Workshop: Trading Art on the Blockchain 

Facilitators: Lady Light and Lrdmnd 👩🏿‍💻

Venue: Open Window University, Cheetah Road, Kabulonga

Entry: FREE

Date: Saturday, 11 May 2024

Time: 09:00 to 16:00 hours


Register: 0955065455 👈🏿

Artists will learn how to trade products and earn income on the blockchain. 

Please get a VERIFIED YELLOW CARD ACCOUNT before the workshop. ✨️

Come with a phone, tablet or laptop.

Bring digital artworks such as e-books, audiobooks, pictures, videos, songs, photos, stories, scripts, designs, poems, etc. 🤳🏾

Lady Light and Lrdmnd will explain how to mint artworks, transact NFTs, and profit from Web 3.

Workshop: Writing About Space

Facilitator: Anna Zgambo 

Date: Saturday, 20 April 2024

Time: 14:30 to 17:30 hours

Venue: Amaka Lodge, Leopard's Lane, Kabulonga 

Entry: Free

Participants will explore the craft of spatial imagery. We will write about space and give each other feedback.

Register: 0955065455

This workshop is part of The Critical Language of Intervention, an exhibition curated by Banji Chona in partnership with the Museum of Women's History and Open Window University.


Research conducted at the University of Zambia confirms that spatial imagery deepens poetry.

Bandana Sinha Kumar, a literature lecturer at UNZA, found that poets achieve complexity when creating images of space.

“The Poetics of Space recognises lived-in places like houses, drawers, nests and the universe,” Kumar said in the Department of Arts, Languages & Literary Studies.  

Referencing Gaston Bachelard’s Poetics of Space, the study suggests that spatial figures may stimulate the imagination.

“A poem like ‘The Hollow Tree’ by John Clare exemplifies the Bachelardian model of space as shelter,” Kumar explained when defending research conducted for her PhD in Literature.  

In poetics, space includes the sensations and emotions around landscapes, buildings, areas, rooms, sites, furniture, containers and places.

“There is a connection between the act of imagination and elements such as fire, air, water, earth and space,” she said. “This study shows that there is a relationship between the elements and poetic imagination.”

Kumar argued that spatial imagery matters in the structure of poetry because space is a building block and a fundamental element after fire, air, water and earth.


The Women’s History Museum of Zambia met the Ministry of Youth, Sport and Arts on 30 January 2024. Mulenga Kapwepwe, Samba Yonga and Kondwani Vwalika engaged Minister Elvis Nkandu, Arts Permanent Secretary Chama Fumba, Arts Director Esther Ngambi and National Arts Council Assistant Director Mwiche Chikungu.

“The Museum is trying to empower women in overlooked sectors,” Mulenga Kapwepwe said. “In 2023, we trained a total of 58 women working in travel writing, photography, archeology, heritage and creative industries. Our aim is to support Government and find spaces in its Ministries and Departments so that we can collaborate and lend our talents to productivity.” 

The Women’s History Museum trained 26 women working in the arts sector. The Women Creatives in Tech Workshops taught artists to harness Web 3.0 technology. Cecilia Katongola, Marita Banda, Theresa Ng'ambi, Anna Zgambo, Vanessa Chisakula and other artists learnt how to use artificial intelligence and mint their artworks on the blockchain.

“There is always space for you in this Ministry,” Honourable Elvis Nkandu said. “Let us see if the Museum can have side meetings with artists at the National Youth Indaba. Please take advantage of our arts festivals to share your knowledge. You are helping Government. Please sponsor some prizes at the Ngoma Awards. We can mobilise more resources together. We know you as a hard worker.”   

Samba Yonga added that the Women’s History Museum is prepared to act as an intermediary to show private-sector partners the investment opportunities in creative industries. The Museum will soon unveil the dates of its 2024 workshops.

Top photo: Chama Fumba, Kondwani Vwalika, Samba Yonga, Honourable Elvis Nkandu, Mulenga Kapwepwe, Dr Mwaka Siluonde, Anna Zgambo and Esther Ngambi were photographed at New Government Complex on 30 January 2024.


Southern Writers Bureau held its fifth Literary Skills Clinic on 20 January 2024. Mutale Mazimba-Kaunda facilitated an interactive session on “Writing History” on Google Meet.

“You can incorporate history in fiction, nonfiction or poetry,” Mazimba-Kaunda revealed. “History is obsessed with time and chronology. This is why it is essential that you always have an outline of your work. Pantstering will not work. An outline will help you see early if the work flows both logically and chronologically. Like law, history is based on having a story (thesis/argument) and providing evidence that supports your story. This is why you need to take the time to research.”

Five writers read aloud their texts to a group consisting of Kachusha Nkosha, Steven Ariel Phiri, Asborn Muchele, Sumili Kipenda, Anna Zgambo, Jennipher M Zulu and the facilitator. Mukandi Siame, Musonda Mukuka, Mwila Chirwa, Trycent Milimo and Juliana Nthenya shared their history pieces and received guidance. 

“Thank you for analysing ‘Yes, It’s Sixty Years’ and criticising the poem,” Juliana Nthenya said in Kenya. “I now know how to integrate history in poetry. Southern Writers Bureau hosts very learned speakers, so it is an opportunity to grow our skills. I heartily express my gratitude to Sydney Muponda of Sotrane Publishers for sponsoring me to attend the Literary Skills Clinic.”

Southern Writers Bureau affirmed that the Literary Skills Clinic will take advantage of online gatherings to reach writers outside Lusaka. The next meeting will tackle persuasion in narratives.

Mukandi Siame will facilitate a session on “Persuasive Storytelling” on 17 February. Her prompt instructs writers to convincingly describe their favourite foods in 300 words or less.


The fifth session of Reading Dawes examined specificity and surprise. Twelve readers analysed the particulars and twists in “Coffee Break” (2013) by Kwame Dawes on 14 January 2024. 

They found that “Coffee Break” depicts death with concrete imagery and a shock ending. Thomas Chisengantambu proposed that the poem is surprising because the speaker misdirects readers with festive symbols.

“It was indeed Christmas time and the party was set and everyone was in the mood and the balloons were ready, but before everything could kick start, a friend who was probably sick needed some coffee,” Chisengantambu explained in Chililabombwe. “In the process of determining whether they needed condensed milk or cow’s milk in the coffee, the friend passed away. The surprise in the way the poem was formulated was that an almost-ready celebration suddenly turned into a sorrowful occasion.”

The group noticed that “Coffee Break” consists of specific details rather than generic images. Hazel Kalata suggested that Dawes demonstrates the difference between particulars and universals.

“From our analysis of ‘Coffee Break’ by Kwame Dawes, I have seen the use of specificity and surprise which I never considered before,” Kalata revealed in Monze. “More like an anecdote, ‘Coffee Break’ shows how the atmosphere changes from laughter and jokes to lifelessness. The man’s demise is surprising for both the speaker and the reader since death has no way of announcing its arrival.”

Finally, Anna Zgambo announced that the group will analyse metaphor and symbol in “Tornado Child” by Kwame Dawes from 17:00 to 20:00 hours CAT on Tuesday, 16 January.

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Read “Tornado Child”:

Listen to “Tornado Child”:

Participants: Mushasho Phiri, Hazel Kalata, Shepherd Mwale, Chipocm, Thomas Chisengantambu, Juliana Nthenya, Naomi Mulisa, Doreen Mwenda Official, Trycent Milimo, Precious Prez Zulu, Josphate Malamba and Everlyn Nambeye.


The fourth session of Reading Dawes tackled sensory imagery and feelings. Nine readers analysed sensation and emotion in “Purple” (2019) by Kwame Dawes on 12 January 2024. 

They found that “Purple” expresses fatherly love with visuals, textures, sounds, flavours, scents and movements. Precious Prez Zulu observed that Dawes explores the potential of colour to stimulate the body and imagination.

“I’ve learnt that there is much more to colours than just colouring our world,” Zulu said in Samfya’s Medical compound. “Colour also adds flavour to our thoughts. Furthermore, we colour colours by recognising their essence and what they symbolise. In the poem, the father sees, smells and touches the purple flower in contrast to the daughter who doesn’t appreciate the experience.”

The group noticed that Dawes avoids clichés and offers fresh images of fatherhood. Trycent Milimo acknowledged that “Purple” reimagines affection. 

“Dawes uses unpredictable imagery to express curiosity, love, fear, disappointment, care and loyalty,” Milimo shared in Ndola. “I can picture the father plucking the beautiful flower for his daughter. ‘Purple’ is a brilliant poem.” 

The fifth session of Reading Dawes will take place on Sunday, 14 January 2024 on WhatsApp. The group will analyse “Coffee Break” by Kwame Dawes from 17:00 to 20:00 hours CAT.

Read “Coffee Break”:

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Participants: Doreen Kutemba Mwenda, Trycent Milimo, Precious Zulu, Josphate Malamba, Eric Sinkonde, Everlyn Nambeye, Thandiwe Chibale Lungu, Madalitso Rodi and Anna Zgambo.


The third session of Reading Dawes focused on concrete and figurative imagery. Nine readers analysed the figures in “Trickster III” (1996) by Kwame Dawes on 9 January 2024. 

They found that figurative language dominates the poem. Chipo Chama, a finalist in the Ngoma Awards 2023, suggested that Dawes delivers figures to articulate the unsayable.

“Music is the language of the soul. It speaks to you in ways words can’t. That’s the main theme I got,” Chama said in Kamwala South. “I got to enjoy and learn the use of concrete images and figurative imagery in a balanced and aesthetic way.”

The group noticed that “Trickster III” has twenty concrete images such as “bassline,” “bass drum,” “sound,” “I,” “lead-guitar string,” “legs,” “waist,” “back,” “room,” “roaches,” “gecko,” “music,” and “morning” (Dawes, 1996). Anna Zgambo, citing Addonizio and Laux (1997), explained that concrete images are nouns that refer to literal content.

“Literally, ‘Trickster III’ portrays a person who is listening to music while dancing in his bedroom,” Zgambo said from Mtendere. “Therefore, words like ‘bassline’ and ‘sound’ are concrete images that describe a literal song. Figurative imagery appears when the speaker experiences the music as ‘molasses’ or ‘syrup’ in his imagination. Figurative language is imaginary.” 

Tactile and gustatory similes elevate the auditory image of a beautiful bassline when the speaker states that the song is “sticky like asphalt” and “wet like molasses heated nice and hot” (Dawes, 1996). In this syrupy snare, the listener of a good song is “like a fly catching light / in its rainbow gossamer wings / on top of a big-ear elephant” (Dawes, 1996). It took hours of close reading to appreciate that “Trickster III” has sensory depth.

“I am now able to identify concrete and  figurative imagery in the poem,” Trycent Milimo declared in Ndola. “It was an amazing discussion and I’m looking forward to the next one.”

The fourth session of Reading Dawes will take place on Friday, 12 January 2024 on WhatsApp. The group will analyse “Purple” by Kwame Dawes from 17:00 to 20:00 hours CAT.

Read “Purple”:

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Participants: Chipo Chama, Maliya Mzyece Sililo, Prez Poetry, Immaculate Sikanyika, Everlyn Nambeye, Trycent Milimo, Josphate Malamba, Chabala Mwape and Anna Zgambo.


The second session of Reading Dawes took place on 7 January 2024. Nine readers analysed “Dirt” (2013) by Kwame Dawes for ninety minutes on WhatsApp.

They examined the imagery in “Dirt” and found depictions of exploitation, slavery and manumission. Maliya Mzyece Sililo suggested that Dawes depicts inequity in labour and equality in mortality.

“The whole poem brings images of the haves and the have nots,” Sililo said in Meanwood Kwamwena. “The have nots work so hard to enrich the haves, and their efforts are hardly recognised. The comfort is that at death, the haves and the have nots will all own the same portion of dirt ‘where a body may be planted to rot.’”

Doreen Kutemba Mwenda noticed that “Dirt” deals with bondage and liberation. The poem portrays workers who realise that it is unjust for their masters to enjoy “the pleasures of ownership” while they own nothing.

“The labourers come to the realisation that enough is enough,” Mwenda explained in Libala. “They have laboured enough and gained nothing, so it’s about time they flee from these masters who benefit from their hard work.”

Everlyn Nambeye confirmed that “Dirt” addresses class consciousness in the workforce. Exploitation teaches the workers that land is a factor of production and power.

“Initially, the proletariat has no voice, but eventually they know what it takes to reach freedom,” Nambeye added in Samfya. “The poem expresses the pain that the proletariat endures and what they go through at the expense of the bourgeoisie. In the end, they both go to the grave.”

The other readers were Chelsea Musenge, M’shasho Phiri, Eric Sinkonde, Trycent Milimo, The Kings Speech and Anna Zgambo.

The third session of Reading Dawes will be held this Tuesday. The group will analyse “Trickster III” on 9 January from 17:00 to 20:00 hours CAT.

Join: +260955065455


Anna Zgambo’s group held the first session of Reading Dawes on 5 January 2024. Ten readers analysed “Talk” (2010) by Kwame Dawes for three hours on WhatsApp.

They agreed that “Talk” is an elegy in the lyric genre. The facilitator, citing Culler (2015), disclosed that lyric poetry expresses emotion with image, thought and sound.

“This elegy is not a narrative poem because it does not tell a story,” Zgambo said in Mtendere. “Dawes explores the emotional impact of August Wilson’s loud plays. ‘Talk’ is a lyric poem that describes painful feelings with auditory imagery.” 

Musonda Mukuka, a writer in Chamba Valley, mentioned that “Talk” has three stanzas that juxtapose silence in Black America with self-expression in Wilson’s stage plays. Dawes contrasts respectable restraint and expressive catharsis.

“The first stanza states the situation, the second stanza reveals what is needed, and the third stanza shows how Wilson fulfilled that need,” Mukuka explained.  

Audrey Tael Mulamba, an artist in Ndola, added that “Talk” delivers figurative language to tackle suppression and self-censorship. Thus, the poem portrays a culture of quietude in an angry community.

“‘Talk’ is a poem about holding in feelings,” Mulamba shared. “The people in Sumter are good at staying quiet, even when they’re upset. But keeping it all bottled up just makes their emotions heavier. Kwame Dawes hopes they can find the bravery to speak their minds, like August Wilson.”

Finally, the facilitator announced that Reading Dawes is a free course that will run for 12 weeks. The target is to read and analyse 36 poems by Kwame Dawes in the first quarter of 2024.

The group will discuss “Dirt” on Sunday, 7 January from 17:00 to 20:00 hours CAT.

Read it now:

Join Reading Dawes: +260955065455


Anna Zgambo, Maliya Mzyece Sililo and Laika Phiri attended Sotrane's picnic at CROSS PARK.

The three authors strolled in nature, discussed poetic language and wrote poems about wildlife.

Sotrane served lunch by the pool, and Maliya Sililo narrated a Tonga folktale.

Sydney Muponda, Rinah Kasongo and Taonga Kapesa encouraged writers to partner with Sotrane.

"We thank Sotrane Publishers for nurturing authors," Anna said at Cross Park on 4 January 2024.


Doreen Kutemba Mwenda and Anna Zgambo analysed Close to Enough by Emmanuel Chimantila on 30 December 2023.

Twelve readers attended the book review at Meraki Cafe. The group agreed that Close to Enough is a well-crafted romance.  

Zambian ARTS Publications announced that it will hold book review events every other month in 2024.

Doreen and Anna will analyse poems from Venus by Jimmy Kayika in February. 

Please order Venus to prepare for our next discussion. Thank you for supporting Zambian literature.

Buy Venus: 0976796297


Idembeka has chosen nine fellows for its 2024 Creative Writing Workshop.

The writers are from Zambia, Nigeria, Kenya, Lesotho and Cameroon. 

Idembeka had issued a call for submissions in November 2023. Applicants were required to submit fiction or poetry for adjudication.

"Your work was selected from a pool of very talented applicants from across the continent," Idembeka informed the fellows on 22 December.

The successful applicants include Anna Zgambo from Zambia, Florence Onyango of Kenya and Lesotho's Matseliso Motsoane. 

There are no participation fees, and the fellows will receive stipends from Idembeka.

"The workshop will be held virtually between the 9th and 13th of January 2024," the organiser confirmed.


Virtual classes will be taught by Uche Peter Umezurike, Jamal Mahjoub, Kasimma and Natasha Omokhodion.


Anna Zgambo has been selected as a fellow of the Idembeka Creative Writing Workshop 2024.

Commonwealth Foundation Creatives had shared the call for submissions in November.

She applied and submitted three unpublished poems.

Idembeka accepted the application and confirmed that the workshop will take place in January 2024.

"I thank Idembeka for giving Zambia this honour," Anna said in Lusaka. "I will represent Zambia as an Idembeka Fellow."

The Idembeka Creative Writing Workshop was co-founded by Frances Ogamba, Kasimma and Mubanga Kalimamukwento.