Martina Mwanza brings Sotambe to Kitwe.

MARTINA HAJKOVA MWANZA Born in Czech Republic where she did her Master’s in Development Studies. For many years, she actively participated in the organisation of the biggest Human Rights Film Festival in Czech Republic. Martina came to Zambia in 2010 to undertake a social research for her thesis, and she basically lives here ever since. During her employment as a lecturer at the Zambia Catholic University, she had a desire to promote the use of film in the learning process and create a platform for college and university students to share ideas. Her passion for filmmaking and arts led to the established of a SOTAMBE Documentary Film and Arts Festival that is currently the biggest film festival in Zambia promoting local film productions. The organisation known as the SOTAMBE Film Institute offers workshops and filmmaking Boot Camps but the annual Film Festival remains the main activity of the organisation. Her dream is to create an international standard Film Festival for the Southern African filmmakers. “I strongly believe that media – and film especially - are very powerful tools that lead to the social change in the given society – particularly through the changing identity of individuals. Whether the change will be a good one, it depends on what we choose to see.” — with Martina Mwanza.

Beatrice Othieno-Ahere’s Violins of Self-Expression.

Poetry has given me a voice, removed me from the shadows, a voice beyond my speech, the ability to talk without opening my mouth but making my presence felt, using my fingerprint through ink and words to show that I am here, I was here Poetry has given me a sense of self, my words are mine and they are valid no matter what the critical eye says, it is my view conveyed in ink splashed by me in my true colors, nothing more nothing less open to whatever interpretation, my part done, words released to the universe to be absorbed Poetry has given me influence, influence in the reader, to taste and savor my the words, spiced with the different colors of ink, a reflection of what was yesterday, what is today and what could be tomorrow. Poetry has given me a new family, a family of wordsmiths, new friends, no questions asked, only unconditional acceptance of who I am and want to be, critiquing is always positive for growth

Magodo-Mutukwa sings to Legendary Marechera.

Silent waters run deep. Award winning Catherine Magodo Mutukwa is a writer and then advocate of girl child rights. A purveyor oftruth and peace. Her writings are the harmonica to the reader’s soul. Her poetry carries tambourine in its lines. The rhythm attached to her verses is biblical as well as mesmerizing. She is a pen slinger par excellent, writing on the palm of this our earth against gusts of human violence and earthly crimes.Magodo Mutukwa is published in numerable journals across the world . She has more than five published books under her literary belt . She an international and seasoned bundle of talent.

Ugandan Protest Poet dares Autocrats.

Her pages drip with blood of autocrats she killed with the acid of her satire .Afroetry MA prunes naked the egoistic and chauvinistic dunderheads , discard them into the streets of humiliation .She writes her imagery on the hardened palms of city laborers and spits her ink to enlighten the sandy hearts of poverty tired peasants . Afroetry’s paradoxical lyrics cast out racial demons of unrepentant morons not willing to embrace tolerance as a tool of modernity and human existence. She sings her rhymes to the now cold hearted sisters strangled to inferiority by violence and vagaries of negative traditionalism- Mbizo Chirasha (is the Curator of WOMEN OF RESILIENCE JOURNAL).

INSPIRING SOLIDARITY THROUGH WRITING: Prof Joanna Cockerline.

“For far too long, the traditional publishing industry – and many facets of the larger arts scene – has, like much else, been divided into “haves” and “have nots”. Those in power have controlled not only the dominant discourses, but access to who is able to share what, and how. Too often what is deemed “literature” or “art” reflects not quality (a problematic category unto itself!), but rather, which mirrors the dominant power structure of a given society. Traditional publishing structures have often posed a series of closed doors, selectively open to a privileged few, and only on certain terms. The ability to access widespread readerships and audiences was frequently limited by – and to – those who controlled the means of production. Yet innovative grassroots publishing initiatives, many of which are emerging out of the African literary and cultural scene, have the power to change that. Increased online access has been democratizing the means of production. As Alexander Nderitu (www.AlexanderNderitu.com) articulates in his e-manuscripts Changing Kenya’s Literary Landscape and Changing the Literary Map of Africa, writers increasingly have the opportunity to empower themselves and share their work

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