Radio Continental Drift

Claudia Wegener sent these links: radio continental drift


a broad casting house in the bag of a listener
out to here unheard voices
a branch of the growing networks of sound workers,
audio artists, radio communities, and the street corner academies
of listening and broadcasting
around the world
radio is happening
when people loiter in public places
the air is free!




Original recordings re-mixed in the audio track can be accessed, downloaded & used under creative commons share-alike licence. They are archived as part of a conversational journey & audio media road workshop in Kenya & Uganda in May -September 2010.
1. http://www.archive.org/details/Gulu_Songs_of_Wisdom
2. http://www.archive.org/details/Gulu_Songs_of_Wisdom_245
3. http://www.archive.org/details/Gulu_Songs_of_Wisdom_649
4. http://www.archive.org/details/Gulu_Songs_of_Wisdom_657
5. http://www.archive.org/details/Gulu_Songs_of_Wisdom_863

featured producers (in the order of their appearance part 1 & 2):

Takscentre, LOCAL ARTS & CULTURAL CENTRE http://www.takscentre.org
(contact: David Odwar (9) davidodwar@hotmail.com, Santa Joyce Laker (1) health_gulu_ug@yahoo.com )
Mega fm LOCAL PUBLIC BROADCASTER pka "Radio Freedom" megafm@bshnet.net (contact: Nicky Afaya (2), producer afaya7@hotmail.com, Okot Juma Jammieh)
TAILORS WORKSHOP @ GULU MARKET
(Acan Jennifer (3), Agnes Odoch agnes.odoch@yahoo.com, Ajok Lilian, Aber Khevine Vicky)
Gulu MC's interviewed:
AshBee (5) http://www.myspace.com/ashbee , DN (4) & Babu (aka Kites) (5)
Breakdance Project Uganda GULU BRANCH http://www.myspace.com/breakdanceprojectuganda;http://www.youtube.com/user/abramzt
(contact: Josh Jones, coordinator joshjones85@gmail.com ; Dennis Kilama (10), Latim Simon Peter; Benson (6), Bernhard, Ivan, Caroline, Brigitte)
The Remnant Voice HIPHOP PROJECT FOR STREET CHILDREN
theremnantvoice@yahoo.com (7) (contact: Ogen Rwot Jefferson http://www.gulucommunitychurch.com ; Ogen Rwot Felix)
Bosco Uganga BATTERY OPERATED SYSTEMS FOR COMMUNITY OUTREACH http://www.boscouganda.com , contact: info@boscouganda.com
Joseph Okumu, director; Stella Akiteng (8), project coordinator; Alfred Kilama, technical assistant)
Alimucan Janet, pupil at Gulu Central High School
for contact details see also: hhttp://radiocontinentaldrift.wordpress.com/radio-communities/ 

KNN: Kibera News Network

http://kiberanewsnetwork.org/

The images and voices of the Kenyan shacktown in Nairobi are posted to the internet.

Sinpare: Hip Hop from Kenya

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Over the last five years Sinpare has continued to work with other young hip hop artists, poet and activists, not only to perform but organize peace concerts and does very useful community work. For instance in early 2008 at the height of the post election violence, Sinpare used his own resources to stage an audacious peace concert in the heart of Kangemi, appealing to ghetto youth to shun violence and uphold inter-ethnic harmony because they all shared the same a common Kenyan identity. On the same issue of Kenyan identity Sinpare has been adamant and passionate he usually eschews his given birth names in favor of his stage name as a protest at the rampant tribal habit of pigeon holing Kenyans based on their surnames.
There is a video Sinpare composed 8years ago that eerily fore told of the 2008 violent clashes in Kenya. The song Jivunie Ukenya “Be proud of your Kenyan identity” opens up with a group of urban youth accosted by policemen doing their nightly patrols. One by one each youth identifies which tribe he comes from when asked. It is only the one played by Sinpare himself who identifies himself as a “Kenyan”. This intro then leads to a musical denunciation of tribalism and the politically motivated clashes instigated by the elite who divide Kenyans a long ethic lines. Other songs of note by Sinpare include militant revolution featuring the late Angel “Angela Wainaina” and Ran-D and One more step from the album mental revolution, more fire from the album Mabepari and wololo yaye from the album arm too Korrupt.ver the last five years Sinpare has continued to work with other young hip hop artists, poet and activists, not only to perform but organize peace concerts and does very useful community work. For instance in early 2008 at the height of the post election violence, Sinpare used his own resources to stage an audacious peace concert in the heart of  Kangemi, appealing to ghetto youth to shun violence and uphold inter-ethnic harmony because they all shared the same a common Kenyan identity.  On the same issue of Kenyan identity Sinpare has been adamant and passionate he usually eschews his given birth names in favor of his stage name as a protest at the rampant tribal habit of pigeon holing Kenyans based on their surnames.
There is a video Sinpare composed 8years ago that eerily fore told of the 2008 violent clashes in Kenya. The song Jivunie Ukenya “Be proud of your Kenyan identity” opens up with a group of urban youth accosted by policemen doing their nightly patrols. One by one each youth identifies which tribe he comes from when asked.  It is only the one played by Sinpare himself who identifies himself as a “Kenyan”. This intro then leads to a musical denunciation of tribalism and the politically motivated clashes instigated by the elite who divide Kenyans a long ethic lines. Other songs of note by Sinpare include militant revolution featuring the late Angel “Angela Wainaina” and Ran-D and One more step from the album mental revolution, more fire from the album Mabepari  and wololo yaye from the album arm too Korrupt.

Slum TV

Slum TV is a volunteer project run from a room in Nairobi's Mathare slum. Films are are produced by and shown to the slum's residents in public screenings.In the Mathare slum of Nairobi, a project conceived at the intersection between art, actionism and social study has caused quite a stir in recent years. SLUM-TV was founded by Austrian and Kenyan artists and has, as such, been producing sitcoms, dramas and short documentaries, which are presented in public places in the form of a newsreel and later streamed online and archived, since 2007. The local team – the inhabitants of the residential area – define the contents themselves and are also in charge of the realisation. These productions thus bear aspects of local historiography, enabling a social class misrepresented by the mass media to present itself.

SLUM-TV does not give stage directions or dictate themes, because it is concerned with the self-empowerment of those who are often made out to be ”powerless“ by the hegemonic discourse.

The aesthetics used for media campaigns in connection with AIDS prevention, wars, hunger crises and natural disasters also have a great impact on site. The local media are full of articles and reports appealing for donations with familiar stereotypes (small children with big eyes). This way, they create an aesthetic dispositive which seems to suggest that the only way to get media coverage is with images like these. SLUM-TV attempts to show that this can be done differently.

With strategies from fine art, with the means of performance and intervention, SLUM-TV creates a discourse breaching familiar forms of representation and transgressing conventional fields of action associated with classic community channels.