A walking ritual of resistance that enhances our senses through practicing perceiving, relating and responding to living beings and overlooked realities of Maputo. Expect fungal stuff. It will be interactive and performative; rational and irrational; playful and poetic; serious and silly. We will do things that computers cannot do, and sense within landscapes that stretches beyond the roam of the algorithms. Mayhaps will we enter a doorway to composting colonial patterns into rhizomatic, non-conformist practices?

Participants: anna nordahl carlsen (Norway) and Fungal Friends.

Education is at the heart of a structural transformation. Artificial intelligence, digital platforms, and cognitive automation are reshaping not only pedagogical methods but the very architecture of knowledge: they open up possibilities for democratizing knowledge, expanding inclusive pedagogies, and connecting global and local knowledge, while platforms, social networks, and AI systems compete with teachers, libraries, and curricula as mediators of knowledge—and often replace them.

What does it mean to learn when answers are instantaneous and it is increasingly difficult to distinguish human from algorithmic production? What skills will continue to be central? And, in the African context, how can we prevent unequal access to digital infrastructures from deepening educational exclusion and AI from silencing local knowledge, oral traditions, and African languages? More than a technological revolution, we are experiencing an epistemological transformation: this wheel is an invitation to think about the future of Education.

Participants: Nuno Soares (Mozambique), Girl Move Academy (Mozambique), EduGame (listed as NB in the programme)

The intervention uses the Ifu Elimnyama project’s artistic research methodology to demonstrate the limits and opportunities presented by working between local and imported knowledge systems. The intervention seeks to ask, how do practitioners in Mozambique operate local and globalised knowledge systems. Furthermore asks, how might knowledges structures travel between localities in Southern Africa?

Facilitator: Russel Hlongwane (South Africa).

How can we continue our legacies starting from our cultures? In this “learning circle” of Applied Africology, Val Lopes proposes an encounter between African narratives and technology.

The session includes a screening of the film *The Africologist: Chronicles of Africa* (72 minutes), followed by a participatory workshop. Based on the film and the sharing of his creative process, Valério invites participants to explore the impact of artificial intelligence on African cultures and the possibilities of creation with digital technologies.

The practical component combines conversation, a narrative construction exercise, and interactive experiences: an educational game inspired by Angolan Sona, an interactive djembe, and a modified Unitree Go2 robot. These elements allow for exploring the transition from cinema to other forms of artistic expression.

The meeting invites us to imagine new ways of telling stories, placing African knowledge and references at the center of the creative process and the relationship with technology.

Facilitator: Valério Lopes (Luxembourg / Cape Verde, as listed in the programme).

Far from being neutral, AI systems are built from data and models that incorporate existing societal biases. This roundtable analyzes how artificial intelligence and digital platforms can amplify misogyny and digital violence—online harassment, image manipulation, exclusion in automated decision-making systems, and the reproduction of gender stereotypes—while also discussing the positive impact AI can have on women’s participation in public life, the digital economy, and knowledge production.

The conversation explores feminist and intersectional approaches to the design and regulation of fairer and more inclusive technologies: who builds the technologies of the future, what values ​​are inscribed in them, and how can we ensure that innovation contributes to more equitable societies?

Automation, artificial intelligence, and platform economies are profoundly reshaping the labor market, fragmenting traditional employment and multiplying hybrid forms of income. For many young Africans, in a context of structural unemployment and informality, these transformations allow them to overcome historical barriers: creating their own work, accessing global markets, and learning autonomously. But work also becomes more unstable, less protected, and more dependent on platforms that concentrate power, with deep inequalities persisting in access to technology, connectivity, and training.

Between innovation and precarization, between the formal and the informal, Generation Z is experimenting with and redefining what it means to work. This wheel invites us to look at this transition: what future of work is emerging, and for whom? How can we transform innovation into inclusion?

How can we continue our legacies starting from our cultures? In this “learning circle” of Applied Africology, Val Lopes proposes an encounter between African narratives and technology.

The session includes a screening of the film *The Africologist: Chronicles of Africa* (72 minutes), followed by a participatory workshop. Based on the film and the sharing of his creative process, Valério invites participants to explore the impact of artificial intelligence on African cultures and the possibilities of creation with digital technologies.

The practical component combines conversation, a narrative construction exercise, and interactive experiences: an educational game inspired by Angolan Sona, an interactive djembe, and a modified Unitree Go2 robot. These elements allow for exploring the transition from cinema to other forms of artistic expression.

The meeting invites us to imagine new ways of telling stories, placing African knowledge and references at the center of the creative process and the relationship with technology.

How can we continue our legacies starting from our cultures? In this “learning circle” of Applied Africology, Val Lopes proposes an encounter between African narratives and technology.

The session includes a screening of the film *The Africologist: Chronicles of Africa* (72 minutes), followed by a participatory workshop. Based on the film and the sharing of his creative process, Valério invites participants to explore the impact of artificial intelligence on African cultures and the possibilities of creation with digital technologies.

The practical component combines conversation, a narrative construction exercise, and interactive experiences: an educational game inspired by Angolan Sona, an interactive djembe, and a modified Unitree Go2 robot. These elements allow for exploring the transition from cinema to other forms of artistic expression.

The meeting invites us to imagine new ways of telling stories, placing African knowledge and references at the center of the creative process and the relationship with technology.

Today we know where an elephant is because a GPS collar tells us. We count whales with sonar and identify poachers with forensic science. The nature we see is increasingly a nature mediated by technology. In this Knowledge Circle, Kambaku takes the “Infinite Mirror” of the MFF (Mozambican Wildlife Management) into Mozambican ecosystems. Biologists, veterinarians, conservation area managers, educators, and the public sit in the same circle to ask: if technology gives us a mirror of nature, who holds that mirror? We are talking about how sensors, data, and AI help protect wildlife and manage human-wildlife conflict with limited resources. We also talk about what is left out of the data and the environmental cost of digital technology. And we talk about the encounter between technical knowledge and the community knowledge of those who live with wildlife. The session ends with a toast to Kambaku’s two years.

Today we know where an elephant is because a GPS collar tells us. We count whales with sonar and identify poachers with forensic science. The nature we see is increasingly a nature mediated by technology. In this Knowledge Circle, Kambaku takes the “Infinite Mirror” of the MFF (Mozambican Wildlife Management) into Mozambican ecosystems. Biologists, veterinarians, conservation area managers, educators, and the public sit in the same circle to ask: if technology gives us a mirror of nature, who holds that mirror? We are talking about how sensors, data, and AI help protect wildlife and manage human-wildlife conflict with limited resources. We also talk about what is left out of the data and the environmental cost of digital technology. And we talk about the encounter between technical knowledge and the community knowledge of those who live with wildlife. The session ends with a toast to Kambaku’s two years.

Participants: Iuri Chitará (Mozambique), Richard Fornasini (Mozambique), Claude Champier (Mozambique), Atílio Manjate (Mozambique), Fak’ugesi Team (South Africa).

Today we know where an elephant is because a GPS collar tells us. We count whales with sonar and identify poachers with forensic science. The nature we see is increasingly a nature mediated by technology. In this Knowledge Circle, Kambaku takes the “Infinite Mirror” of the MFF (Mozambican Wildlife Management) into Mozambican ecosystems. Biologists, veterinarians, conservation area managers, educators, and the public sit in the same circle to ask: if technology gives us a mirror of nature, who holds that mirror? We are talking about how sensors, data, and AI help protect wildlife and manage human-wildlife conflict with limited resources. We also talk about what is left out of the data and the environmental cost of digital technology. And we talk about the encounter between technical knowledge and the community knowledge of those who live with wildlife. The session ends with a toast to Kambaku’s two years.

What if the way we understand materials is shaped by the knowledge systems from which they emerge?

Future Ancestors in Design: Healing Fabrics is a Learning Circle that explores indigenous knowledge systems as sources of innovation in textile design and as possibilities for rethinking the relationship between matter, body, earth, and spirit.

Based on Karingana’s research on indigenous plants from Mozambique, natural dyes, ancestral symbols, and textile practices linked to protection, well-being, and daily ritual, we propose a reflection on the ontology of materials: what is a material, what does it carry, and what relationships and knowledge can exist within it?

A plant can simultaneously be medicine, color, fiber, food, territory, memory, and knowledge. Similarly, a fabric can be more than an object we wear. It can be memory, language, protection, ritual, connection to a place, or a portal between the visible and the invisible.

In this Learning Circle, we explore the cosmology of materials and ask what might happen when indigenous ways of knowing and understanding the world begin to inform how we imagine and design the future.

Participants: Karingana wa Karingana (Mozambique)

A new generation of digital artists invites us to take a sidestep and look at our digital world with a critical eye.

How to physically spread to a large audience the imaginaries and critical spirit of this new scene by organizing cultural events: exhibitions, festivals, performances and workshops.

The example of “Escape, digital generations”* an exhibition designed to provide a better understanding of global and diverse digital cultures. And who make us aware of our everyday use of digital technologies and its repercussions on our lives and environment. And the sharing by guests of other events experiments in past, present and future.

Participants: Eric Boulo (France), Antonin Fourneau (France)

Very few lessons of learning, creativity and collaboration in the end. In this event, we celebrate and attend the participants, present the result of the collaborative production during the training and training with the certificates of participation and conclusion of the students.

Participants: FX Animation Studios (Mozambique)

A new generation of digital artists invites us to take a sidestep and look at our digital world with a critical eye.

How to physically spread to a large audience the imaginaries and critical spirit of this new scene by organizing cultural events: exhibitions, festivals, performances and workshops.

The example of “Escape, digital generations”* an exhibition designed to provide a better understanding of global and diverse digital cultures. And who make us aware of our everyday use of digital technologies and its repercussions on our lives and environment. And the sharing by guests of other events experiments in past, present and future.

Participants: Elodie Finel (France), Ingrid Kopp (South Africa), Evaristo Abreu (Mozambique), Diogo Donato (Mozambique), Fak’ugesi (South Africa), Tshimologong (South Africa).

Participants: João Ribeiro, together with the Mozambican filmmaking community

A new generation of digital artists invites us to take a sidestep and look at our digital world with a critical eye.

How to physically spread to a large audience the imaginaries and critical spirit of this new scene by organizing cultural events: exhibitions, festivals, performances and workshops.

The example of “Escape, digital generations”* an exhibition designed to provide a better understanding of global and diverse digital cultures. And who make us aware of our everyday use of digital technologies and its repercussions on our lives and environment. And the sharing by guests of other events experiments in past, present and future.

Participants: João Ribeiro, together with the Mozambican filmmaking community