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My interest in digital memory did not begin with technology. It began with listening. In Uganda, I spent time around traditional instrumentalists whose knowledge lived in practice: in the hands, posture, repetition, breath, and relationship between musician and instrument. Before I had the language of archives, I was already seeing how cultural memory could live in sound, movement, and embodied skill. At Makerere University, my research on the amplification of the adungu sharpened this understanding. Amplification was not only a technical adjustment. It changed how the instrument occupied space, how audiences encountered it, and how musicians negotiated presence, tradition, and contemporary performance. The adungu taught me that when sound moves into new systems, it does not simply become louder. It becomes recontextualized. That lesson followed me into multimedia work across film, radio, television, and audio production. I began to hear recordings as more than finished products. They were traces of choices: what was captured, what was edited, whose voice was centred, what atmosphere was preserved, and what disappeared outside the frame. Helping organize World Day for Audiovisual Heritage at the Uganda Museum brought these questions into clearer focus. It reminded me that cultural memory needs care, infrastructure, and interpretation. Without preservation, recordings decay. Without access, archives remain silent. Without context, even preserved materials can lose meaning. Today, my encounters with podcasts, virtual reality, augmented reality, and other immersive media continue to shape how I think about archives. These forms invite us to ask not only what should be preserved, but how people might encounter memory through sound, image, space, voice, and interaction. For me, digital archives are not simply storage systems. They are spaces of encounter. They can amplify memory, but amplification always carries responsibility. The question is not only how we make culture more visible or audible, but how we preserve its depth, context, and human presence as it moves across media.

Theatre · Sound Design · Performance My theatre sound design work explores how sound can shape atmosphere, emotion, memory, and place within live performance. Through mentorship and collaborative design processes, I have worked with sound cues, music, voice, ambience, and cultural reference to support storytelling on stage. This work has allowed me to think more deeply about listening as a creative practice, and about how sound can guide an audience through mood, movement, tension, and meaning. Theatre sound design brings together many parts of my practice: music, research, cultural listening, audio-visual production, and storytelling. It continues to expand the way I work with sound as both an artistic and interpretive medium.

Music · Songwriting · Co-Production Nostalgia is a five-track EP released in 2020. I was both an artist and co-producer on the project, shaping its sound, musical direction, and emotional identity alongside my collaborator. The EP brings together voice, memory, feeling, and musical storytelling, reflecting my wider interest in how sound carries personal and cultural experience. Some songs from Nostalgia were also featured on BBC Newsday, introducing the work to an international audience. This project remains an important part of my creative practice and my journey as a singer-songwriter, producer, and sound-centred storyteller. Click Link to Listen to Nostalgia on Bandacamp: https://marcionsinyo1.bandcamp.com/album/nostalgia-ep

Art, Archives & Cultural Documentation Diani Beach Art Gallery Curation · Gallery Management · Visual Arts As manager and curator at Diani Beach Art Gallery, I worked at the intersection of visual art, cultural presentation, artist support, and gallery operations. My role included coordinating exhibitions, working with artists and collectors, managing client relationships, overseeing art handling and shipping, and supporting the day-to-day running of the gallery. The gallery featured work by artists from Kenya, Uganda, Tanzania, Sudan, Ethiopia, and other parts of the region. This experience strengthened my understanding of how creative work is presented, interpreted, valued, and connected to audiences. It also continues to shape my wider interest in museums, archives, cultural memory, and public-facing cultural spaces. In 2019, i participated in archival and audiovisual documentation activities during the Mekatilili Festival in Shakahola, working alongside MADCA and Mau Mau elders. The gathering created an important space for intergenerational dialogue, oral history preservation, and reflection on anti-colonial resistance and indigenous knowledge systems. Through documentation and field recording, the work contributed to preserving voices, memories, and narratives that are often excluded from dominant historical archives. My expanding involvement in film and production work also includes serving as a camera assistant during Memorial University’s Good as a Concert project in 2025. The experience further strengthened my interdisciplinary approach to visual storytelling, collaborative production, and live event documentation, reflecting an ongoing commitment to technical and creative growth within audio-visual practice. In 2024, i also engaged with Nairobi’s vibrant vinyl and listening culture during a visit with Vinyl Guru, exploring the enduring relationship between analog sound, music preservation, and collective listening traditions. Such encounters continue to inform her appreciation for archives not only as institutional spaces, but as living cultural ecosystems sustained by communities, collectors, artists, and everyday listeners. Through these varied engagements, my work consistently bridges artistic experimentation with historical consciousness. Whether documenting elders, supporting film productions, or engaging with contemporary sound cultures, her practice remains grounded in listening, collaboration, and the preservation of cultural memory through audiovisual media.

Vipepeo Mobile Library Children’s Literacy · Community Outreach · Kasese, Uganda Vipepeo Mobile Library was a children’s literacy and community outreach project carried out in Kasese, Uganda, in partnership with Kasese Restoration Centre. Through the project, books travelled to different villages across three districts, giving children access to reading materials in their own communities. The project also included art materials, creating space for children to read, draw, imagine, and engage creatively beyond the classroom. This work reflects my commitment to children’s learning, access to books, community-based education, and creating opportunities for children in underserved areas to encounter stories, imagination, and self-expression. Donate Donate To Vipepeo Mobile Library Thank You for Your Donations!

World Day for Audio-visual Heritage – Uganda Museum, Kampala 2023 Audiovisual Heritage · Public Programming · Cultural Memory I was one of the organizers of the first World Day for Audio-visual Heritage event at the Uganda Museum, a public program created to draw attention to the importance of preserving audio-visual materials and cultural memory The event brought together conversations around sound, image, archives, museums, and public access, highlighting the value of audio-visual heritage in documenting how communities remember, communicate, and understand their histories. This project continues to shape my work in audio-visual archiving, digitisation, cultural heritage, and public programming. It remains an important foundation for my interest in how museums and cultural institutions can make recorded memory more visible, accessible, and meaningful to the public.

Performances & Public Engagements Angaza Sessions Psychosocial Support · Families · Disability Care Angaza Sessions focused on psychosocial support for families of children living with disabilities. The sessions created space for parents and caregivers to share experiences, receive emotional support, and build community around the realities of disability care. This work reflects my commitment to care-centred community work, family support, and creating spaces where people navigating difficult circumstances can feel seen, heard, and less alone. JAMAFEST Theme Song Music · Composition · East African Cultural Production I co-composed the theme song for JAMAFEST, the East African Community Festival of Arts and Culture, held in Kampala in 2017. The project brought together music, regional identity, performance, and cultural celebration, contributing to a major platform for East African arts and cultural exchange. This work reflects my connection to East African cultural production and my interest in how music can carry shared identity, public memory, and regional imagination. AHAKI Anthem Composition · Institutional Music · Kiswahili & English I co-composed anthem versions for Afya na Haki, creating music that supported the organization’s identity, values, and public presence. The project involved writing and shaping music in both Kiswahili and English, allowing the anthem to speak across language, audience, and institutional context. This work reflects my experience creating music for organizations, campaigns, and public-facing initiatives, where sound becomes a way of expressing purpose, belonging, and shared vision. My performance practice extends beyond conventional stages, inhabiting spaces where sound, storytelling, diplomacy, and cultural dialogue intersect. Through live performance, collaboration, and public engagement, my work continues to connect audiences across borders while foregrounding East African artistic expression within international and institutional contexts. In 2020, i appeared alongside renowned journalist Alan Kasujja ahead of a BBC Newsday interview, reflecting an important moment of visibility for contemporary African creative practitioners working across sound and interdisciplinary arts. The exchange highlighted the growing recognition of artistic and cultural work emerging from the region and its contribution to global conversations around identity, heritage, and creative innovation. I also performed at the Kenya High Commission in Kampala during an official engagement attended by His Excellency President Uhuru Kenyatta. The performance brought together diplomacy and culture, showcasing the power of music and sound as tools for connection, representation, and regional exchange. Through such engagements, Marci continues to position artistic practice as an essential part of cultural diplomacy and public discourse. Whether in intimate artistic settings, international media spaces, or high-level cultural events, my performances is marked by emotional depth, presence, and an ability to create meaningful connections through sound. Her work consistently bridges contemporary expression with cultural memory, creating experiences that resonate across diverse audiences and contexts.

Audio & Music Production for Film, Television & Radio Audio Production · Music · Media I have worked in audio and music production for film, television, radio, and institutional media projects, supporting creative teams through sound, music, voice, and production coordination. My work has included composing and shaping music individually and with teams, supporting voice-over production, directing vocal delivery, coordinating studio workflows, and contributing to audio for public-facing campaigns and media content. These projects strengthened my practical understanding of how sound shapes narrative, emotion, identity, and audience connection. This experience continues to inform my wider work in sound, archives, storytelling, and cultural production, where I approach audio not only as a technical element, but as a powerful carrier of meaning, memory, and communication.

Location:82 Main St. Brooklyn, NY Date:October 24, 2021

Vanilla is a short film that tells the tale of a single mom who has dedicated her life to taking care of a daughter who has Down-syndrome. After a long unfruitful day of looking for work-placement for herself and her daughter, Miriam is confronted by Jessica, her hip, vibrant younger stepsister about the staleness of her life. A Film By Angaza Kisaka Yenze Theatre Conservatoire Produced by Esteri Tebandeke Starring OYENBOT, DENIS KINANI & MALAIKA Music by Marci Onsinyo This is a story that highlights the difficult decisions that parents, caretakers and guardians constantly face when looking after someone with intellectual disability. This film was made possible by Kuonyesha Art Fund & Destiny Leadership Consult. Yenze Theatre would like to thank Mrs. Joy Mwesigwa for all the help in the research for this film.