Soro Soke Workshop Session #1

︎Introduction

Soro Soke is an experimental interactive theatre workshop where we use wearable electronic instruments to co-rhythm an alternative archive of Nigerian protest and resistance (Tarka, 2024a).

On 8th November 2025, I held the first (public) Soro Soke workshop session as part of BAKÍ ÁJĀ’s Inheritances, a weekend of film screenings, performances, and lectures as “a space to reflect in communion on our inheritances” (bakiajaworld, 2025, no pagination) at Proposition Studios, Bethnal Green, London. The following report is constructed from images, videos, and discussions from 8th - 10th November 2025, and notes made on 16th November. These notes were transcribed and developed on 27th December 2025.

The weekend, curated by A’isha Odera, was an experimental and forgiving space, where many of us were sharing works for the first time. I am incredibly grateful to A’isha for providing us all with the space, time, and safety to test our ideas, and I have been reflecting on the opportunities and questions that came from holding the workshop in this environment. As part of my research, my partner, Kieran, and I held a demo of a Soro Soke session, which has been included as a performance video (Tarka, 2024b) in the 9jafuturhythmachine: soro soke installation (Tarka, 2024c). However, we were both familiar with the concept and the instruments whilst working in the controlled environment of our home, so it was easier to define the outcomes of the experiment. Holding a workshop in a public setting with participants new to the themes and tools explored in the project has provided incredibly valuable insights towards my research.

The 9jafuturhythmachine: soro soke (ibid.) installation was also on display for BAKÍ ÁJĀ’s Inheritances. Additionally, the Two Histories of Nigeria: The People vs. The State textbook (Tarka, 2024d) was distributed throughout the weekend. Two Histories along with the 9jafuturhythmachine research documentation (Tarka, 2024a), and an ongoing sonic open call for Soro Soke sessions are all featured in BAKÍ ÁJĀ’s library (2025).

︎Open Call

Inspired by Tamika Abaka-Wood’s Dial-An-Ancestor (2025), I decided to extend participation in the workshop beyond a single space and time by inviting participants to submit sonic samples to be used in this and future Soro Soke sessions. By including collective responses to themes such as memory, protest, Afrodiaspora, migration, and creative freedom, my goal is for this library of sounds to serve as part of the alternative, living archive to memorialise histories and futures of Nigerian protest and resistance (Tarka, 2024a).

The prompts for submission, which can be found in the Appendix of this documentation, were sent out to friends and family a few days leading up to the workshop. Although it was a small open call, the range of samples I received exceeded my expectations. Here are some of the submissions, and my interpretation of the sounds:

Zacky:

Zacky sent two soundbites of himself reenacting an encounter with police men attempting to extort and abuse a young person at a traffic stop in Lagos. The police reveal their plans for the money they’re stealing and boast the authority that will protect them from accountability. I was surprised by Zacky’s willingness to voice act, sound design, and play with narrative, as the clips are from different perspectives, but you can hear one clip in the background of the other. Zacky also performs in Nigerian pidgin (Mufwene, 2025), situating the samples within the experiences of a specific audience.

Rhett:

Rhett submitted some samples from their personal archive. These included recordings of drumming, which I initially thought was a wooden door being smashed open. The other is a recording of Rhett singing. When I asked Rhett about the drumming samples, they explained that it was them drumming on a plastic container, which they had found on the street, and thought would produce an interesting sound. The filenames for Rhett’s submissions included the dates they were created, and they were both a few years old; I was excited that Rhett dove a few years back into their own personal archive to retrieve their contributions to the open call.

Justin:

Justin sent a few drum and bass samples, featuring breakbeats, which cultural theorist Kodwo Eshun explores as futuring tools in his work More Brilliant Than the Sun: Adventures in Sonic Fiction (1998). This work is a major inspiration for the 9jafuturhythmachine project (Tarka, 2024a), so I’m excited to include samples that connect the workshop practice to the larger Afrofuturist sonic legacy explored by Eshun.

Malindi:

Malindi’s sample starts with a speech from Kenyan Politician and women’s rights activist, Millie Odhiambo (kenyanmagazine, 2024). This is followed by a remixed version of the speech, where Malindi records herself speaking reassuring and affirming messages to the listener over Odhiambo’s speech. Malindi’s calm messages are the beginning of a short speculative narrative about an organisation “Revolution Kenya”, a network designed to provide justice for victims of police brutality. My initial response to these recordings is that they would be perfect to use for the Dreadlock Sampler (nevertobeconfirmed, 2025), which produces a choppy, rhythmic effect with vocal samples. I also appreciate Malindi’s interpretation of remixing by following a powerful, emboldening call to action with a warm, compassionate message through a piece of narrative fiction.

Alara:

Alara, a designer whose practice focuses on material studies, submitted a snippet from a video of sculptor Pinuccio Sciola playing one of his “sound stones” (Bauman, 2016, no pagination), sculpted rocks that produce sound when touched. I thought it was interesting that her response to the open call reflected her personal interests and professional background.

Numi:

Numi sent a video of herself performing a song “Resignation” composed by Florence B Price, who, in 1927, was the first African American woman to be recognised as a symphonic composer (International Florence Price Festival, 2025). Numi’s contribution is a beautiful performance, and I appreciate that by sharing this sample in the workshop, we are communicating a piece of Black music history.

Zero:

Zero submitted two samples that she composed herself. Both feature ambient soundscapes including traffic sounds and multilingual voices; the compositions are heavily filtered, giving them a spacy, dream-like quality that feel like recollecting a memory.

ACTION!

︎The Session

Preparation before workshop
Leading up to the session, I updated the instruments, particularly the Dreadlock Sampler and the State’s Uniform because they have more complicated wiring and software requirements than the Opambata Swing Drum Machine and the Aropale Shaker Instrument. As this was the first time anyone outside of Kieran and I would use the instruments, I wanted to ensure that they were all functioning well and intuitive to use, even with their experimental qualities.

A’isha kindly gave us two hours for the workshop, and I roughly structured the session as follows:

Presentation
Instrument Demo
Choose narrative/theme/memory to remix
Choose the roles for performance
Choose sounds from collection
“PERFORMANCE”
Discussion and feedback

In the workshop presentation, I emphasise that this is a tentative schedule, and there are no fixed outcomes or expectations for the session, as this is a space for improvisational, creative freedom. This presentation also introduces the background, concept, research and goals for the 9jafuturhythmachine project, and is a shortened version of the one I use to explain the work (Tarka, 2025). I have included the slides and transcript for the presentation written for BAKÍ ÁJĀ in the Appendix of this documentation.

Set up on the day
On the day, my plan was to give the presentation from the podium in the back of the room, as the single author, and separate from the audience. In contrast, the workshop would be delivered in the front of the room, which was arranged like a living room; a more casual setting where participation is diffuse. My goal was to highlight the exclusionary and formal presentation as a form of institutional or cultural memory (Assmann, J., 2008; 2013), contrasted with the participatory and informal workshop as a form of embodied or communicative memory creation (ibid.); the overarching investigation of the 9jafuturhythmachine project (Tarka, 2024a).

To keep participation in the workshop as open as possible, and inspired by the spontaneous and improvisational qualities of DJ AG’s practice (djagonline, 2025), I informed A’isha that people could join and leave the workshop as they pleased, and I’m happy to explain the work to them even if they don’t see the presentation. Additionally, I placed copies of the Two Histories textbook (Tarka, 2024d) around the room to further contextualise the work to audience members who may enter the room during the session, but may not want to engage with the workshop directly.

Overview of the session
After giving the presentation, I began setting up the instruments as part of the demonstration, explaining the instruments' significance in the Eyo masquerade (Olumide Lucus, 1942; Oluwasegun and Oyenike, 2013; Olusola and Babatope, 2017), the traditional Nigerian funeral procession I am referencing in the workshop practice (Tarka, 2024a). Additionally, I described how the instruments were made, passing around the materials, such as copper tape, used in the making process (ibid.). I also used this time as an opportunity for feedback on the presentation, as I was worried it may be too academic, and thus hard to follow. However, participants who saw the presentation said it was thorough and helped to prepare them for the workshop.

During set up, I unfortunately stepped on and broke the Touchboard microcontroller that powers the Dreadlock Sampler and the State’s Uniform. I was a bit disappointed by this because I feel that these two instruments are the more interesting of the set, especially as wearable instruments. Further, Bare Conductive, the company that produces the Touchboard, is now defunct (bareconductive, 2025), making the microcontroller difficult to replace, so I will have to find an alternative device to power those two instruments.

As a result, we could only use the Opambata and Aropale for the rest of the workshop. We listened to and discussed the collection of samples together, before choosing Rhett’s vocal sample to test with the instruments. For some reason, despite not being directly connected, the two instruments synced together, both playing Rhett’s sample, even when we programmed different samples for each instrument. This bug was really unexpected, but we were all happy to adapt to and play with the unpredictability and experimental nature of the instruments.

I was surprised by the decisions participants made when using the instruments, as they all used them in ways I never imagined, and we discovered new features and effects together. For example, tapping the Opambata on the Aropale modulates the sound produced by both instruments, creating a syncopated, rhythmic effect. Also, we were able to use the Dreadlock Sampler as an acoustic instrument, highlighting the potential for expressive, creative freedom designed into the wearable musical instruments (Tarka, 2024b).

The open flow of people through the room was useful as some participants had to leave the session before the end of the two hours, and others joined at different points during the period. However, some participants did find this movement distracting, expressing it affected the intentionality of the space. Some audience members who came for BAKÍ ÁJĀ, and not necessarily the workshop, were chatting as we were constructing our soundscape. A participant asked these audience members to respect the space, emphasising to them the goals for the workshop as an opportunity for meaningful memory-making. Although I may not have responded this way myself, I’m glad this participant spoke up for their requirements for the space. I believe their speaking up reflects the spontaneous and embodied acts of resistance I hope to encourage with this work (Tarka, 2024a; 2024c) as inspired by interactive theatre practitioners (Brecht and Bentley, 1949; Boal, 2002; 2008; Feldhendler, 2007; Salas, 2009; Jelili Atiku, 2023).

︎Feedback and discussion

As this project aims to highlight situated knowledges (Haraway, 1988) and varied perspectives to communicate a holistic, multifaceted account of events (Tarka, 2024a) to contrast the exclusionary institutional canon (Assmann, A., 2008), it’s important for me to receive, record and share feedback from participants and audiences who had encountered the 9jafuturhythmachine project at different times and in different forms over the weekend. These discussions made me aware of the elements of the work that resonate the most with people, as well as areas for improvement. Here is some of the feedback I received over the weekend:

Kieran

Kieran, being the most experienced with the project (Tarka, 2024b), helped other participants with wearing and testing the instruments, as well as supporting the workshop generally. When designing the Dreadlock Sampler, it was much easier trying on the tool with Kieran there to help, and I’m happy this supportive spirit was consistent in the workshop.

JK

I met JK when presenting the 9jafuturhythmachine installation (Tarka, 2024c) at Fela to the Future (2025) earlier in October, and I was excited that she brought her own copy of the Two Histories textbook (Tarka, 2024d) that she had gotten from the previous event to the workshop. She also brought me a gift, Capitalists Must Starve by Park Seolyeon (2025), as she felt its themes resonated with my work. JK was very brave throughout the session, using all the instruments in unexpected ways. She also used the textbook as a reference to explain the work to a participant who arrived later in the session. As a hairdresser, she speculated the potential to use other conductive materials to mimic other Black hairstyles beyond dreadlocks. This is an idea I’ve considered, and I would love to elaborate on this further through a collaboration with JK.

Alara

I was very excited to have Alara present in the workshop because I wanted feedback from a materials design perspective. When passing around the copper tape used to make the Dreadlock Sampler, Alara was very curious about the sensors used in the instruments, questioning if I had used a flex sensor. I was grateful for the opportunity to explain more about the processes and material choices that influenced the design of the instruments, and I am considering including more of these details in the workshop presentation.

Rhett

Rhett has an extensive knowledge of music, often discussing and sharing music via their blog iamlisteningto (2025). They shared sound artist KMRU’s Temporary Stored project (2025), “an evocative narrative about colonialism and collective memory forged from original material and field recordings taken from the Archive” (ibid., no pagination), which aligns with my goals to engage archives as essential sites of resistance, challenging the process of exclusion that shapes the historical canon (Assmann, A., 2008). During the session, we had worked with the vocal sample Rhett submitted, and they had asked questions about the musicality of the instruments, making suggestions for how to better link their gestural controls to their function outside of changing pitch. After the workshop, we also had a discussion about the importance of re-engaging indigenous cultures as a decolonising process, whilst reflecting on Rhett’s experience in school where they weren’t taught about native cultures indigenous to the UK. We discussed the sense of loss and melancholia experienced from not having access to these knowledges, questioning how to respectfully and carefully approach indigenous practices from cultures outside of our own as a form of healing.

Ahmed

I met Ahmed earlier in the week when visiting the venue, and I had briefly explained the project to him. As he’s Nigerian, he recognised the Eyo masquerade (Olumide Lucus, 1942; Oluwasegun and Oyenike, 2013; Olusola and Babatope, 2017) and understood the context of the work. He joined the workshop towards the end, where we had an open discussion. I demonstrated the instruments again, and explained how the work connects to political movements in Nigeria, such as #EndSARS (Amnesty International, 2023; Amnesty International, 2024; Udenze, Telo and Pires, 2024; Tarka, 2024d). When I explained my goals to expand the installation to a full room exhibition, possibly featuring multiple wooden school desks (Tarka, 2024c), Ahmed informed me that his friend had used similar desks in a project. These desks were made from Iroko, a tree indigenous to Nigeria (Britannica Editors, 2025). This is a fantastic discovery, and I was incredibly surprised to learn that desks found in the UK were made from wood sourced from Nigeria. Inspired by practitioners Nifemi Marcus-Bello (2024), Sokari Douglas Camp (2024a, 2024b; BBC, 2020) and El Anatsui (Buck, 2023), I aimed to use materials that would be conceptually linked to the themes in the project (Tarka, 2024a). By sourcing desks made from specific materials, such as Iroko, I can better connect these objects to the continued exploitation of resources in Nigeria, which I discuss in the project log (Tarka, 2024a), performance video (Tarka, 2024b), and textbook (Tarka, 2024d).

Roshad

Roshad attended the workshop presentation, but had to leave before the demonstration; however, we were able to discuss the session on the second day of BAKÍ ÁJĀ. He had gifted a copy of the textbook to a Nigerian friend, who wasn’t familiar with the histories included in the text, so they were excited to receive the information. I am incredibly grateful that Roshad took two copies of the book, expanding its reach to my intended audience, which was my hope by making the book free and including several copies in the installation (Tarka, 2024c). Roshad appreciated that although the project has an academic focus, it still takes practical action by connecting lived experience to the themes explored in the research through the workshop practice. I greatly appreciate this feedback because prior to the workshop, I was worried that the installation as a static object limited the dynamic engagement and embodied memory-making that the project promised, and I am glad the workshop is having its intended impact.

Aaron

Aaron learned about the workshop through KONTEKST Collective (2025), a visual anthropology collective we’re both a part of. He joined the session towards the end during the open discussion, and was very curious about how we were archiving Nigerian protest and resistance if we weren’t currently at a protest in Nigeria. I had been anticipating this question, and I explained that my goal is to expand the possibilities of protest and resistance beyond street protest, particularly by challenging institutional, normative, Western-centric knowledge formation and dissemination through more embodied practices, such as sonic fiction (Eshun, 1998; Vieira de Oliveira, 2016) and rhythming (Van Drie and Maier, 2022) to archive perspectives that may be excluded from the historical canon (Assmann, A., 2008). We had a long discussion about the difficulties with politically organising under institutions, and how we were grateful for the opportunity to have this discussion in a space like BAKÍ ÁJĀ.

Aaron and I met at another event later in the week where he introduced my project to his friend Zero, who referred to my work as a form of archiving protest field recordings based on Aaron’s description. I was very excited to have someone describe my work that way, as I often feel the sound design focus is lost when displaying the work as the installation. When developing the project, I learned that everyday, embodied, communicative memory becomes institutional, cultural memory through a process of cultural formation, where a memory becomes formalised and crystallised, and thus transmittable to a wider audience (Assman and Czaplicka, 1995). Through the BAKÍ ÁJĀ weekend I was reminded of this process and although my goal isn’t to create a form of institutional or cultural memory-making, I am grateful that the work has resonated enough for people to share with others.

︎Reflection, Next Steps and Conclusion

The first Soro Soke session, and its following discussions, were incredibly inspiring, promising and affirming; however, there are a few areas for improvement. First, in future, I will have all the instruments wired during the presentation, so I don’t have to spend too much time on set up, and we have more time to construct narratives with the tools during the session. Second, as the Touchboard microcontroller that powers some of the instruments is broken, I have to redesign the Dreadlock Sampler and the State’s Uniform with a new microcontroller. As I plan for people to be able to reproduce these tools, I want to use a more accessible option that offers similar features. Based on the feedback during the session, redesigning the tools also gives me the opportunity to update their functionality to update their musicality and gestural control. I was able to collect a few images and videos over the weekend but I would like to record the entirety of future sessions to include in the larger archive of the 9jafuturhythmachine project. Finally, I hope in future Soro Soke sessions, we can design and build instruments together, making more collaborative decisions about the instruments’ significance and resulting uses and effects.

The 9jafuturhythmachine installation was on display, but with the way the room was set up for the rest of the exhibition, it wasn’t convenient for me to turn on the performance video and have audiences interact with the installation as usual. Instead, the installation was surrounded by sound equipment, and a collection of vintage books on African and Black history, art, and cultural practices, contributed by Seed Archives (Seed archives, 2025), an independent library and archive. Although the installation wasn’t active, its surrounding environment and the overall curation of the weekend helped to contextualise my project, and I was able to have similar discussions about the purpose of the work as I have at other events when the installation was running. My goal with the 9jafuturhythmachine project is to create an adaptable practice where meaning emerges through intra-actions (Barad, 2003) with the work’s context, so I’m grateful for the opportunity to test the project’s feasibility and understanding in different formats and arrangements.

I was able to gather a lot of feedback over the weekend, but I would like to share these discussions in a way that is not only reliant on my recollection of events, as I have chosen to exclude information that I thought would be too personal to share on public platforms. However, I also recognise that the memory formation doesn’t only take place when the record is made and shared online; the memories are also created when the ‘performance’ takes place through speaking, reading, sharing, listening, beatmaking, and leaving graffiti as a response to the 9jafuturhythmachine. These are all acts of collective rhythming from our unique perspectives (Van Drie and Maier, 2022), which may be more ephemeral, but create rich, multifaceted, adaptable, and diverse records of events that aren’t any less impactful or meaningful than a written document.

︎Bibliography

Abaka-Wood, T. (2025) Dial-An-Ancestor. Available at: https://www.dial-an-ancestor.com/. (Accessed: 6 January 2026).

Amnesty International (2023) Nigeria: Three years after #EndSARS at least 15 protesters languish in Lagos jail. Available at: https://www.amnesty.org/en/latest/news/2023/10/nigeria-three-years-after-endsars-at-least-15-protesters-languish-in-lagos-jail/ (Accessed: 22 October 2024).

Amnesty International (2024) Nigeria: Repression of peaceful protest must end. Available at: https://www.amnesty.org/en/latest/news/2024/10/nigeria-repression-of-peaceful-protest-must-end/ (Accessed: 22 October 2024).

Assmann, A. (2008) ‘Canon and Archive’, in A. Erll and A. Nünning (eds) Media and Cultural Memory. Berlin and New York: Walter de Gruyter, pp. 97-107.

Assmann, J. and Czaplicka, J. (1995) ‘Collective Memory and Cultural Identity’, New German Critique, 65, pp. 125-133. Available at doi: https://doi.org/10.2307/488538

Assmann, J. (2008) ‘Communicative and Cultural Memory’, in A. Erll and A. Nünning (eds) Media and Cultural Memory. Berlin and New York: Walter de Gruyter, pp. 109-118.

Assmann, J. (2013) ‘Communicative and Cultural Memory’, in P. S. Varga, K. Katschthaler, D. E. Morse and M. Takács (eds) Loci Memoriae Hungaricae I.: The Theoretical Foundations of Hungarian ’lieux de mémoire’ studies / Theoretische Grundlagen der Erforschung ungarischer Erinnerungsorte. Debrecen: Debreceni Egyetemi Kiadó Debrecen University Press, pp. 36-43.

BAKĪ ÁJĀ (2025) BAKĪ ÁJĀ Library. Available at: https://readymag.website/u138193146/5049684/3. (Accessed: 6 January 2026).

bakiajaworld (2025) BAKĪ ÁJĀ. Available at: https://www.instagram.com/p/DQbrinNCD3L/?img_index=1. (Accessed: 6 January 2026).

bareconductive (2025) Farewell to Bare Conductive. Available at: https://www.instagram.com/p/DG5InSUIRa7/. (Accessed: 6 January 2026).

Bauman, K. (2016) ‘The Singing Rocks of Pinuccio Sciola’, Core77, 5 October. Available at: https://www.core77.com/posts/56687/the-singing-rocks-of-pinuccio-sciola. (Accessed: 6 January 2026).

BBC (2020) 'Battle Bus' memorialised executed environmentalists. Available at: https://www.bbc.co.uk/news/av/stories-51493664. (Accessed: 19 December 2024).

Boal, A. (2002) ‘Forum Theatre’, in P. B. Zarrilli (ed.) Acting (Re)Considered A Theoretical and Practical Guide. London and New York: Routledge, pp. 268-276.

Boal, A. (2008) Theatre of the Oppressed. London: Pluto Press.

Brecht, B. and Bentley, E. (1949) ‘A Model for Epic Theater’, The Sewanee Review, 57(3), pp. 425-436. Available at: https://www.jstor.org/stable/27537926 (Accessed: 17 October 2024).

Britannica Editors (2025) iroko wood. Available at: https://www.britannica.com/topic/iroko-wood. (Accessed: 20 January 2026).

Buck, L. (2023) ‘El Anatsui: the sculptor on making art from waste, and waking up the artist in all of us’, The Art Newspaper, 9 October. Available at:https://www.theartnewspaper.com/2023/10/09/el-anatsui-the-sculptor-on-making-art-from-waste-and-waking-up-the-artist-in-all-of-us. (Accessed: 19 December 2024).

djagonline (2025) DJ AG ONLINE. Available at: https://www.instagram.com/djagonline/. (Accessed: 6 January 2026).

Douglas Camp, S. (2024a) About Sokari. Available at: https://sokari.co.uk/about/. (Accessed: 19 December 2024).

Douglas Camp, S. (2024b) KEN SARO WIWA LIVING MEMORIAL. Available at: https://sokari.co.uk/project/ken-saro-wiwa-living-memorial/. (Accessed: 19 December 2024).

Eshun, K. (1998) More Brilliant Than the Sun: Adventures in Sonic Fiction. London: Quartet Books.

Fela to the Future (2025) Available at: https://felatothefuture.info/. (Accessed: 6 January 2026).

Feldhendler, D. (2007) ‘Playback Theatre: A Method for Intercultural Dialogue’, Scenario: A Journal of Performative Teaching, Learning, Research, 1(2), pp. 46 – 55. Available at: https://doi.org/10.33178/scenario.1.2.4.

Haraway, D. (1988) ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective’, Feminist Studies, 14(3), pp. 575 - 599. Available at: https://www.jstor.org/stable/3178066. (Accessed: 22 October 2024).

iamlisteningto (2025) Available at: https://iamlisteningto.tumblr.com/. (Accessed: 6 January 2026).

International Florence Price Festival (2025) About Florence. Available at: https://www.pricefest.org/florence-price. (Accessed: 6 January 2026).

Jelili Atiku (2023) E Don Tey Wey We Dey, performance by Jelili Atiku at FARaway Festival, Reims. 22 March. Available at: https://www.youtube.com/watch?v=v_3n-Ov_t48&ab_channel=JeliliAtiku. (Accessed: 23 October 2024).

kenyanmagazine (2024) "I'M A BAD GIRL! Be a good girl and you will go nowhere" Millie Odhiambo viral speech. 2 September. Available at: https://www.youtube.com/shorts/Sis3oxYs9CY. (Accessed: 6 January 2026).

KMRU (2025) Temporary Stored. Available at: https://kmru.info/TemporaryStored. (Accessed: 6 January 2026).

KONTEKST Collective (2025) KONTEKST Collective. Available at: https://www.kontekstcollective.com/. (Accessed: 20 January 2026).

Marcus-Bello, N. (2024) Africa - A Designer’s Utopia. Available at:https://nmbello.com/AFRICA-A-Designer-s-Utopia#:~:text=An%20ongoing%20research%20project%20by,in%20major%20West%20African%20cities. (Accessed: 19 December 2024).

Mufwene, S. S. (2025) ‘pidgin’, Britannica, 19 November. Available at: https://www.britannica.com/topic/pidgin. (Accessed: 6 January 2026).

nevertobeconfirmed (2024) Dreadlock sampler #prototype test. Available at: https://www.instagram.com/p/DDN8pLAKYhp/. (Accessed: 6 January 2026).

Olumide Lucus, C. J. (1942) The religion of the Yorubas especially in relation to the religion of ancient Egypt: Being in account of the religious beliefs and practices of Yoruba peoples of Southern Nigeria, especially in relation to the religion of Ancient Egypt, Masters thesis, Durham University. Available at: http://etheses.dur.ac.uk/9661/. (Accessed: 22 October 2024).

Olusola, F. and Babatope, B. (2017) ‘Interrogating the Ritual Essence and Performance Aesthetics of Eyo Adamu Orisa’, Journal of Humanities and Cultural Studies (JHUCS), 2(1), pp. 276 - 297. Available at: https://journals.unizik.edu.ng/index.php/jhucs/index. (Accessed: 22 October 2024).

Oluwasegun, O. Q. and Oyenike, E. (2013) ‘Cultural-Tourism Advocacy Through Eyo (Adamu) Festival And Costume: An Artistic Exploration Of Opambata And Its Linear Inflection’, International Journal of Innovative Research & Development, 2(2), pp. 735 - 750. Available at: https://www.internationaljournalcorner.com/index.php/ijird_ojs/article/view/132986. (Accessed: 22 October 2024).

Seed archives (2025) Seedarchives. Available at: https://www.seedarchives.com/. (Accessed: 20 January 2026).

Salas, J. (2009) ‘Playback Theatre: A Frame For Healing’, in D. R. Johnson and R. Emunah (eds) Current Approaches in Drama Therapy. Springfield, Illinois: Charles C Thomas Publisher, pp. 445-460.

Seolyeon, P. (2025) Capitalists Must Starve. Translated by Hur, A. London: Titled Axis Press.

Tarka, A. (2024a) 9jafuturhythmachine:soro soke Research Document. Available at: https://drive.google.com/file/d/1W7M8QAr4uzp1L5e5AnNM3nQ0EbR_hm1t/view?usp=sharing. (Accessed: 6 January 2026).

Tarka, A. (2024b) Soro Soke Demo Video. Available at: https://drive.google.com/file/d/1tnaYqlzikwsH6WkVYWFhy1xhDv29QeSR/view?usp=sharing. (Accessed: 6 January 2026).

Tarka, A. (2024c) 9jafuturhythmachine: soro soke. Available at: https://adzatarka.com/9jafuturhythmachine-soro-soke. (Accessed: 6 January 2026).

Tarka, A (2024d) Two Histories of Nigeria: The People vs. The State (A Textbook for Diasporic Students). Available at: https://drive.google.com/file/d/1zoKjRgmMVaMnMAY9zuAfouMXKgMNiy8u/view?usp=sharing. (Accessed: 6 January 2026).

Tarka, A. (2025) Soro Soke presentation at 4S 2025 Seattle: Reverberations. Available at: https://adzatarka.com/Soro-Soke-at-4S-Seattle. (Accessed: 6 January 2026).

Udenze, S., Telo, A. R. and Pires, F. (2024) ‘‘The EndSARS movement is an umbrella for other challenges’: Assessing Nigeria’s EndSARS protest through the theoretical lens of intersectionality’, Media, War and Conflict. Available at: https://doi.org/10.1177/17506352241239550.

Van Drie, M. and Maier, C. J. (2022) ‘Rhythming: a manifesto’, Sound Studies, 8(1), pp. 2-19. Available at: https://doi.org/10.1080/20551940.2021.1982450.

Vieira de Oliveira, P. J. S. (2016) ‘Design at the “Earview”: Decolonizing Speculative Design through Sonic Fiction’, Design Issues, 32(2), pp. 43-52. Available at: https://www.jstor.org/stable/43830698 (Accessed: 23 October 2024).

︎Appendix

Soro Soke at Baki Aja Sound Library Open Call

Workshop Presentation Slides

Workshop Presentation Transcript

ADZA TARKA

ABOUT

ADZA TARKA

ABOUT

CONTACT

CONTACT