clan dest ino
program 2021
Ebo Krdum
Vanligt Folk
Songs of unity
Post-normal EBM
SATURDAY 3RD OF JULY MALMÖ SOMMARSCEN FRIDAY 8TH OF OCTOBER FOLKTEATERN
SATURDAY 7 TH OF AUGUST OCEANEN
Ebo Krdum is a singer & songwriter, an actor and an activist. His music career began when he played “mouth drums” and sang on the streets of Darfur in his youth. On a home-made guitar, he eventually learned to play, inspired by the king of Afroblues, Ali Farka Touré. Today he lives in Stockholm and has been named Newcomer of the Year at the Folk and World Music gala along with his band Genuine Mezziga. His songs deal with social and political issues affecting his homeland Sudan, in a v ariety of rhythmic and melodic forms of African Blues and soul music. Ebo Krdum’s most important sources of inspiration also include Mariam Amou, Boubacar Traoré and Oumou Sangaré, among others. His deep, pure and natural voice, combined with his unique guitar technique, takes audiences on a journey of peace, justice, resistance, revolution, freedom and love.
Their intention was to make heavily groovy Electronic Body Music in the spirit of d.a.f., but something went awry. Sure, they’ve got the p rimitive synth sounds and hard marching drums. But at the same time, the Gothenburg trio Vanligt Folk’s music is so far out weird that it reaches far beyond nostalgia for black-clad fans of 80’s synth. Influences from dancehall and dub mix with punky chaos and a drummer playing frantically with both shoes and head instead of
sticks on occasion. Themes such as nationalism, racism and the significance of the hambo dance for the Swedish working class of the 20th century can be found in lyrics as bizarre as they are brilliant – like a fever-induced nightmare in a Roy Andersson film. Last year, Vanligt Folk released the album Allt E’nte, a record that the group sees as a response to the demand for politicization of musical expression: “We’re hoping that Allt E’nte is as out of date in 200 years as it is today”.
Goran Kajfeš Subtropic Arkestra ft Avin Omar & Slowgold Bab L’Bluz Funky gnawa blues SATURDAY 7 TH OF AUGUST NEFERTITI
Gnawa is the name of an ancient Sufi trance music. As a teenager, Yousra Mansour, the singer of Bab L’Bluz, was fascinated by these hour-long rhythmic improvisations. She travelled around Morocco to discover how a new generation of musicians were working to open up this style to new expressions. Some years later she met Brice Battin, a French musician based in M arrakech. He had long been experimenting with a polyrhythmic concoction of jazz and gnawa music. Together they learnt to play the guembri and the awicha – two traditional types of lute – and explored how these instruments could be used in the manner of a bass
and lead guitar in a rock band. This became the backbone of their debut album Nayda. The title means “awakening” and points to an a rtistic and social emancipation movement among young, urban Moroccans. The lyrics, variously in Darija, Sudanese and English, deal with everything from transcendental love to frustration over injustices across the African continent. The album won the Songlines Award for Best Fusion 2021. Since its inception, Bab L’Bluz has grown to a quartet which, in addition to t raditional lutes and qraqeb castanets, mixes in flutes and Indian tabla drums to create funky, psychedelic gnawa blues for the 21st century.
Eclectic jazz collective THURSDAY 26 TH OF AUGUST OCEANEN Trumpeter, bandleader and composer Goran Kajfeš has gathered some of Sweden’s foremost improvisational musicians in the project Subtropic Arkestra. In recent years, the eclectic jazz collective has both won a Swedish Grammis award and been hailed internationally by audiences as well as the press, for example in Uncut, Mojo, Wire, The Guardian and Jazz Journal for their The Reason Why trilogy. On the three albums, the group draws influences from Turkish psych funk, Nigerian
afrobeat and cosmic jazz à la Sun Ra, before diving into Archimedes’ bathtub and finding Swedish experimental rock from the 70s. At Clandestino Festival, Subtropic Arkestra continues to explore new horizons along with fine guests on stage: Gothenburg-based vocalist Avin Omar, re- nowned for her magical alto voice, has been heard interpreting Kurdish folk, Arabic c lassical and traditional music, as well as Turkish and Greek folk music. She is an active member of the groups
Samara Ensemble, Bosphorus Ensemble, Tro Deng and Kompani Pergamos. Also contributing is Amanda Werne, singer, songwriter and multi-instrumentalist from Gothenburg. Under the name Slowgold she has won a Swedish Grammis award, duetted with the legendary Freddie Wadling, and released six albums, of which the latest – Aska from 2020 – carries echoes of melancholy American harmon icas, folk pop and The Cure-esque post punk.
Islandman Anatolian space odyssey FRIDAY 27 TH OF AUGUST OCEANEN
Tolga Büyük, the founding member of Islandman, grew up among the sounds of the Anatolian psych rock of the 70s. His first idol was Barış Manço, known for morphing Turkish folk music with electric guitars and melismatic synths. At the age of seven Büyük started playing saz, the “Turkish guitar”, which he says has shaped his sense of melody and of which echoes can be heard no matter what other instrument he picks up. Curious about his own musical roots, beyond the vinyl records of his childhood, he embarked on a journey which was chronicled in the short documentary Islandman and VeYasin Search for Ancestral Sounds in Turkey. In the film we see
him jam with Turkish rock legends and travelling bards. Among the Anatolian mountains he learns about yörük music and traces its roots to Tuva in Siberia, where a shaman blesses his saz in the smoke from a burning juniper tree. The latest album from Islandman is called Kaybola, a Turkish word that can be translated as “getting lost in order to find something beautiful”. In it, samples from the journey crowd together with Bulgarian choirs, digital dub, clarinet funk and electropolitan romance in the vein of Air. In a live setting Islandman reserves a lot of room for improvisation, and exactly how the concert turns out depends on the room, the audience and the vibe.
MC Yallah x Debmaster Futuristic flow FRIDAY 27 TH OF AUGUST OCEANEN She had been alternating for years between the life of an underground rap star and working as a presenter for a hip hop-oriented tv show. But when she made contact with the electronic music label Nyege Nyege in K ampala, MC Yallah’s music career finally took off in a big way. The label quickly fell for her tight, quadrilingual flow (English, Luganda, Kiswahili and Luo) and booked MC Yallah for the launch of the Nyege Nyege Festival in 2015. Since then she has performed in each incarnation of the festival and built an ever increasing audience, in Uganda and beyond. The ep Kubali from 2019 is a mix of futuristic “conscious” hip hop, grime and punk, that resulted from a collaboration with the French producer Debmaster, aka Julien Deblois. Based in Berlin for the past ten years, he has established himself as one of the most interesting lab rats of contemporary electronic music. In his productions creaking techno synths react osmotically with Indonesian gamelan music, cut up pan flutes and bizarre vocal fragments. Nyege Nyege asked him to send audio files en masse, and many of his most potent compounds ended up on MC Yallah’s blistering ep – a meeting of minds that continues on the upcoming album.
Sara Parkman Tradition and revolution SATURDAY 28 TH OF AUGUST SKEPPET GBG, SJÖMANSKYRKAN
She has been called the perfect mix between vikings and Berghain: in the music of Sara Parkman, traditional melodies meet heavy beats, Hildegard of Bingen, and raw violin playing. Christianity merges with antifascism while tradition and r evolution join hands in her work. Among her many notable c ollaborations are Fever Ray, Bob Hund and the folk cabaret Fäboland with S amatha O hlanders. Sara Parkman’s three studio albums have all been
met with rave reviews and she has twice received accolades at the Swedish gala for Folk and World Music, as well as the 2020 c ulture award of the newspaper Dagens Nyheter. That same year she co-curated the Clandestino Festival where she and her band also served up a magical performance to the 50 people allowed due to pandemic restrictions. That concert was recorded and released as an lp by Clandestino Institute.
Astrid Sonne Tentacles of sound SATURDAY 28 TH OF AUGUST SKEPPET GBG, SJÖMANSKYRKAN
Astrid Sonne started practicing the viola at the age of six. By the time she was a teenager she moved from Bornholm to Copenhagen with the aim of attending the Royal Danish Academy of Music and embarking on a career as a classical musician. But gradually her urge to create original music overtook her interest in an orchestra seat. With no previous e xperience in digital music production she began feeling her way forward on the computer, and bit by bit a new
soundscape emerged. There are warm, organic notes, in the form of choirs and strings; but also a digital c oldness, with creepy tentacles of sound p robing deep into one’s ears. Somewhere inside the computer-generated fracas the polyphony of a symphonic composition can still be detected, as though Beethoven spoke to us from the other side of the singularity. At Clandestino Festival she will be performing with a live trio.
Maarja Nuut Melodies of the forgotten SATURDAY 28 TH OF AUGUST OCEANEN She began playing violin at the age of seven, and later studied classical music at the Tallinn College of Music. However, driven by her c uriosity and passion for folk music, she has delved deep into many other genres. At 21, she traveled to New Delhi to study traditional music. After returning to Estonia, she began digging in archives for field recordings of songs from the villages before the Soviet era. She c ontinued her s tudies in Stockholm and immersed h erself in music from, among others, the Polish countryside. Her live performances are often e nchanting. Using her violin, voice and a loop pedal she combines the moods, stories and melodies of forgotten cultures, in the pursuit of a universal language. Maarja Nuut is a master of the subtle, demonstrating with small means the enormous possibilities of expression of the human voice. Among her many collaborations are projects with Estonian chamber choir Sireen, Sun Araw, Howie B and Hendrik Kaljujärv, aka Ruum.
TootArd Migrant birds SATURDAY 28 TH OF AUGUST OCEANEN
Rami and Hasan Nakhleh grew up in the Golan heights. Like many others in the Israel-occupied territories they have never owned a passport, instead they are using a document called ‘ Laissez passer’ to be able to travel. L aissez Passer is also the name of an album they released in 2017, influenced by both desert blues and reggae. Since then the brothers have shifted the focus of their music, back to the Lebanese and Egyptian electronic disco of the 80s. Hasan Nakhleh nostalgically recalled a simple keyboard with oriental scales he used to have in his childhood home. He tracked down a s econd hand instrument of the same type and that became the start of their latest album Migrant Birds.
It is smooth, sparkling, and filled to the brim with pining melancholy. Most of the tracks are built on funky disco with microtonal synth melodies – sometimes the album feels like a Levantine mirror work to Daft Punk’s Random Access Memories. But Tootard’s most important influences derive from the Egyptian guitarist Omar Khorshid, who, alongside keyboardists like Ihsan Al-Munzer, introduced Western disco and funk to classical Arabic tonalities. As the title Migrant Birds suggests, freedom is a recurring theme: the dream of moving freely across physical borders and walls, but also across those invisible barriers that limit one’s way of being and loving.
Amanar Rebel blues SUNDAY 29TH OF AUGUST OCEANEN
Duma Singeli metal FRIDAY 24TH OF SEPTEMBER OCEANEN
Kayhan Kalhor & Kiya Tabassian Meeting of the virtuosi SUNDAY 29TH OF AUGUST SKEPPET GBG, SJÖMANSKYRKAN
One of Iran’s most important musicians and composers, Kayhan Kalhor was born to Kurdish parents in Teheran and already as a thirteenyear-old found himself playing in the National Radio and Television Orchestra. At the same time he was studying Persian radif music, as well as Kurdish and Turkmen folk music. At the age of seventeen his career was abruptly interrupted by the Iranian Revolution. Alone, with nothing but a suitcase and his favourite instrument – a kamancheh – he escaped on foot all the way to Italy. Four years later his parents and his brother were killed in an Iraqi bomb raid. It would take years until Kayhan Kalhor addressed the tragedy in public, instead he let the music speak about the atrocities. He resettled to North America, where new musical meetings and opportunities unfolded.
Together with the cellist Yo-Yo Ma he won a grammy for the collaborative project Silkroad Ensemble. He has also written film scores and worked with the kora master Toumani Diabaté, the Kronos Quartet, and the New York Philharmonic. Kiya Tabassian is a setar player and composer. At age 14, he emigrated with his family from Iran to Quebec. He studied c omposition, while also continuing his self-education in Persian music. Later, he co-founded Constantinople, an ensemble that draws from the heritage of early music from the Mediterranean and the Middle East. Numerous musical groups and institutions have called upon his talents as a composer, including the Orchestre symphonique de M ontréal, the Nouvel Ensemble Moderne and the European Broadcasting Union. He has also composed for documentary and feature films.
Emerging from a number of different band constellations in the small but vital metal scene of Nairobi, Duma is the brainchild of vocalist Martin Khanja and the guitarist/producer Sam Karugu. They had both long been rebelling against established genre boundaries, but it wasn’t until they moved to Kampala in Uganda and formed this band that all the pieces fell into place. They experimentally concocted their eponymous debut, and thus created their own genre. How to describe this monster of an album? With machine gun percussion, growling vocals, swooping synths and electronic noise, Duma creates a hybrid of black metal, hip hop and singeli – the frenetic dance music from Tanzania. The lyrics deal with the day to day life of the band: love, hate, partying, and to be young and broke. But there is also Pembe 666, consisting of paragraphs from the Book of Revelations, sung in Swahili. And Lionsblood, which tells of a rite of passage in the Maasai culture: young men v enturing out into the wild to kill a lion and smear themselves with its blood. The theme is turned on its head in the video for the track, where unbothered youths sip on a red liquid next to a swimming pool – in Kenya, lion’s tears is a synonym for liquor.
Ahmed Ag Kaedy grew up in the desert town Kidal in the north-eastern corner of Mali. As an 18-yearold he travelled to Libya to practice shooting and grenade-throwing in the hope of becoming a rebel in the emancipation battle of the Tuareg people. At the training camp young men would gather in the evenings to play music late into the night, and gradually his belief in armed struggle was replaced by a need to express ideas of peaceful resistance in a new, personalised kind of desert blues. When he returned home he did so with a guitar instead of a machine gun. Ahmed Ag Kaedy founded Amanar and began singing about
the struggle of the Tuareg. The group had just started to take off and had won the prize for best band at the Festival au Desert 2011 when Islamist extremists took control over the region. They destroyed Ahmed Ag Kaedy’s guitars and threatened to cut off his fingers. He escaped to Niger and then to Bamako. But the conflict also led to a growing international interest in the music of the Tuareg – and in Amanar. Since then fans in both Africa and Europe have followed the band’s strife to nurture and to develop the musical h eritage that was first made internationally famous by artists such as Tinariwen and Terakraft.
Etran de L’Aïr Desert punk SATURDAY 6 TH OF NOVEMBER FOLKTEATERN
Kiko Dinucci Resistance through samba SATURDAY 6 TH OF NOVEMBER FOLKTEATERN
Nyege Nyege Dj Diaki, Authentically Plastic, Turkana and Menzi THURSDAY 4TH OF NOVEMBER OCEANEN Forget Detroit, Chicago and Berlin – recent years have shown that the hotspots for electronic dance music are African! Angolan kuduro techno, South African gqom and Tanzanian singeli are but a few examples in a wave of genres that are all breathlessly inventive and often rattle away at insane speeds north of 200 bpm. A catalyst for these scenes is the record label and festival Nyege Nyege in Kampala, Uganda. Clandestino Festival proudly presents four of their flagship acts. DJ DIAKI Balani Show is a genre of street parties in Mali based around sound systems blasting electronic beats and balafon samples. Inspired by Ivorian coupé-décalé and Congolese soukous, Dj Diaki reinvents the style born out of these parties. With a laptop, a microphone and a drum machine he conjures up a whirlwind of rhythms in friction with one another – the result is anything but
predictable. The tempo is so high that the beats merge into vibrating notes. His debut was named album of the month in The Guardian, and gave him the nickname “Le President”. AUTHENTICALLY PLASTIC This artist, dj and producer from Kampala begun their career with dj sets at secret queer raves and by organising Plastic anti - mas s – a series of club nights focusing on female and queer a rtists breaking with normative body ideals. Gqom, vogue and techno are linked up with East African traditions and industrial noise to form an orgy of rhythms as dark as it is joyous. TURKANA Anita Kevin is a dj, producer and model based between South Sudan and Uganda. She grew up in a refugee camp in Turkana, Kenya and after having partaken in a workshop for aspiring m usicians she
adopted the name of the region as her disc spinning alter ego. For Turkana the dance floor becomes a battlefield where tensions between oppression and emancipation are played out. The building blocks of her tight sets are made up of electronic underground, hard dance, non-normative techno and heavy grooves from conflict-ridden shadowlands. MENZI Out of Umlazi township in Durban comes Menzi, one half of Infamous Boiz – renowned pioneers of the gqom genre. While his music has conquered dance floors all across the world he has also built a reputation at home as a party organiser and as a producer for a long line of South African artists. But above all he has continued to challenge and develop gqom music in an ever darker direction, with futuristic sounds and synth lines that make John Carpenter’s Halloween sound like a lullaby in comparison.
In Brazil there is a well established notion of “cultural cannibalism”, i.e. that history is devoured and regurgitated in ever new reincarnations. In the case of Kiko Dinucci we can tell that he has taken big bites out of both choro and bossanova, as well as nibbles of hardcore punk and mouthfuls of the music and the earth religions of the Afro-Brazilian diaspora. Previously he could be heard in the band Méta Méta, but his latest release is the solo album Rastilho. It is a stripped down but intense collection of songs with choirs and samba rhythms, put to tape with an analogue warmth that brings 70s tropicalia to mind. Kiko Dinucci plays as though the guitar were a percussive instrument, in a style as complex as it is raw. The ideas for Rastilho started to form in 2019 as Dinucci was recovering from double wrist surgery. From the hospital bed he watched on the tv how the world seemed to be spinning out of control. The Amazon rainforest stood ablaze, while the new president behaved downright sadistically towards Brazil’s most marginalised. The anger and the sorrow grew to form the sense of resilience and resistance that characterizes the album. He is also looking back to other dark times in his country’s history. Like in the song Dina, which tells of the guerilla fighter Dinalva Oliveira Teixeira who was killed by the junta in 1974.
With repetitive rhythms and serpentine g uitars, desert blues has become a beloved phenomenon across the world. But compared to superstars like Tinariwen and Ali Farka Touré, Etran de L’Aïr come across as a rowdy party gang. According to themselves, this family collective is a “wedding band for people with no money”. A listen to their debut album No. 1 confirms this assessment: Three guitarists all seeming to aim for distorted solos simultaneously; the drums clattering along like a mad machine; vocals that appear cracked and distant. Desert punk
erhaps, or a The Velvet Underground of the p Sahara? When the album was recorded, under the desert skies, a spontaneous party erupted, hence the applause and enthusiastic shouts caught on tape. The group formed in Agadez, capital of the Aïr region of Niger, and a key caravan crossroads for centuries. It was 1995 and the band was equipped with nothing but an acoustic guitar and a calabash upon which they kept rhythm with a sandal. Electric guitars and drums were introduced later and new members were added as the family grew.
Siti Muharam Taarab traditions WEDNESDAY 17 TH OF NOVEMBER OCEANEN THURSDAY 18 TH OF NOVEMBER FASCHING
With lyrics out of the Quran, East African polyrhythms and Indian melodies, the taarab was a product of the international trade with spices and slaves on Zanzibar. For a long time it was the music of the ruling classes, performed exclusively by male musicians. But at the beginning of the 20th century, the taarab was revolutionised by the singer Siti Binti Saad. Her version was an improvisational music of popular appeal, with lyrics in both Arabic and Swahili. As the first female superstar of the genre (“siti” means “lady” in Arabic) she also paved the way for coming generations – one of them being her great granddaughter Siti Muharam.
While many contemporary artists swaddle their neo-taarab in thick layers of synth strings, she instead opts for a subtle rejuvenation of the old songs on her acclaimed album Siti of Unguja – which has been praised in international press and was named album of the year by Songlines. Her impassioned voice is accompanied by t raditional percussion and virtuosic oud playing, but also by Western instruments like double bass and baritone saxophone. Lyrically her social c riticism is poetically ornate, like in for example Kijiti, that unveils a story of a murder trial where the colonial power punished the witnesses instead of the killer.
Lea Bertucci Soundscape architect WEDNESDAY 17 TH OF NOVEMBER OCEANEN
Altïn Gun The golden age SATURDAY 6 TH OF NOVEMBER SKEPPET GBG, SJÖMANSKYRKAN
The golden age of Turkish rock music reincarnated – in the Netherlands! If you enjoyed compilations with redisco vered Turkish 60s and 70s recordings (Istanbul ’70, Psych Funk A La Turkish, etc), you won’t be able to resist 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 heyday of stars like Selda, Barış Manço and Erkin Koray. It was these figureheads who created the soundtrack for a new urban Turkish identity with equal parts of
Anatolian folk music and western psychedelic rock, funk and disco. Since its spectacular concert at Clandestino Festival 2018, the group has released two albums and in 2019 they were nominated for a Grammy for Best World Music Album. On their third album Yol, we meet a band whose sound has developed during months in lockdown. With more synths and drum machines, emphasis has moved more towards disco than psychrock. Meanwhile, many of the songs are taken from archaic sources, like on previous albums: Folk melodies from the Ottoman Empire, from Anatolia and the Balkans.
The American composer and multiinstrumentalist Lea Bertucci works with a combination of performance and multi-channel sound installations. Alto saxophone and bass clarinet are her go-to instruments, but flutes, organs, and field recordings also play important roles. Often sound itself is the object of her explorations: the agitated air that crashes in waves against our bodies. Like in Metal Aether, recorded in a former military base in France and consisting of pulsating sound patterns, drones and high frequency brass squalls. In the spring of 2021 she released A Visible Length of Light, an album that emerged out of a turbulent year in the usa . The beauty of the American landscape – beaches, mountains and prairies – is reflected in the compositions. Is that the wind rushing across a deserted field, or the composer blowing tunelessly on a flute? But you can also hear the cities, desolate in lockdown, or as scenes for revolt and chaos. The feeling of alienation in one’s own native country hangs like a shadow over the music.
SCHEDULE SATURDAY 3 RD OF JULY
MALMÖ SOMMARSCEN
Ebo Krdum
SATURDAY 7 TH OF AUGUST
NEFERTITI
Bab L’Bluz Vanligt Folk
OCEANEN
THURSDAY 26 TH OF AUGUST
Namna Goran Kajfeš Subtropic Arkestra ft Slowgold & Avin Omar
OCEANEN OCEANEN
FRIDAY 27 TH OF AUGUST
Islandman MC Yallah X Debmaster
OCEANEN OCEANEN
SATURDAY 28 TH OF AUGUST
SKEPPET GBG, SJÖMANSKYRKAN SKEPPET GBG, SJÖMANSKYRKAN OCEANEN OCEANEN
Astrid Sonne Sara Parkman Maarja Nuut Totaard
SKEPPET GBG, SJÖMANSKYRKAN
Amanar Kayhan Kalor & Kiya Tabassian
FRIDAY 24TH OF SEPTEMBER
OCEANEN
Duma
FRIDAY 8 TH OF OCTOBER
FOLKTEATERN
Ebo Krdum
THURSDAY 4TH OF NOVEMBER
OCEANEN
Diaki Authentically Plastic Turkana Menzi
SUNDAY 29TH OF AUGUST
OCEANEN
OCEANEN OCEANEN OCEANEN
SATURDAY 6 TH OF NOVEMBER
FOLKTEATERN FOLKTEATERN SKEPPET GBG, SJÖMANSKYRKAN
Kiko Dinucci Etran de L'Aïr Altïn Gun
OCEANEN
Lea Bertucci Siti Muharam
THURSDAY 18 TH OF NOVEMBER
FASCHING
Siti Muharam
SATURDAY 27 TH OF NOVEMBER
OCEANEN
Alogte Oho & His Sounds of Joy
WEDNESDAY 17 TH OF NOVEMBER
OCEANEN
DOWNLOAD DETAILED PROGRAM AT WWW.CLANDESTINOFESTIVAL.ORG
Alogte Oho & the Sounds of Joy Frafra gospel deluxe SATURDAY 27 TH OF NOVEMBER OCEANEN Alogte Oho Jonas grew up in northern Ghana where the sounds of frafra gospel choirs bellow out from many a church. Later, in his twenties, he found himself in the capital Accra, where he struggled to get his singing career off the ground. A violent car crash nearly put an end to all his
ambitions, and while he slowly recovered he felt grateful just to be alive. This feeling he poured into what was to become his breakthrough hit: Mam Yinne Wa, which combined his childhood gospel roots with reggae inflections. When the German record label agent Max Weissenfeldt
visited Ghana he was immediately drawn to the satin tenor of Alogte Oho, backed by the choir The Sounds of Joy. He signed them to his label Philophon, and when time came to hit the studio the group had been further augmented by a funky rhythm section and tight horns.
Litteratur i krisens marginal 29 MAJ
5 JUNI
HANNA RAJS LARA ULF KARL OLOV NILSSON
JOHAN JÖNSON LIDIJA PRAIZOVIĆ
12 JUNI
6 JUNI
ANDRZEJ TICHÝ PÄR THÖRN
GUNNAR NIRSTEDT GORDANA SPASIĆ
28 AUG & 29 AUG
29 AUG
SARA MANNHEIMER YASSIN AL-HAJ SALEH
SARA ABDOLLAHI ANN JÄDERLUND
WWW.CLANDESTINOINSTITUT.ORG
TICKETS Ticket information can be found online at www.clandestinofestival.org. BACKSTAGE Clandestino Festival has been organized by the non-profit C landestino Institut since 2003. This event is made possible with support from Västra Götalandsregionens Kulturnämnd, Statens Kulturråd, G öteborgs Stad Kulturnämnd. Artistic director: Aleksander Motturi. Co-curator: Goran Kajfeš. Production Manager: Mia Herman. Graphic design: Milena Karlsson. Editor: Markus Görsch. Translation: Petter Yxell & Barrie James Sutcliffe. Press: Kajsa Olofsson, Ascari PR. Financial administration: Silva Hildbrand & Anna Hedin, Baker Tilly, EMK. Web: Jesper Lind, Nodestar. Clandestino Institut (board): Erling Björgvinsson, Nathalie Bödtker Lund, Stefan Jonsson, Catharina Bergil, Anja H ellström, Mariam Wallentin, Julia Willén & Jose Lagunas Vargas.
VENUES Oceanen: Stigbergstorget 8, 414 63 Göteborg. Sjömanskyrkan (Skeppet Gbg): Amerikagatan 2, 414 63 Göteborg. Folkteatern: Olof Palmes Plats, 413 04 Göteborg. Museum of World Culture: Södra Vägen 54, 412 54 Göteborg. Nefertiti: Hvitfeldtsplatsen 6, 411 20 Göteborg. PHOTO CREDITS Ebo Krdum: Daniel Dent. Bab l’Bluz: Yousra Mansour. Goran Kajfeš Subtropic Arkestra: Klara G. Sara Parkman: Frida Edlund. Maarja Nuut: KaupoKikkas. Kayhan Kalhor: Hamid. Amanar:Konrad Waldmann. Duma: Chrisman. Authentically Plastic: Daniel Dent. Etran de L’Aïr: Christopher Kirkley. Altın Gün: Rona Lane. Lea Bertucci: Courtesy of the artist.