Healing in Oyam

by Anaka Morris



We are writing to you to present Healing in Oyam, a tentatively titled project which aims to bridge a gap between people of color healing from genocide through art. In 2014, Anaka went from Los Angeles to the Oyam District, Uganda with a group of students from the University of California to volunteer with Global Health Network, Uganda. This program helps the healing process of this area by creating networks for the women in the villages to build up their community with health and social resources. Now, Anaka will bring a team of artists from South Africa and the United states who are all creators of different kinds to learn and share knowledge of healing through creating art and spending time with the Earth. We plan to do this project this upcoming May in order to take advantage of the current situations of the world forcing humans on a global level to elevate in consciousness.

The project focuses on how we can increase healing from genocide through creating within the forces of intuition that come from the universe. Art is the source of channeling peace within communities that are growing from a history of violence. Ancestrally, the South African and American members of the team have traumatic violence in their DNA. As a result, we beam through this life as warriors of light in order to heal our own personal traumas as well as the violence of our ancestors through channeling artistically. The creators in Oyam are healing from a very recent genocide a little over ten years ago at the hands of Joseph Kony & this Lord’s Resistance Army. Having to build literally from the ground up, the community of Oyam is a place of rapid healing. Bringing the two groups together will create a never before seen a collaboration of art with the purpose of creating to change the frequency of the world.

We plan to arrive in the Oyam District at the beginning of May and firstly volunteer with Global Health Network, Uganda. The organization run by Ugandan Dr. Bob Marley Achura has four program areas: maternal & child health, livelihood & income generation, sanitation & hygiene, and school health. Here is an excerpt from Evan Pye, a student from USC who led Anaka’s group in 2014 and who is now working there full time:

            For these programs, we train community health workers, organize community groups to meet on a weekly basis to save money or learn about health, distribute drugs and immunizations, teach groups about family planning and sexual health, train school health leaders, form school health clubs, and make home visits to check hygiene conditions. You can check out our updated website (http://www.ghnu.org/) for more info on all these activities. And, the women we worked with [in 2014] are still using the sewing machines [we donated]. In fact, we've restarted the tailoring project and we sold $1500 worth of bags and T-shirts to two USC student groups last month.”

Within the first week of volunteering, we will meet with the artists in Oyam who would like to work with us. We will brainstorm the many ways we can create together, through dance, singing, filmmaking and photography and more. First, we will discuss how we would like the creative process to be equal. Then we will talk about what we have all been thinking about the current state of the world and how we can translate our healing into collaboration. After this first week, we will dive into the creation process for two weeks. 

In order to make this dream collaboration happen, we need your help. We need to raise AT LEAST $30,000 before May. The funds will be used for travel, food & hospitality expenses of the American & South African team as well as simple equipment and art supplies for proper documentation and archival purposes. In the hopeful event that we raise more than our goal, we will use the excess money to provide an equal salary between all of the contributors for working so hard on the projects we create! 


Hospitality/transportation to Oyam/ Food: $10,000

Flights: $10,000

Medication/vaccinations: $1000

Art supplies & Equipment: $2,000

Salary for Cape Town, South African & Oyam artists: $8,000 +

NOTE: When you donate, Hatchfund charges an extra 10% of your donation to their site to keep it going and for processing fees. This is a system in order to make sure that the money you donate to the fund goes straight to the project. Please keep this in mind when you are deciding how much to donate! 



Anaka is the founder of Imagery is Infinite™ Archives, which serves to preserve and protect conscious art of color being created today from being owned by colonial powers.

"I am an active storyteller with the mission to protect the Earth and learn from as many beings as I can along the way. In 2012 I began Imagery is Infinite™ Archives, which serves to document the conscious artistic movements around the world in areas that have been colonized. I am a professional photographer and filmmaker. During my time in undergrad from 2012-2016 in Los Angeles, I was working in the entertainment industry and the underground conscious artist movements. I curate Silient Zine, which archives the work of artists I meet creating from the Source (rather than being an artist in order to oversaturate the media waves).

Besides doing projects such as these, I am developing my own forms of movement meditation and also find tranquility within the art of collage. I enjoy making murals out of collage work and also encouraging movement within the public space as a healing process. I am on the quest to re-learn my ancestral knowledge through artistic channeling."

Website Instagram

Alima Jennings

Alima Jennings is an art director, filmmaker & designer based in Los Angeles. She explores different facets of art through the production of the music videos she shoots, directs and edits. Alima releases many of her projects through a music label she cofounded, Akashik Records and a magazine created last year called 1994. Her goal is to create more platforms to help other POC artists and use film to explore herself and her work as a multicultural African American woman who’s stories are often overlooked. 

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Chaze Matakala


My name is Chaze Matakala and I am a visual poet.

 I was born in Vancouver, to Zambian parents, and raised in Maputo. The past decade has seen me musing in South Africa, pursuing ‘education’ and finding pockets of higher consciousness along the way.

 I am the great granddaughter of His Royal Highness Lubosi Lewanika and the granddaughter of His Royal Highness Mwanawina Lewanika 111 KBE of the Lozi Kingdom in the Western Province of Zambia.

 Land as Pedagogy, Hybrid Identity, and Indigenous Knowledge are at the core of my artistic and academic practice.

 I am near completion of my BA(Hons) in Heritage, Public Culture, and Documentary Filmmaking at the University of Cape Town.

I am a world citizen navigating the colonial matrix of power; disseminating benevolent propaganda through the mediums of photography, film, and collaboration with artists using their practice for the healing of self and Gaia. 

My craft is embedded in border thinking and decolonial aesthesis; As I ascend the tree of knowledge, a bright future I envision for the imminent (r)evolution of humankind."

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Penda Diakité

Mixed-media Artist, Designer, and Filmmaker Penda Diakité grew up between her two homes in Mali, West Africa and Portland, Oregon. As a result, her artwork is a reflection of these blended cultures, and as her pieces often illustrate a visual commentary on historical West African tales and how they co-exist among popular media's portrayal of people of color. She often adds her experiences as a bi-cultural woman of color into her work. Penda graduated California Institute of the Arts, with a BFA in Film/video and a minor in Cultural studies. She is currently based in Los Angeles.

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Nazlee Arbee


Nazlee Arbee is a 21-year-old artist, writer, and scholar based in South Africa. Merging different forms of art together such as poetry, rap, photography and storytelling, Nazlee's work seeks to reimagine history and the future.  With a background in activism and childhood exposure to healing practices (such as Ayuverda), an ongoing project of theirs is to both uplift and heal. They are a potion of the ashes that rise. Queer, Trans, African and Muslim,  Nazlee seeks to connect the diaspora and global south through collaborative storytelling."

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Blackbird 333"Peace, I am Blackbird. Originally from long beach California, given the birth name Jolynette White. I enjoy engaging in mind, body, and soul healing practices that clear and heighten my sense perception. Yoga, meditation, reading, and ritual dance are how I choose to honor myself daily. When I give myself this sacred time and love to flow, I have strength and courage to sharewith my community. I believe this is my service. My life path is 33/6, I aspire to heal myself as well as the world from sexual trauma through the power of love."Madenna Ibrahim

"Madenna Ibrahim is a community organizer, and arts enthusiast currently based in Portland Oregon. The mass of her work is based on visual design, varying in several different mediums. She began working with her direct community in 2011 through her work with the city of Portland and formed new bonds in 2015 after co-founding DUG (Deep Under Ground) an arts and music platform that curates intentional gatherings in support of local artistry. Through organizing and making art her intention is to uplift individuals and synchronize different avenues of expression."

Giselle Le Roux


My marginal experiences of ethnicity, economic access, space, culture, religious practice and spiritual consciousness allowed me, from a young age, to develop an attitude of resistance to dominant and popular narratives, which I could not fully identify with. My inborn interest in social dynamics led me to dissatisfaction with the larger, dominating systems, and I found myself intuitively interested in exploring ancient societies, mystical bodies of knowledge, fantasy, science-fiction, occult, and utopianism – to understand more compassionately the heritage of our present day cultures on both a macro and micro level.

As a result of experiencing marginalisation and having found my independence at a young age, I was able to investigate the complex dynamic of community and individual. It is through thorough, intense and wholesome self-awareness, interrogation and transformation, as well as coherent balance that I navigated this fundamental phenomenon of existence and eventually developed an interest in universal symbols - which link me on a deeper conscious level to the collective consciousness, to that which every being can connect. I believe the roots of our collective consciousness hold the key to transforming society effectively, as it leads us to the most powerful and profound parts of our knowledge as a species from the beginning of our existence, knowledge which is ingrained in our genetic heritage, and in the deepest consciousness which all of humankind shares as One. This is the key to effectively evolving humanity.

Going to the roots of humanity means investigating the source of human memory and knowledge – which I believe is strongly possible to be contained in certain parts of Africa and carried in the awareness of people in these regions with much more conscious assimilation into everyday life.

My participation would contribute towards creative solutions in investigating the collective consciousness of people in these regions, and how they assimilate their profound ancient knowledge into everyday life with an informative awareness. I aim to intuit creative ways to open space, discussion, and expression for the connection of collective consciousness between us and locals, and record this in a respectful way.

My art channels my subjective experiences of space, place, time and memory into a mapping of collective and personal symbols that form a kind of hieroglyphic landscape. This is the beginning of a development towards creating a personal utopia in which my art self-generates, operates and destructs cyclically. I believe this utopian approach is timelessly relevant, as it reflects the reality of people experiencing the same spaces, places, and people completely differently to one another – as a result of their own projections of association, memory and experience onto the physical landscape, but in the light of hope/anticipatory consciousness.

What is being described is an experience of space as more than just the physical, and the images and symbols allude to points of universal and individual consciousness in a manner that is personal and thus more honest, while simultaneously being less compliant to the dominant narratives. The in-access of my experiential narrative to the viewer, thematically reflects a long-held curiosity and interest in the schools of mysticism, which have largely informed my becoming and being as on-going and transmutative.

Representations of spatial experiences, beyond the physically sensual, are also described through music, poetry, thoughts, spoken words and phrases that I find significant in the moment as they indicate points where my individual and the surrounding collective consciousnesses meet, irrespective of linear conceptions of time. I aim to develop a stimulating visual language that subverts dominant methods of transferring enlightening knowledge and initiates the possibility of broadening the consciousness to a more truthful level – as currently recognised forms of language perpetuate the oppression and exclusion of the marginalised; reinforce the flawed and failing dominant system; and dictate dishonest limitations on the experience of the unique self to hold people as unconscious slaves to the dominant simulacra.

I hope to stimulate the viewer’s consideration of their own participation in the creation of the work through becoming aware of their own projected associations with what they see, while honestly describing myself through my own multi-dimensional and cross-cultural experience of my own reality - through immersing myself in channeling a number of profound collective experiences.

My experience includes a lifetime of artistic creative exploration; 10 years of dancing (loose mixtures from ballet and jazz to gogo); a certificate in the fundamentals of photography; a diploma in sound engineering; light experience with musical instruments (guitar, piano and keyboard); the organisation, management and curation of the Food For Life Fundraiser exhibition August 2016 in Cape Town; exhibition in the Tall Tales collective exhibition; artistic exploration in a number of mediums from photography and sound to sculpture, drawing and print media; and I am currently completing a degree in Fine Arts at UCT, with electives in religion and anthropology. I am also a self-studied astrologer and intuitive healer. I am also interested in developing new, sustainable and accessible methods of sustainable self-healing and interested in social and environmental activism. My passion and dominant direction of energy lies in working with children – as they are the truth, the seeds of change and the future."

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