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Latest On DJ Fantan's Arrest – ZimEye – ZimEye – Zimbabwe News

Latest On DJ Fantan’s Arrest

12 May 2022

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By-Prominent Zim-dancehall music producer, DJ Fantan, has blasted the state-controlled tabloid, H-Metro for publishing “falsehoods’ against him

DJ Fantan, real name Arnold Kamudyariwa said H-Metro lied that he was arrested for bashing his wife.

H-Metro reported on Wednesday that Fantan was arrested for assaulting his wife, Gamuchirai Nemukunyu.

The music producer has since posted on his Instagram page a copy of the ZRP document that reveals the charge he is facing.

According to the document, Fantan was arrested for breaking teapots, wine glasses, dishes and jugs that have a value of US$250. The docket reads:

The accused person is the complainant’s husband he broke the above property after a misunderstanding.

The incident occurred on Monday 2 May 20222 between 6.30 PM and 7.20 PM and was recorded at the police station the following day on Tuesday, 3 May 2022 at 9.02 AM. Fantan’s Instagram post read:

A copy of the docket with real charges has surfaced and nowhere on the docket does it say Fantan beats women.

This information is contrary to what Journalists from the H-metro Tabloid claim to have been told by “police”. H-Metro told the world yesterday that I lock up my wife and beat her.

You told the public that I had been running from the police which is also another lie. Ndakakutadzirei kusvika pakutsvaka nyaya.

I know mune pride but you owe me an apology for cyberbullying and smear campaign against me.

I would never raise my hand on a woman because I was raised by a strong woman zvekuti in my heart it hurts to be called a wife beater. God knows the truth.

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The singer who stood against all odds – NewsDay

Shazia Bashir

Kashmir’s women singers have pushed the art of singing to new heights and entertain people not only in the valley but at global level with their soothing voices.

One among them is Shazia Bashir. She was born in Thajiwara village in Achabal, Anantnag in South Kashmir. She started singing songs at the young age and her work was appreciated widely in Kashmir. Later, she started her singing career in 2007 with a TV show called Milay Sur of DD Kashir.

Shazia was selected in Milay Sur in the first audition and with this opportunity she got very famous and developed more interest in singing.

“We were four participants in the TV show. I was the only female. I had never expected that I would be winner of that program which gave me confidence,” she said.

From 2008, Shazia started singing Kashmiri songs and she got lot of love and appreciation from people from all corners. In 2009, she started singing at Radio Kashmir (now All India Radio Srinagar) and there she got an opportunity to explore more.  She also recorded many playback songs and participated in many shows and she loved to do it.

Her rise to success came with struggle, hard work, and perseverance. Recounting her struggle, Shazia said she used to travel every day by bus from Anantnag town to Srinagar and it was a very difficult experience to reach back home in late evening hours.

“During evening hours, my parents used to receive me on the main road and they would come with a light in their hand. But I was lucky to have my father who supported me all the time. My brother and mother also encouraged me,” she said.

She said it was very difficult to become a singer that too in Kashmir. “There were tough days which I faced. But we have to move ahead and pursue our dreams to make our life and living better. I am very thankful to the people who were always there for me,” she said.

Shazia said singers and artists especially females have to face negativity from some section of society but they have to fight it in order to succeed in their life.

“Choosing singing in a village was a difficult task in many angles. In villages people see such career choice differently,” she said.

Shazia, said there was a time when she got disturbed with the negative attitude of people and she decided to leave the profession. But, due to her determination, she continued singing and is in this profession from last 14 years.

She said that she is happy over the fact that many young artists including females are moving to arts, music and Bollywood. She calls it an encouraging sign.Shazia said there is no second option to hard work and hard work pays off.

“In any field, hard work is the key to success. Those who aspire to come in this field should come forward and pursue their dreams,” the young singer said.

Shazia sings in different language but, she says, her priority was and will always be to promote Kashmir language (her mother tongue).

Talking about promotion of Kashmiri language, she said the government should appreciate and recognize those who are working for the promotion of Kashmiri language.

“I don’t think there is any official platform to learn and contribute to the language in spite those who have setup the personal platforms are also least recognized,” she said adding, “The government should provide financial supportso that we also have some officially recognized institutions or platforms where one can learn and contribute to Kashmiri language.”

In 2012, Shazia was honored with the Naseem Akhter Memorial Award and the Bakshi Memorial Committee Award in 2014.

In 2014, her father passed away but she did not lose hope and continued to singing. In 2015, she sang in London and two years later returned to India to sing at the Sher-i-Kashmir International Conference Center in Shashrang.

In 2016, she received Sangeet Natak Akademi Puraskar, an award given by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama. It is the highest Indian recognition given to practicing artists. She got it for her notable talent in the field of folk music of Jammu & Kashmir.

She is known for her voice not only in India, but also in other countries of the world.She has traveled to various parts of the world including United Kingdom, London, Australia and many other countries. Besides performing in light music, Ghazal, Sufi, Hamd and Naat genres, she has been singing Kirtan, Bhajan and Lila for Kashmiri Pandits at Jammu migrant camps.

In 2017, she got an opportunity to perform in Dubai and in 2019 she performed in Turkey.

Shazia had studied under such composers including Shri Krishan Langoo and Shri T.K. Jallali. She sang under the baton of Waheed Jeelani and with Munir Ahmad Mir and Qaiser Nizami.

She represents all-girl Pragaash band. She had sung songs by Raj Begum, Naseem Akhter, Gul Akhter, Shameem Azad, Kailsah Mehra, Darshana Mehra, Arrti Tikku, Jameela Khan, Shaista Ahmad, Mehmeet Syeed, Rashida, Tehseen and Akhter brothers among others.

She has also worked for Shehzadi Simon of Doordarshan Kendra and Humayun Qaiser of Radio Kashmir in Srinagar where she sang Ghazals in Urdu language.

Last year, she got ‘grade A’ in light music by the All India Radio (AIR) which is itself a great achievement.

There is a famous audio of one of her songs Tche Kamu Soni Maini on YouTube—believed to have been written by poetess Habba Khatoon and sung by generations in Kashmir—which has got millions of views on the internet. – RisingKashmir

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Mutema challenges traditional presentation of art – NewsDay

Anne Zanele Mutemas

BY NYADZOMBE NYAMPENZA
THIN barriers and empty spaces welcome the visitor to Anne Zanele Mutemas’ current exhibition at First Floor Gallery Harare, which is titled Ranezuro Rangu Ngariziye.

Unlike strictly observational works such as sculpture and painting Mutema’s latest conceptual work invites the audience to step inside and experience it for themselves.

Instructions posted at the entrance to the gallery give visitors specific directions to follow before entering the space.

There are two sections titled Black Room, and White Room. The Yin and Yang colour-coding the two sections invoke contrary experiences.

In the White Room curtains of soft white lace fabric open to envelope the visitor into several pods designed to activate in seven different ways.

Inside these cocoons the visitor is induced into sensory experiences that engage with scent, touch, sight, warmth, absence, elevation and constriction.

An engagement within the White Room does not induce profound emotional reaction, but unveils an instant acute sense of self-awareness.

It may seem like a cheap reward, but being able to feel something cannot be taken for granted in the age of self-abuse and exploitation that numbs the senses and takes away vitality leading to mental and physical deterioration.

Described as “motion activated sensory meditational baths”, instructions to the Black Room read: “Wait a couple of seconds for eyes to adjust to the dark. Once your eyes adjust proceed around the room using the sense of touch to feel where a cubicle is. Once you identify the opening and open the curtain a light automatically switches on. Get inside the cubicle, step into the water while shoe bags are still covering feet/worn. Put headphones on, relax and connect.”

In this part of the installation the audience is ushered into a dark space where they have to grope their way around in order to find a cubicle and engage with the work within it.

In the cubicle a dimmed purple light turns on and the headphones emit the prolonged buzzing sound of delta wave music playing on a loop.

The sound induces a relaxed meditative state. While the tingle of cold water on the feet distracts the conscious mind, the sound elevates the subject from physical self-awareness into cosmic consciousness.

Disentangled from the concept of self, Ranezuro or the past in the title ceases to be historical.

People, who visit the gallery, usually expect an experience derived from a detached point of view. The audience is discouraged from touching or getting too close to the work of art.

Conceptual installation artist Mutema invites the audience to breach the contact barrier. Her work pushes the boundary on perception and understanding of contemporary art, on Harare’s arts scene.

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Yuri Suzuki designs “sound conditioner” The Ambient Machine – Dezeen

Sound artist and designer Yuri Suzuki has launched the Ambient Machine, a device designed to create atmospheric sounds for “non-active listening.”

The wooden sound machine, which has a bright-yellow cover, contains eight different types of sounds, including bells, ocean waves, white noise and bird song, with all sounds able to be combined with one another.

By flicking the machine’s 32 switches, which also control volume, effect and speed, users can mix and match the different sounds to create their own unique soundscapes.

Ambient Machine by Yuri SuzukiAmbient Machine by Yuri Suzuki
The Ambient Machine has 32 switches with different sounds and settings

Suzuki, who is a partner at design consultancy Pentagram, drew on an earlier project when creating the Ambient Machine.

“It started from my project in the Stanley Picker gallery Furniture Music exhibition,” Suzuki told Dezeen.

“That was music and sound designed for non-active listening, for creating atmosphere; the idea started with Erik Satie and was then developed further by Brian Eno,” he added.

Switches on sound machineSwitches on sound machine
Yuri Suzuki wants everyone to be able to design their own audio atmosphere

Suzuki also became more interested in ambient sounds during the UK coronavirus pandemic lockdown, leading him to play around with surrounding sounds.

“Then we all experienced pandemic lockdown, we had to stay in one place more than ever, and I started recognizing surrounding noise and ambience more,” he said.

“I came up with the idea to make a device that would function to create ambience, and act as a ‘sound conditioner’ (like an air conditioner),” Suzuki added.

“In Japan in ancient times, there were always sort of non-active instruments to create atmosphere in the space, such as wind chimes – Shihi-odoshi – and water piano caves.”

Walnut wood boxWalnut wood box
Walnut wood was chosen for the box

The Ambient Machine is made from walnut and printed circuit board (PCB) and has an internal memory card that holds the sound data, as well as an internal speaker that sends the ambient sound out from the back of the machine.

“[The design] came from my old sketch while I was studying at Royal College of Art; somehow the shape stuck in my mind,” Suzuki said.

“The reason that I selected wood and yellow color composition is in reference to old electronic household equipment,” he added.

“Also my influence came from Japanese artist MaywaDenki, where I used to work. The structure of the box is referencing to a speaker box to ensure good acoustics.”

Designed to be relaxing, the sound options on the machine also include long, drawn-out tremolo drone tones, stutter pad – which Suzuki describes as sounding “almost like the flapping of a bird’s wings” – a ukulele rhythm recorded on an old cassette tape and echo kalimba, a traditional instrument originating with the Shona people of Zimbabwe.

“Each of the sounds can be enjoyed on their own, but are also built to be mindful of each other,” Suzuki said.

“Each sound is designed to allow the other sounds room to be heard when played all together, ensuring that no matter what combination of sounds is played, no voice is ever lost.”

Bright yellow sound machineBright yellow sound machine
A bright yellow front contrasts the wooden machine

Suzuki hopes that the device will be used by people to create a soundtrack for their everyday lives.

“I think this will be a unique opportunity for everyone to decide the soundtrack of the day, and it’s also all customizable,” he concluded.

“Due to the pandemic we are more spending time in our homes, so it is beneficial to create a comfortable sound environment in the home.”

The Ambient Machine was designed in association with Japanese furniture company E&Y and featured in its “Thirty Six Views” Exhibition in Roppongi, Japan.

Other recent projects by Suzuki include an interactive installation in London that lets people communicate through tubes and an adaptable soundscape for electric cars.

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