of Sound Composed takes a back seat in the first part and listen to him outline his journey. His attendance of the workshops with UK's David Asomaning of DM Sound Design led to further sessions where he was able to work on one of his songs with David to perfect his mixing and mastering skills.
Mwinga went on to compose, engineer and produce a song that became the origin of one of the biggest songs to come out of Zambia, garner millions of hits online and up the sound quality level of Zambian production to a new generation of warmth. He is now determined to continue to improve his skills, continue to excel and learn everything he can about intellectual property so he is ready for all challenges ahead.
Mwinga became a producer while still at school in his teens. This is a two parter so that anyone can listen to the journey that leads to the environment he has had to negotiate when his mission is simply to excel in sound and be able to work with anyone anywhere.
He gives an honest look at the musical environment that was his entry point, outlines what was available and talks about the relations who helped give his start. There are three women who provided him with support when he needed it most. His mother, aunt and his first gospel album production brought a lady who opened the door for his sound life to go up a notch.
In the second part, Mwinga delves deeper into Zambia, its music environment, sound quality and mindsets as well as has encouraging words for some who have worked to pave paths and criticism for those whom he feels could have handed down better legacies. The insight into the workings of the music industry are balanced against his attention to detail and thoughts about mixing, mastering and identifying the best ways to improve.
In the intro Mwinga often has his three year old son drop in, so expect the little mumbles of a kid who loves to sit and play in the studio, has his own little Yamaha keyboard and chips in enthusiastically with glee as we go along! The future is here.
Season 3 is kicking off with the additions of the research Decolonising Intellectual Property & Sound Rights. This had a focus on women in music and intellectual property for creatives in Zambia.
Sound rights in Zambia have been problematic since its independence in 1964 and no master rights holder has ever received royalties in the territory as they are not collected. This means broadcasters and other users do not pay which impacts synchronisation licenses as well as all royalties associated with sound recordings. This has unfairly impacted owners of sound rights whether they are producers, artist owner or lable owned.
In this episode we begin by discussing sound recordings made in Zambia. Historically it was broadcasters and ethnomusicologists operating in the territory who held sound rights which mostly focused on cultural practitioners. Some remain in archives of broadcasters, media houses and private libraries. The vast majority, however, lie outside Zambia, in neighbours like Zimbabwe and in repositories such as International Library for African Music set up from the works of Hugh Tracey. Over 35, 000 recordings and several rare cultural instruments are housed at the associated university that worked with the Tracey family.
This episode began with a look at how Zambia itself is represented online. The resources about the music and sound history are so scanty that Wikipedia page on Zambian music history appears at the top and core of all searches. We examined what is on the page and it provided a picture that through research young people have been able to study and recognise the damage caused by not carrying own narrative and beginning to occupy the spaces that count. Should the world be seeing a viewpoint that does not reflect the realities? How does the musical history begin to hold authenticated knowledge that can be shared. Even local books on music history are inaccurate. Could this be an area where young creatives should be engaged in beginning to build a picture that is authenticated and representative?
The episode touches on National Arts Council Director Maanka Adrian Chipindi's view. His thoughts on how Zambia's music and cultural history are represented. He is quite thorough in expressing knowledge of local cultural practitioners, ethnomusicological works and right down to a fun conversation as Robyn of Sound Composed begins to touch on the future project to come of African Audio and the viLimba Research intentions to find solutions that support a digital ecosystem and immersive bridge where cultural repositories and soundmarks help focus on saving the cultural assets, heritage assets and kick start products on a different infrastructure with IP and cultural knowledge at the core.
Hear what National Arts Council Director has to say about traditional knowledge laws, problematic wording and the importance of changing the narrative, making IP work for young Zambians and the legacy.
This recording was made early in 2022 and is still relevant today for its importance in outlining the journey ahead.
The creative musical cartoonist with the satirical flex, is back again in this taster where the questions are silent and he makes statements based on what he is hearing about the research and discussions had on creativity, heritage and a new peaceful and creatively rich way forward as we mine creativity.Roy Kazembe has often taken time from his busy schedule to chat, share and help visualise Zambian potential. The Luanshya link takes a musical back seat and his description of colonial imagery, history and a peaceful creative feature give us a front seat as we hear him express narratives that all can relate to in his unique descriptive way.The full audio will be available as the research comes to an end and the whole audio spectrum is set free and shared bringing to life the many voices that have spoken, shared and show the talent, skills and visions of the musical and sound creatives who have more than one creative gift alongside the IP explorers who are confident things can change for the better.
Copperbelt University dips in for a bite size bonus. We had a long chat and are due another but this is a taster. Listen to a Zambian musician turned educator say it like it really is. A direct and fun bit of storytelling outlining truths about remote, rural and urban realities, academics, creatives and the decision makers missing the mark when it comes to education, linguistics, arts and a whole new way of thinking. In eight minutes he breaks down the reason why decolonising and a cultural rich resource needs to transition to a new generation. We had so much fun my inner child came out to play. Expect to hear the full conversation for real, with no messing with audio real soon. Mathew is also a composer and amazing kalimba player. Cue the patent.
RACP from Sound Composed speaks to an egg shell mosaic artist about his work. Listen to an artist build an audio visualisation of how he creates, what the challenges are and why he chose to work with egg shells. In this visual arts exploration the questions cover a range of topics based around how supported visual arts are in Zambia and the feelings around the appreciation of arts. There is an additional extra audio where he calls RACP to comment on questions over WhatsApp. The Artist's Viewpoint is well worth a listen as you hear him express his views in real time with complete honesty in an unexpected moment captured.
Powerful acoustic compositions birthed as singer songwriter Hannah Nyambe strums her guitar begin their life at home. Hannah speaks to Robyn of Sound Composed about her music, family life and the openness of an artist writing from the heart and soul. One unafraid to be different. They discuss within this episode and the bonus episode coming next the issue of navigating mental health and writing through challenges.
Drawn to sadness and emotive works, music can communicate messages that can help people know they are not alone and there is someone out there who gets it. Tackling storytelling as the IP of a lyricist, the joys of writing acoustic version and the exploration beyond comfort zones that comes with preferring acoustic but testing out productions for the market. Through live performance Hannah is able to look at her arrangements and unafraid to acknowledge that some may find the sadness and topics controversial but knowing there is a space for everyone to tell stories that reflect their own emotions and the empathy that artists can truly express in telling stories about what life as a journey brings.
This is a relaxed session where the softly spoken singer opens up about her world. Robyn lays out more on supporting behind the scenes on this session recorded earlier in the year.
THE LAST EPISODE
And... the final episode on sound is here!
Nothing is left out including the long farewell.
This is simply invaluable for anyone who wants to improve the space they work in or wants to plan properly for a studio build. Avoid making those basic errors that prove costly in the long run and listen in. Do not be shy to get in touch.
CLICK HERE TO GO TO VIDEOS
Once again, David breaks it down in detail and helps those who want to set up know what to take in to account as well as those who are striving to improve the current space used.
David is available whether it is education, training, advice or consulation for a pro build, happy to hear from anyone anywhere who needs that guidance.
Robyn is focused on setting up virtual and on the ground potential so hope to get David on the ground in Zambia with the environmentally sound training and helping set up so courses on the future virtual sound training platform provide options for him to extend his immense knowledge to the virtual realm. Open to audio projects and nothing but love for Zed here so reach out.
Websites
David
Robyn
CLICK HERE TO GO TO VIDEOS
INVALUABLE 1 OF 2
The last two episodes do not hold back on knowledge share without using a lot of terminology. As composers, producers, sound designers and audio professionals both David Asomaning working as an educator and Robyn Phiri working on virtual instrument designs share their experience with film, music, sound and give a rounded view of sound experiences that may help those wishing to improve mixes, masters (and in the next episode facilities).
Throughout the series Robyn of Sound Composed records via Zoom, edits and allows her music blends to provide the soundtrack to the series. This episode begins with the same melodic vibe as the rest of the sound series but she has added an ending from her Crossing Borders trailer options for a fun ending - the full version came from imagining a car reaching the Zambezi, looking over at the Mosi-o-Tunya waterfall and deciding it might be worth revving it up and jumping across the border. A fun one for a future animation perhaps!
From mixing and mastering to studio build, this is the one for sound pros, future studio builds and anyone who wants to improve their sound, mixes, masters, productions and working spaces.
Questions and comments come in from Zambian sound pros and studio builders with the general consensus at the conclusion being more of this please!
The session details will be available on the website along with more information of upcoming sessions. The sound page should be up soon where you will be able to watch the videos from David and see clips of the projects that they have worked on together. For more details on David please visit his site.
Sound Composed is able to fully endorse David Asomaning and DM Sound Design for all things audio, training and consultancy. Robyn from Sound Composed is happy to have David onboard as she completes research for British Council Southern African Arts and looks forward to virtual sound training provisions that will help young Zambians find local bases where they can set up camp and learn environmental sound recordings, underwater recordings, virtual sound and cultural recordings in safe spaces with women only classes as well as special arrangements for those with linguistic requirements. The options for visual learners will be open once template setters have completed upcoming initiatives.
Please stay in touch and thank you for listening in.
For those outside Zambia, the door is always open. Walk through!
SOUND BASICS
Continuing from where they left off. Robyn from Sound Composed and David Asomaning continuing to talk about sound in relation to music and beyond.
The episode picks up discussing the broadcast standard 48khz 24 bits and why different outputs are required, why Robyn likes to begin work at 96khz then output at 48:24. David explains in detail how it all came about and how his system is set to deliver at 48:24 in order to get the best quality to clients. As both pros output to film, broadcast and other platforms.
Zambian pro Edwin calls in to ask for clarification about why the two are talking about 48 rather than 44.1khz. He also explains how many young Zambians may have the ability to provide improved sound services for locals but may not know the science behind the art and how some of the information may go over their heads. David reiterates how that is the reason for this kind of open knowledge share which can help anyone pick up information and both David and Robyn go on to outline the reason they work at higher quality output for their deliverables.
David provides additional details to explain how due to bandwidth different online platforms Zambians may deal with like Spotify as an example may have specifications that require 44.1 and their own system them compresses it in to whatever format they use.
David talks provides tips about mixing and mastering and avoiding trying to get loudness without peaking and clipping. He offers to demonstrate on a future session for knowledge share. Edwin states that has been a big challenge in Zambia and how knowledge of cutting out unneeded frequencies will be helpful.
Robyn explains working from 96khz down to her deliverables at 48khz and then discusses why as an engineer she priotises the ears above all else. She provides an explanation about her preference for good engineers when working on collaborative productions. Everyone deserves a shot to try and see whether they have the ears to be engineers and not necessarily believe that they cannot take on audio works.
The two explain their works together in film on scores and sound design where David dubbed them with the nickname the 'Dynamic Duo'.
The next episode will dive deeper in to film scores, sound design, mixing and mastering. Not to be missed by pros and future pros alike.
THE ELEPHANT IN THE ROOM
So far the information delivered has made it clear that the rights created by recording sound in Zambia are not dealt with properly within the ecosystem which is leading to a major leak of revenue set against inactive rights management and the need for a reset button to be hit.
HOW CAN I PROTECT SOUND RIGHTS IN THE MEANTIME?
For those looking for temporary protection of sound rights please do not be afraid to go online and look up PPL in the UK who do deal with international sound rights holders. While Zambians work on transitioning to a better place in rights management, it is viable as a means of protecting and monitoring sound rights internationally. Ironically the solution is provided by making better use of the heritage of IP itself and understanding that the law in Zambia is still closely aligned to the United Kingdom. The expiry difference is twenty years. Zambia remains on fifty years until expiry of sound rights.
THIS EPISODE
There is another issue on the minds of those present and it relates to that desire to improve that makes every individual who has ever been involved with music or sound face the reality that sooner or later the works one creates are heard. What happens when your sound of music doesn't quite make the grade or your facilities do not currently work to the international standard one seeks.
The questions raised in this episode do not directly tackle the elephant in the room. However, the first tentative steps are taken by the non sound pros present to ask questions that relate to what their concerns are from access to music and music tech quality education, trying to create sheet music and what type of equipment to buy to help Zambians create better ways to mix and master their music.
All including the playful vinyl versus mp3 challenge are handled professionally by David Asomaning of DM Sound Design. As an educator every step taken by individuals counts. This portion is a run up to the episodes where sound is tackled in depth with the pros present kicking in so there will be a sound pro Q&A with more detailed questions and answers to come.
CLICK HERE FOR FOR DM SOUND DESIGN
CLICK HERE FOR PPL UK
CLICK HERE FOR SOUND COMPOSED
TIME TO HEAR THE TRUTH
Listen in on a sound pro session where the first 23 minutes introduces highly qualified music and sound consultant and educator, David Asomaning of DM Sound Design UK to Zambians. For anyone listening from anywhere who is keen on improving their sound, learning about sound rights and receiving this free online consultation that breaks everything down in both technical and easy to follow language, then it does not matter if you are starting out or a pro, engineer or rights organisation in Africa. This and the follow up episodes are going to be detailed and released in bite sizes so you will feel informed, find out where to hear more and get more information as well as be up to date on sound rights in Zambia and how Zambians have important choices to make to correct course.
Those attending include sound pros, sound engineers, studio owners and those seeking advice to build new sound facilities to the highest standards.
The issue of sound rights in Zambia is broken down and discussed by Robyn of Sound Composed and David of DM Sound Design. For more information on the research and to see video clips of the school that David refers to in the audio please visit www.soundcomposed.com and you can link to DM Sound design on the site too.
The Sound Sessions will run over several episodes. Be sure to read descriptions once all are up in order to select the advanced sessions if you want the short cut to discussions, however, don't miss out on discussions and answers to questions raised from the session. By special demand there will be one more sound session. Details and link will be placed on www.soundcomposed.com
ZAMBIAN PUBLISHER
Prince Sumper is one of the few songwriting singers who has gone beyond working on his own voice and writing to self taught distribution, intellectual property and exploration to become a publisher for others. Introduced to the research by a young lady who remains anonymous in her own input, it was not difficult to see why she wanted this voice heard too.
Prince has very strong views about what is going on with the music and IP in Zambia, how organisations are coping with the ecosystem as well as using his own life experience to explain how he has come to his conclusions. Learning different aspects of the industry by trial and error, he does not paper over flaws he spots whether his own or those of others. He feels he has knowledge to share that would be invaluable, all methodically worked out and evidenced using mathematics to work out how licensing and publishing could make all the difference in Zambia.
From a difficult childhood to a chance meeting with Kenyan diplomats, he speaks of Tanzania's IP, France's support for creativity, his Zuk influence and how a Congolese songwriter changed his direction from earlier hip hop exploits. From making the best of an Australian invitation to his artist consultations, he expresses himself freely and provides the examples from local and international scenarios to give his honest opinion and what it means for a boy raised in a village to make his way across the world through the use of his skills.
Prince does not hold back on what he has to say about both the problems and potential he sees in Zambia. For those who have watched the National Arts Council presentations, this is a viewpoint from the polar opposite from someone who believes the system is dead and organisations are failing but does not stop working towards his visions. Be a fly on the wall and hear another viewpoint. Agree or disagree and cherish speaking freely.
SPECIAL REQUEST
Prince would like anyone who wishes to support him to do so through looking him up and buying his music from any major music platform. Links will be supplied here and on the main website.
Please note there will be a change in audio in the last minute due to shifting Zoom access from phone to a temp camera's audio. It has been included to preserve context.
A casual chat between Robyn of Sound Composed and Roy Kazembe who is both a musician and visual artist whose works are drawn under the name Choklet.
This allows listeners to hear more about both Robyn and Roy as they chat Zambian style with no barriers. Listen in and get to know how creativity and Zambians are influenced by their environments and what anyone can find in common with living life as a creative. How history impacts our futures and the painful truths lightened with humour so it should be easily palatable for all.
This session is deceptively fun and light hearted but it does not veer away from home truths and covers everything from heritage, childhood games, music, production, sound, intellectual property, traditional knowledge and takes an in depth look at the lives of both creatives while dipping in to the colonial laws, creative freedom and the future of creativity. This is part 1 of 2.
Continuation of the discussion with NAC Director, Maanka Adrian Chipindi and Robyn Phiri of Sound Composed. This one starts to get really juicy folks. Agree or disagree. The heritage of Zambians whether originally from the territory or settler communities is now blended and intertwined but should that be at the expense of our cultural industry whose underdevelopment appears stunted by remaining in the vision of the past while others who extract use it to create the future. Should that not be Zambia's space to protect, develop, innovate and exhibit for its benefit? Hear NAC listen and speak freely on some very difficult and not often publicly discussed issues.
The topics this episode begin to zone in on the next steps going forward with passionate discussion over heritage, sound rights, traditional knowledge, colonial viewpoints that have long lasting residual effects and the decolonisation of intellectual property. The generation of revenue using rights, licensing and ownership of cultural space and heritage is tackled in a no holds barred session. In the final episode Robyn will take you back to the very first unheard session with Maanka Chipindi where you will enjoy his encyclopaedic knowledge of culture are the arts in Zambia as well as hear him explain the banning of drums during colonial times. For a nation of drummers, it may be new to a different generation to understand how little creative freedom we had back then and how this has a bearing on creativity and innovation and helps us to recognise the problems with the mindset that creative freedom can help emancipate.
The episode starts with a current issue regarding music promotion and then goes on to look back at areas in the past that have been impacted by how business has been conducted through the ages. The focuss for the researcher is how the remote and rural communities have equal rights to the urban communities and how therefore men and women can be brought in to the digital economy. This episode the topic remains general. In other episodes soon to be available the rights issues and Zambia's creative space are looked at from the perspective of women in the creative industries, those with disabilities and the youth.
Still present are musicians Roy and Alexander. Roy Kazembe is a visual artist while Alexander Kanyanta is a community organiser. Both have extensive experience in the zambian music and creative fields. Alexander known to all as Shimasta provided the research with a visual translation of traditional knowledge as a demonstration. This can be seen here.
There is a special heritage episode to come for this but... it is okay to lead with a meeting where creatives were allowed to the second session with Robyn of Sound Composed and able to sit in, interact, ask questions and arrange meetings. A big shout out to the ladies who represented well for newer art forms and a big hearty thanks to the arts council for accepting the invitation to roll up sleeves and get in to all the things people think but might not say. Thank you to all present from different creative fields, management or legal.
THE EPISODE
The National Arts Council of Zambia has embarked on a once in a generation drive to ensure that Zambia is able to transition and support its creatives in new and innovative ways. The future platforms are global and yet locally driven therefore working out how to support this and quickly is on the mind of NAC Director Maanka Adrian Chipindi.
From gaming, film, animation, music to blended culture and heritage fields, how does an old infrastucture prepare itself for a digital future? How does Zambia's youthful population get to be fully engaged in their future? How can older generations get active, share knowledge and help with the job creation and support to change the face of Zambian creativity forever. With intangible assets and intellectual property to be protected, how will NAC navigate the new arena.
NEXT EPISODES UP TODAY
In the next episode you will hear young women openly exhibit their unique power and hear how some are already miles ahead in pursuit of collective success.
Can the bad actors be weeded out of an ecosystem? Lots to come from the What's Up Zambia, taken from Whats App, Zoom and phone behind the scenes open conversations with Robyn of Sound Composed, hosted by British Council Southern Africa Arts.
HOST PARTNERSHIP
This researcher had pre-determined a need for PACRA app and the results show that interactive website, app and skill exchange will certainly drive NAC in to partnering up to occupy neatly organised digital space for culture, creativity and creative tech online. The ability to have creative skills and cultural exchange partnerships is discussed within the series from positive debate to passionate views expressed. Do not miss out. Start here by meeting Maanka Adrian Chipindi and let him guide you from who NAC is to the policies at play. Then listen as he deals with each issue raised and participates openly in all discussions. This is NAC. Open for Business.
www.soundcomposed.com
Hip hop royalty Zambian style as a down to earth and relaxed Cleo Ice Queen speaks to soundcomposed.com about her musical journey as a creative and storyteller. The behind the scenes 2022 phone and Zoom sessions treat you to everything from steppin' up to heritage and what's next for Def Jam Africa's hip hop artist and brand influencer.
THE PHONE AND ZOOM SESSIONS
Through the first six months of 2022, cultural composer/audio producer Robyn of soundcomposed.com has been speaking with creative rights holders in Zambia as part of research hosted by British Council Southern Africa Arts looking at decolonising IP and sound rights of women in Zambia and using the phone as a viable knowledge share platform. This brings the additional challenge of working with varying phone audio but in the interest of ensuring no one is excluded, it is the fairest platform to engage and ties in to future audio innovations.
LOOKING FOR MORE...
Producer: RACP
visit www.soundcomposed.com
Guest: Cleo Ice Queen
www.cleoicequeen.com
Host Partner:
British Council Southern Africa Arts
Hip hop royalty Zambian style as a down to earth and relaxed Cleo Ice Queen speaks to soundcomposed.com about her musical journey as a creative and storyteller. The behind the scenes 2022 phone and Zoom sessions treat you to everything from steppin' up to heritage and what's next for Def Jam Africa's hip hop artist and brand influencer.
THE PHONE AND ZOOM SESSIONS
Through the first six months of 2022, cultural composer/audio producer Robyn of soundcomposed.com has been speaking with creative rights holders in Zambia as part of research hosted by British Council Southern Africa Arts looking at decolonising IP and sound rights of women in Zambia and using the phone as a viable knowledge share platform.
LOOKING FOR MORE...
Producer: RACP
visit www.soundcomposed.com
Guest: Cleo Ice Queen
www.cleoicequeen.com
Host Partner:
British Council Southern Africa Arts