This project is inspired by a 1958 field recording of a Bamum girl singing a religious song in Fumban, West Region, Cameroon, recorded by Lois Mitchson on a ¾-inch reel tape. The archival voice forms the emotional and conceptual core of the project. The recording of the young girl singing praises about the Sultan Njoya who was part of the monarchy which dates back to the fourteenth century, is sampled and fused with layered percussion, reflecting the rhythmic richness of traditional African music, where percussion functions as both structure and communal expression. The title “Mwana Wevhu”, meaning “Child of the Soil” in Shona, draws from my Zimbabwean heritage and speaks to ancestry, land, and spirituality. Musically rooted in 3-step house, a South African subgenre of electronic music, the project blends Central African archival sound and culture, Southern African rhythm, and Zimbabwean language and identity. This intentional cross-regional fusion symbolises the idea that Africa is one, diverse in culture yet deeply interconnected. “Mwana Wevhu” bridges past and present, tradition and innovation, using music as a unifying force.Bamum girl singing religious song reimagined by NdiniBeatz.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

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