Clandestino Festival 2018

june 7–10 2018

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The Comet is Coming Outer space jazz THURSDAY 7 T H OF JUNE OCE ANEN Two of these bandmates, Danalogue the Conqueror and ­B etamax Killer, were playing in the drum and synth duo ­S occer96 when they noticed an audience member who would show up at their concerts with a saxophone under his arm.

One evening, they invited him to the stage for a jam whose results might be described as Sun Ra and Daft Punk p ­ laying funk in hyperspace. The man with his fiery sax playing was King Shabaka, a.k.a. Shabaka Hutchings from Sons of ­Kemet. ”Let’s make a record” he exclaimed and thus, The ­Comet was set in motion. With song titles like “Journey Through the A ­ steroid Belt” and “Do the Milky Way,” this trio makes no secret of its love for both cosmic jazz and obscure science ­fiction. So much the better that their album Channel The Spirits is p ­ ropelled forward by a series of pulsating afrobeat rhythms.

Wildbirds & Peacedrums

Curator’s opening concert

THURSDAY 7 T H OF JUNE OCE ANEN Mariam Wallentin and Andreas Werliin met when they both studied music in Gothenburg, Sweden. After trying their luck as street musicians in Germany, an idea began to form about a kind of music that would be created in an experimental mode, exploring various types of expressions using ­voice and drumming almost exclusively. After their 2007 ­d ebut Heartcore, the duo received the Jazz of the Year

award and shortly released their hotly anticipated ­follow-up, The ­S nake. In 2010, they traveled to Reykjavik to record the ­a lbum Rivers with an Icelandic chamber choir. Around the same time, Wildbirds & Peacedrums performed at the ­Polar Prize ceremony. Joined by a large orchestra, they shared their rendition of Björk’s Human Behavior. In addition to the duo’s impressive tour history, collaboration with members

of ­D eerhoof, Skeletons, Kasai Allstars and Konono No 1 in the super tour Congotronics vs Rockers all bear mentioning.

Their fourth album Rhythm (2014) was a return to a sparse format, which has always been the essence of Wildbirds & Peacedrums: Werliin’s powerful beats meet Wallentin’s bluesy voice in a music that constructs new spaces for our imagination to dance in.

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Sidsel Endresen & Stian Westerhus

Speaking in tongues

THURSDAY 7 T H OF JUNE OCE ANEN Sidsel Endresen is a versatile artist and one of the most prominent singers Norwegian jazz since the 80’s. Fusion, chamber jazz and Paul Simon interpretations are some of the efforts she is best known for. In this duo she leaves both language and tonality behind, and instead lets her voice move freely in what sounds like part Nordic folk music, part

speaking in tongues. Endresen moans, smacks her tongue and sounds like a bird in an intriguing and unpredictable ­interaction with guitarist Stian Westerhus. He’s played with jazz nobility such as Arve Henriksen as well as e ­ xperimental ensembles like Jaga Jazzist. Using a bow, he makes his electric guitar sing like a saw. Notes bounce like echoing

drums or woodpeckers. Their debut album, the live r­ ecording ”Didymoi Dreams”, won them a Norwegian Grammy Award for best jazz in 2012. Since then, a second album has been released, which proves this duo is still on an odyssey in the outer reaches of the jazz galaxy as we know it. This is music best approached with open ears and mind.

Joey Le Soldat Streets of Ouagadougou FRIDAY 8 T H OF JUNE PUSTERVIK

AMMAR 808 And The Maghreb United FRIDAY 8 T H OF JUNE PUSTERVIK Distorted oud samplings and a beat consisting of hand ­c ym­b als, handclaps and a pulsating bass drum. In the back­ ground, we can discern a non-lyrical looped choir, d ­ ovetailed by a distinctive voice at the forefront, bending n ­ otes in an electronic desert blues. AMMAR 808 is the ­alter ego of ­Tunisian producer Sofyann Ben Youssef. With the ­roaring bass of a Roland Tr-808 as his signature feature, he ­e mbarks

on a new musical journey through North African folk futurism. On the u ­ pcoming album he is in good c ­ ompany with three singers: Fellow Tunisian Cheb Hassen Tej, A ­ lgerian singer ­S ofiene ­S aidi and Morocco’s Mehdi ­Nassouli. Under the name ­A MMAR 808 & The Maghreb ­U nited, they ­c reate mysterious dance music via electrifying traditions and ­ ­dismantling the illusion of colonial b ­ oundaries.

His grandfather was a militant freedom fighter, his father a sharpshooter: Joel Windtoin Sawadogo aka Joey Le ­S oldat, however, chose words before weapons in his battles. He ­s tudied contemporary languages, but the records of Wu Tang Clan, IAM and NTM brought home by his older brother were his true passion. He wrote his rhymes in his school ­notebooks, in mòoré, one of Burkina Faso’s main languages. He started rapping with friends in the streets of ­O uagadougou, the city where he still lives. In 2013 he ­released his album debut and simultaneously founded the group WAGA 3000 with French producer Dj Form and ­Burkinabe rapper Art Melody. During the same period, Joey Le Soldat ­became an ambassador for the local battle ­against the American agricultural giant Monsanto. Since then, he has p ­ articipated in SVT’s African music series Fonko and released the new album Barka. The tracks pulsate with 90’s hip hop and s ­ amples from t­ raditional music, a heavy mix by producers Redrum and–again–DJ Form. Joey Le Soldat’s dark voice raps about young revolutionaries in Jeunesse and about wounds from the colonial history of the homeland in a duet with rapper Anny Kassy. It’s an album that clearly p ­ laces Joey Le Soldat among Africa’s most exciting hip-hop artists.

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klein

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Hyperdub jigsaw

FRIDAY 8 T H OF JUNE PUSTERVIK Her coarse sound collages have gained acclaim from Pitchfork, The Wire and other publications that tend to label Klein’s work as ”experimental electronic music,” along with Hype Williams and Micachu. However, Klein herself has about zero percent patience with music machines. A dedicated DIY ­artist, she prefers to work with found sounds collected on her cell phone: a crackling door, a piano, the sound of a Nigerian priest... which she then edits. Her voice is the most important

Seun Kuti

instrument in the mix, fragmented into a kind of R&B jigsawpuzzle where the pieces don’t quite match. She grew up in religious households, between London and ­Nigeria, where gospel was the only music she heard. Klein is not embarrassed to admit she has little interest in the experimental music scene she s ­ upposedly belongs to. Instead, her most important influences are ­A ndrew Lloyd Webber, Brandy and the TV series Love and Hip Hop Atlanta.

New sounds of the Shrine

FRIDAY 8 T H OF JUNE PUSTERVIK FRIDAY 8 T H OF JUNE FOLK TE ATERN (ARTIST TALK) The hardest working Afrobeat star on the planet also happens to be Nigeria’s most revolutionary band leader. Fela Kuti’s son, Seun Kuti, grew up in the legendary Shrine, which serves today as a commune, recording studio and concert venue. Following his father’s death, Seun stepped into his role as lead singer for Egypt 80 at the tender age of fourteen. To this day, Seun plays with several of the band’s

original members who, like Fela, were imprisoned for their regime-critical music in the 70’s–and to this day ­N igeria’s prime minister remains in power. Through his music, Seun Kuti urges Africans to rise up against what he calls the real new governments: multinational super corporations, gobbling up natural resources while corrupt politicians stuff their pockets full of aid money. Seun is faithful to

­ ela’s political struggle, but also to his ideas of afrobeat F as a means to achieve collective ecstasy through massive rhythms and funky guitars that drive the party into the wee hours of dawn. On his new album Black Times saxophone riffs ­m ingle with Carlos Santana’s serpentine guitar. Time to gear up for what will likely be among the most unforget­ t­­able concerts of the year.

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Stella Chiweshe Thumb piano queen FRIDAY 8 T H OF JUNE PUSTERVIK SATURDAY 9 T H OF JUNE VÄRLDSK ULTURMUSEE T (WORKSHOP FOR K IDS) During her youth in Zimbabwe, Stella Chiweshe stirred up a tempest of emotions when she learned to play the thumb ­piano mbira. This sacred instrument was considered a musical no-go for women, and was featured in popular ceremonies that British colonial masters attempted to eradicate from the nation’s native culture. However, Chiweshe fell in love with the instrument and persuaded a relative to teach her to play, practicing in secrecy and performing at forbidden

parties. Soon, the artist gained further acclaim by combining singing and mbira with Western drumkit, funky electric bass and a marimba which blended magically with the thumb piano. Her band Earthquake blew up in Zimbabwe after re­ leasing her a ­ lbum Ambuya?, a comprehensive introduction to the eu­phoric side of Chiweshe’s extensive repertoire. On her latest offering, Chakandiwana, we hear the work of a mature musician with meditative calmness and melodic sensitivity.

MobileGirl

José González

Puffy synth polyrhythmics

DJ set

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She grew up in Munich, but Bao-Tran Tran aka mobilegirl recently relocated her headquarters to Berlin, where she has established herself as a dj focusing on danceable ­p olythythmics as well as fat four on the floor kickdrums.

Meanwhile, she has also performed live on both sides of the Atlantic as well as in Japan with her own music, which might be described as techno sounds plus R&B meet Last Ninja on grandfather’s old Commodore 64. But then we’d be forgetting to mention her glittering string sounds, puffy synth melodies and the furious drums of hit song Forever... and more. mobilegirl’s debut EP Poise is released on Staycore after she made a much acclaimed remix on for Dinamarca, one of the founders of the Stockholm label/collective.

Rarely sighted behind the decks, Clandestino’s c ­ o-­c urator José González’s cameo DJ set is bound to bring the c ­ hoicest danceworthy grooves known to humankind! Gear up for well-loved (and hidden gem) high-life, afrobeat, ­ c umbia, ­salsa, ragga, soul and beyond.

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zoo

Yogyakarta punk

FRIDAY 8 T H OF JUNE PUSTERVIK Brace yourself to be knocked out by a frantically b ­ eautiful experimental punk attack from Yogyakarta. Zoo’s dual drummers slam meaty beats that make the hardest hardcore seem wimpy by comparison. Topped off with an electric bass drenched in effects that resembles a c ­ omplete ensemble of stringed instruments, Zoo boasts a rhythm section featuring members from underground Indonesia’s various punk and metal projects. At the core of Zoo’s sonical lava flow stands

Rully Shabara, the versatile vocalist who switches seamlessly between doomsday growls, whispers, screams and operatic vibrato vocals. Shabara is known as one half of Senyawa, a duo combining traditional Indonesian elements with experimental noise. Formed in 2004, this ceaselessly morphing project proves a powerful vehicle for Shabara and other members to create a narrative about the awakening of a post apocalyptic society, one album at a time.

Orchestre Les Mangelepa Rumba legend revival SATURDAY 9 T H OF JUNE PUSTERVIK SUNDAY 10TH OF JUNE GERLESBORGSSKOLANS TERRASS 1970’s Nairobi was a magnet for musicians from far and wide in Africa. It wasn’t long before the city was home to both the continent’s best studios, vinyl presses and h ­ undreds of thriving stages for live music. Dressed to the nines in platform shoes and backed by three singers, exhilarating guitars and a brass section, Orchestre Les Mangelepa became a recognized musical phenomenon in the Kenyan capital. The group took the ongoing rumba ­revolution to the next level by fusing the grooves from their native Congo with the Benga sound from Lake Victoria and Chakacha from the coast. They’ve proudly played the best clubs and toured over large parts of the continent.

Despite their epic success, Orchestre Les Mangelepa is only now making their live debut outside of Africa. Their 2017 album Last Band Standing evidences a group arguably more explosive than in the olden days of Nairobi. Pan-­African Rumba is alive and well, and this band is here to prove it.

Altin Gün

Post-Turkish psychedelia

SATURDAY 9 T H OF JUNE PUSTERVIK The golden age of Turkish rock music reincarnated–in the Netherlands! Those of us who have been developing a slight addiction to the recent wave of compilations with rediscovered Turkish 60s and 70s recordings (­I stanbul ’70, Psych Funk A La Turkish, etc) will probably have a difficult time resisting the whip-cracky rhythms, trance inducing microtonal synthesizers and electric saz solos of Altın Gün. Two of the group’s six members have their background in Turkey, but were not even born yet during the hey-

day of stars like Selda, Barış Manço and Erkin Koray. It was these figureheads who created the soundtrack for a new urban T ­ urkish identity with equal parts of Anatolian folk music and western psychedelic rock, funk and disco. With only one seven-inch single to date, AltIn Gün have already created an international reputation as a phenomenal live act–and queues wind around the neighborhood when they play in their home country. Their debut album ”On” will be released this spring.

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Sudan Archives

Violin remixed

SATURDAY 9 T H OF JUNE PUSTERVIK S UNDAY 10 T H OF JUNE GERLESBORG Sudan Archives is a 24-year-old self-taught violinist, s ­ inger and producer. The Ohio native grew up to a soundtrack of ­g ospel in a strict Christian environment. ­U nhappy with her overly ­a nglo name–Brittney Denise Parks–her mother ­nicknamed her Sudan. After leaving home, Sudan ­m oved to Los Angeles and enrolled at a music college. As if p ­ re­-

ordained, it was in her exploration of Sudanese music that Sudan ­A rchives ­f inally found a way to play violin that felt ­natural to her, a ­p entatonic sound full of attitude which, in her ears, had very little in common with Western musical ­ideals. ­A rmed with only a violin, loop station and ­microphone, ­S udan ­A rchives recorded a ­sensational ­d ebut EP informed

by a rich array of i­nfluences including S ­ udanese violin ­m usic, West African rhythms, electronic music and R&B. In ­addition to her own songs, she has ­remixed Kanye West and brings us a c ­ lever interpretation of Kendrick L ­ amar’s ”King Kunta”, entitled ”Queen Kunta”.

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Bedouine Nomadic Americana SATURDAY 9 T H OF JUNE PUSTERVIK Born in Aleppo, Azniv Korkejian moved to Saudi Arabia as a child before her family won the Green Card lottery and came to the United States. She eventually landed in Los Angeles, where she began to work for television and became part of a community of musicians in the Echo Park district. Gus ­S eyffert, bassist and producer of Norah Jones, Beck and others, invited her to his studio where she recorded Solitary Daughter at a first take. She took the moniker Bedouine to reflect the apparent rootlessness of her life, which is also the main theme in her songs, resonating with American folk tones and with a kinship to Nick Drake and Iron & Wine.

It is big-­eyed, pleasantly sad music, with the exception of the much darker track ”Summer Cold.” The song is a bitter ­farewell to the ­S yria of her childhood, ending with a sound collage, an artificial recreation of the street noise in Aleppo as she remembers it.

Oumou Sangare

Wassoulou feminism

SATURDAY 9 T H OF JUNE PUSTERVIK One of Mali’s biggest stars since three decades: G ­ rammy­w inner Oumou Sangaré is known for repeatedly reinventing the wassoulou, the popular African music style with ancient roots in the southwest of Mali. It’s music loaded with ­s tories and messages, often performed by female a ­ rtists.

In the case of Oumou Sangaré, the songs have o ­ ften dealt with matters concerning women’s rights, criticising polygamy and forced marriage. It was none other than Ali Farka

Touré who encouraged the label World Circuit to pay attention to singer and composer Sangaré, then only a teenager.

The company signed her in 1990, and agents in Europe, Asia and Africa took notice of the new sensation. ­S uddenly, the young singer and composer found herself on what ­s eemed like an endless tour. But Sangaré is not the type of artist who releases an album every year, and other projects were calling her. She formed a family, started a hotel with a

­ tage where she also performed, and launched her own car, s the Oum Sang. In spite of all this, she r­ egularly returned to ­m usic. Recently, she worked in Paris and Stockholm, resulting in the phenomenal comeback album Mogoya (released on NoFormat). Here, wassoulou music is reshaped into a global dance music of the future. To top it off, she is joined on her new album by none other than afrobeat legend Tony Allen on drums.

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Faka

A love story

SATURDAY 9 T H OF JUNE PUSTERVIK Through their mega-sexy performance art and music, this ­Johannesburg duo is fighting to change the lives of black LGBT people in South Africa–and across the world! Fela G ­ ucci and Desire Marea pull the audience into the vibrant dance performance that is their live show. With wigs and lofi v­ ideo projections, they make a gesamtkunstwerk-ish ­experience out of their electronic dance music, gqom, a kind of bare ­bones

­ ouse music that is created in South Africa’s townships and h distributed according to genuine DIY methods, like taxi drivers who play the latest productions for customers on their way out for a night on the town. FAKA themselves call their extraordinary creation gqom-gospel “laments for cock.” When not performing their own music, FAKA are resident dj’s at Cunty Power, a club that wants to be a safe and fun party zone for

queer, trans and non-binary night owls in Johannesburg. The world outside of Africa became aware of FAKA when Mykki Blanco interviewed them in his South African documentary Out Of This World. At the end of 2017, FAKA released their second ep, Amaqhawe, and it has since been clear that they are determined to make sure plenty of ass–not to mention worldviews–will be shaken to their foundations.

Ellen Arkbro Church organ minimalism SATURDAY 9 T H OF JUNE MASTHUGGSK YRK AN ENTRY FREE Describing her music as reduced, slow blues music, E ­ llen ­A rkbro affords her compositions the time they require to blossom; the longest to date lasted 26 days! Electronic sounds, walls of abstract electric guitar and sumptuous sculptures of overtones vibrate in the air... somehow, it ­s eems only logical that Ellen Arkbro has drawn inspiration from m ­ inimalist artist LaMonte Young’s Dream House as much as from s ­ hoegaze l­egends My Bloody Valentine.

Throughout Arkbro’s music, a love for the physics of sound weaves itself in and out of waveforms both harmonious and dissonant. Her latest album For Organ and Brass came out in early 2017 and was created in part using ­G erman church organ from 1624, using meantone temperament (a different tuning than the today’s standard). The record ­features organ and brass instruments merging into a rolling ocean of sound to dive into. At Clandestino ­Festival, Ellen Arkbro will play on the slightly more modernized ­M asthuggskyrkan organ, inaugurated 1914, the same year as the church for which is was named.

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still Lo fi dancehall SATURDAY 9 T H OF JUNE PUSTERVIK Simone Trabucchi appears to be involved in pretty much all things cool and underground in Milan. He started booking punk shows in a basement at 16, and soon began putting out his favorite bands on his label, Hundebiss Records. He has released his own trippy electronic music under the moniker Dracula Lewis, and is also part of the art duo Invernomuto together with Simone Bertuzzi. Their film Negus uses Lee Scratch Perry’s ritualistic bonfire in Trabucchi’s hometown as a starting point and then sets out to investigate Italy’s dark past as a colonial power in East Africa. The same theme was also the spark for Simone Trabucchi’s new musical project, Still, which can only be described as maximized lofi dance hall, a collage style party music with italo synthe­ sizers and no shortage of surprise moments, owing to an impressive line-up of guest singers on the album I, voices from the Afro-Italian diaspora. From rudeboy chant to sexy soul to spoken word, it’s a sumptuous feast for the senses.

JFDR

Brazil at a whisper

S UNDAY 10 T H OF JUNE GERLESBORGS SKOL AN Few 23-year-olds can pride themselves on as cool a CV as Jófríður Ákadóttir’s. Since the age of 14, this Icelandic singer-­ s ongwriter has released records with the bands ­S amaris, Gangly and Pascal Pinon. She runs her own ­label, White Sun Recording, and ended up on multiple Best of 2017-lists ­u nder her alias JFDR. Oh, and she happens to have

a ­d evoted fan in a certain Björk, who professed in an interview that she has long been obsessed with Jófríður’s music.

In 2017, JFDR released the album Brazil. Jófríður’s half-­ whispering, dramatic vibrato voice sometimes brings to mind electropop singer Glasser. Now and then, her breath­ ing becomes a rhythm instrument. At moments, it comes

across as an acoustic cousin to The Knife. Guitar, piano and double bass create a frozen landscape, where a soft synthesizer makes an occasional appearance. Most instruments on the album are played by Shahzad Ismaily, known from collaborations with Laurie Anderson, Lou Reed, and Jolie Holland.

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Abou Diarra

The future of Mali blues

S UNDAY 10 T H JUNE GERLESBORGS SKOL AN Kamelen N’goni, or ”Young Person’s Harp”, is a s ­ tringed inst­r ument that has become famous all over after ­b eing used by artists like Oumou Sangaré. Among its y­ ounger virtuosos, Abou Diarra stands out in particular. After his father’s death, he left his hometown and went on a long journey through the ­M andinka region in West ­A frica,

his ­i nstrument the sole ­c ompanion in his travels. Diarra ­walked 4000 kilometers and v­ isited everything from sleepy ­v illages to the big city of Bamako to collect both ancient folk songs and contemporary pop music. Abou ­D iarra’s own compositions are characterized by this ­ e clectic approach. On the album Koya, named after his mother

who also sings on the record, Mandika and ­Wassolou ­t raditions are mixed with vibrations from both reggae and jazz. ­B luesy harmonica notes howl along with cascading ­m elodies from his Kamelen n’goni. With a g ­ entle tenor voice and calm narrative style, Abou Diarra sings songs about travel and exile.

Ellie Ga Strophe, a Turning SATURDAY 9 T H OF JUNE VÄRLDSK ULTURMUSEE T IN CONVERSATION WITH MAR A LEE New York-born, Stockholm-based, artist Ellie Ga brings us her film Strophe, a Turning (2017), which initially developed from her fascination with drifting objects and how they can be used to chart sea movement. But her own willingness to drift and follow uncertain turns carries her unexpectedly to the Greek islands of Symi and Lesvos, during the s ­ ummer

of 2015. Ga decides to join a team of volunteers aiding asylum seekers and refugees—a definitive turning point at which she is forced to wrestle not only with the poetics of ­accidental drift and the new discoveries it beckons, but with urgent p ­ olitical and humanitarian realities. A nuanced and complex history of endurance, faith, and indeed, chance.

Think of the music scene as a Russian Babushka baby doll, full of ­magic surprises. Firstly, you encounter the largest wooden doll, which is adorable in every way.

Then you discover that it can be opened, and inside a smaller and more beautiful doll is hiding.

This doll too can be opened and inside waits yet another surprise.

Once you know this trick it becomes difficult to resist searching for the smallest doll which constitutes a treasure, hidden within what is hidden.

Now imagine that no one else in your surroundings has discovered that the biggest of the dolls can be opened, that almost everyone in the industry is content to look at the outermost of shells, that which is visible and available to everyone at all times.

It becomes clear to you that it is not only a lack of curiosity about the interior of the doll, but also ignorance, prejudice and the inherent racism and sexism of the industry that blind others, preventing them from discovering new things.

When Clandestino Festival was born fifteen years ago, our ambition was to change our part of the world and the way people look at it. We wanted to say that there are treasures hidden in the deepest depths of that doll, still unseen because the industry is busy making you look at the shell.

Regarding this ambition, nothing has really changed - nothing else, save for the fact that some of the artists that were once hidden deep inside the doll have since burst from their confines and reached beyond the scene’s hidden spheres.

We are therefore very proud to present a range of young, i­ nnovative artists from many different parts of the world, along with some ­contemporary global stars and underground legends.

Tickets All info on tickets can be found online at www.clandestinofestival.org Ages 21+ only in Göteborg venues where alcohol is served.

Free entry for the Masthuggskyrkan concert.

Entry free for kids up to 16 in Gerlesborg.

Backstage

Photo Credits

Venues

Clandestino Festival has been proudly organized and operated since 2003 by the non-profit Clandestino Institut, with support from: Västra G ­ ötalands­­regionens Kulturnämnd, Statens K ­ ulturråd, Göteborgs Stad Kulturnämnd, ­S tatens ­M usikverk, Gerlesborgs­s kolan in B ­ ohuslän, Tanums kommun. A ­ rtistic director: Aleksander Motturi. Co-curator: José G ­ onzález and Wildbirds & P ­ eacedrums.

Producer: Louise Hammar. Production Manager: Sebastian ­ Gäbel. Graphic ­d esign: Milena ­K arlsson. Editor: Markus Görsch. ­C opy editing: Joanie Wolkoff and A ­ nders Olsson. Press: Ebba Lindqvist PR. Communications A ­ dvisor: Jonas Dahl. Financial administration: Silva Hildbrand & EMK r­ evision. Web: ­N odestar.

The Comet is Coming: Fabrice Bourgelle. Wildbirds & Peacedrums: Antje Taiga. Sidsel Endresen & Stian Westerhus: CF-Wesenberg. Joey Le ­S oldat: ­F lorent Mazzoleni. AMMAR 808: Tba. Klein: Joyce Ng. Seun Kuti: A ­ lexis M aryon. ­ ­ S tella Chiweshe: Tba. MobileGirl: Niclas Hille. José González: Malin J ­ ohansson. Zoo: Luca Caciagli. Orchestre Les Mangelepa: Tba. ­A ltin Gün: ­L otte Spek. Sudan Archives: Rob Klassen. Bedouine: Polly ­A ntonia B arrowman. ­ ­ O umou Sangare: Benoit Peverelli. Faka: Nick Widmer. Ellen ­A rkbro: Marcus Pal. Still: Anna ­A damo & Guido Borso. JFDR: Blair Alexander Massie. Abou Diarra: Victor Delfim. Ellie Ga: Ellie Ga.

pustervik: Järntorgsgatan 12, Göteborg. oceanen: Stigbergstorget 8, ­G öteborg. masthuggskyrkan: Storebackegatan 15, Göteborg. världs­k ultur­m useet: Södra Vägen 54, Göteborg. hoki moki: Erik Dahlbergsgatan 3, Göteborg. hpksm: Stor­­­g atan 22, Göteborg. folkteatern: Olof Palmes plats 1, Göteborg. ­g erlesborgsskolan: Gerlesborg 1, Hamburgsund. svenneby gamla kyrka: V, ­Tanumshede. clandestino institut, Stigbergstorget 8, 414 63 Göteborg, Sweden. info@clandestinofestival.org