Composed, arranged and performed by Neo Muyanga, this audio cd supplement was part of the Chimurenga Chronicle (October 2011) , a speculative newspaper which is issue 16 of Chimurenga.
Tracklist:
a) 1+1= (a re-composition of a 5000-year-old offering to Lord Ganesha, the Hindu deity, an opener of sorts)
b) 4:7 (heaven’s on the ocean is a proportional refrain on reaching nirvana, the 7th grade, via the mundane material world)
c) 3sin= rθ (sino projection technology theme)
d) 3(x)n (illegal border crossing and migration theme. composed for dancers)
e) e=mcx \rightarrow \infty (a true story about an explosive riot day with SADF soldiers who attacked Soweto on June 16th, 1985. Composed for those who got hurt)
f) ƒ:X→Y (horizon heart aflame. Composed for a lover)
g) (a summing of random themes theme)
h) 4x+2 (the 2 or 4 step theme)
i) y~ 6/8 (a travelling theme in 6 parts over eight. Composed for puppets)
j) y\ge \!\, 6/8 (a running theme in 6 parts over 8 )
k) 1/4° (a kota bread theme. Composed for skolies and thieves)
l) (a perpetual circle. Composed for an apartheid-era multi-racial soccer club)
The Geography of Fixed Things: Eastern African Artists from the ARAK Collection by EN Mirembe (Arak Collection, 2025)
The Geography of Fixed Things explores the intersections of space, identity, and belonging, as inspired by Lucille Clifton's poignant poem “for the lame.” The publication was curated by E.N Mirembe in 2023. Mirembe works with art as a curator, editor, writer and researcher. They were the first ARAK Collection 2023 Curatorial Residency Fellowship Recipient.
In 1937, and for many years after, Makerere University’s art school was the only one in Eastern Africa. This later changed but many Eastern African artists of the time were trained there. Ngugi wa Thiong’o, Kenya’s foremost writer, also attended Makerere College as it was the best school in the region at the time. There was mobility throughout geographies that informed (Eastern) African cultural production. At a time when nation-state boundaries were being so clearly defined, artistic production continued to extend beyond and quite frankly could not, cannot be contained within the ideological fiction. The history and continuing contemporary moment of cultural work in Eastern Africa defy the logic of cartography and are an exercise in connecting beyond the fixed lines. It is within this tradition that this publication is situated.