Amadou & Mariam and the Beating Wing Orchestra

July 7th and 8th 2009 Manchester International Festival
Summary Report to the Paul Hamlyn Foundation

Co-Produced with Community Arts North West

Supported by the Paul Hamlyn Foundation

Author: Jennifer Cleary. . October 2009 Images: Sharon Latham (performances) and Shaw and Shaw (all other) for Manchester International Festival. Manchester International Festival. Head of Creative Learning.

and a Bangladeshi rapper is about to make her entrance.’ **** MusicOMH ‘Heart warming and uplifting they play a colourful set that moves the crowd and has them smiling from the inside out’ Click Lancashire . Meanwhile. as their infectious rhythms take hold. a Chinese Bel Canto opera singer is singing. Warm. Djuru and I Follow You elicit broad smiles throughout the venue. there’s a Kurdistani saz player in the background. and it shows. happy and vibrant’ **** Metro ‘this was joyful music made with love and excitement – a real Mali-Manchester soul stew’ **** Manchester Evening News ‘The music unites the crowd in a sweaty mess of clapping and dancing’ **** The Guardian ‘Inspired by the Beating Wing Orchestra’s ceaseless energy and visible enthusiasm. tracks such as Ce N’est Pas Bon.‘Amadou is playing a delightfully evocative African guitar lick. This is a proper collaboration for MIF that has been worked on since the end of last year.

. Members of the orchestra come from countries as diverse as Kurdistan and Cameroon. CAN and MIF were keen to continue their support for the orchestra with this second. successful collaboration between different communities. asylum seeker. raised awareness and increased audience attendance by community groups / members who come from refugee. 3. earning a 5* review in the Metro newspaper. To help the orchestra to build on this success and develop further as a group. Background Formed in Manchester from musicians of refugee. 5.1. Beating Wing Orchestra (BWO) helps to forge new connections between the city’s rich mix of musicians. Reem Kelani and the resulting short performance was one of the highlights of the 2007 Festival. asylum seeker and migrant backgrounds. Bangladesh and Brazil and each bring their own individual musical style and talents. Objectives Following the success of the 2007 partnership. the Beating Wing Orchestra is a unique group of musicians who speak a global music vocabulary. 4. MIF and CAN proposed to work with the group on a second commission for the 2009 Manchester International Festival. In turn. ideas and understanding. 2. other migrant backgrounds and musicians from Manchester’s host communities. This document reports on the journey taken to develop and deliver this unique collaboration. this helps bring communities together through music to share experiences. continuation and development of BWO as an ‘international orchestra’ of 12 musicians from refugee and asylum seeker and migrant backgrounds. Amadou and Mariam. BWO was originally brought together by Community Arts North West (CAN) and Manchester International Festival (MIF) to undertake a commission for the 2007 Festival. Key objectives of the work were to support: 1. 3 high-quality. this time inviting the orchestra to develop a full-length concert with Malian musicians. The orchestra worked with Palestinian singer and composer. As an international musical group. cultures and musical styles and to have provided a potential model (for MIF and the wider cultural sector) for future inter-cultural collaborations. 2. Brief outlines of each organisation are provided in appendix 1. full-length performances by the end of the 2009 Manchester International Festival. more challenging commission. 100% of the orchestra members learning new skills and gaining more confidence through the process. The project was commissioned by Manchester International Festival and produced by Manchester International Festival and Community Arts North West.

3-day development workshop between the orchestra and Amadou and Mariam. Project Development This artistic approach for this project was quite different to the 2007 approach. Arun Ghosh appointed as Musical Director. . Recruitment of new members of BWO. Amadou and Mariam. See appendix 3 for a list of orchestra members. styles and cultural influences. BWO weekly rehearsals (except school holidays).2 Amadou and Mariam Amadou Bagayoko Mariam Doumbia Yves Abadi Vocals and guitar Vocals Percussion Jazz clarinet and harmonium Vocalist Drums Jazz piano and organ Brazilian percussion Bass Guitar Kurdish saz. See appendix 4 for Arun’s biography. First BWO performance. acoustic guitar and vocals Bangladeshi rap Chinese Bel Canto Bosnian fiddle Kurdish saz Recruitment of lead artists. BWO start weekly rehearsals. See appendix 2 for their biography. it supported the orchestra to bring their own musical ideas and expertise to the table. BWO weekly rehearsals (except school holidays). Rather than having new work composed for them. The schedule for development was as follows: July 2008 September 2008 October 2008 November 2008 11 – 13 December 2008 January – March2009 20 March 2009 6 – 8 April 2009 April – June 2009 22 – 23 June 2009 23 – 6 July 2009 7 . 3-day development workshop between the orchestra and Amadou and Mariam. Final development workshops between orchestra and Marc Antoine and Yves Abadi (A+M management). at Exodus Live event managed by CAN. allowing us to test a new model of the orchestra working together and in partnership with major international artists. Final rehearsals for BWO and Arun Ghosh. Performances at MIF. The Artists 4.8 July 2009 4. to re-imagine Amadou and Mariam’s music with different sounds.1 Beating Wing Orchestra Arun Ghosh (Musical Director) Emmanuela Macholi Yogolelo Pat Mackman Serge Tebu Aisha Lourenco Nicki Dupuy Ismaeel Osman Sabir Jaheda Choudhury Zhou Juan Lis Murphy Azzad Hassan 4.3.


Performances The performances took place on 7th and 8th July 2009 at the Pavilion Theatre on Albert Square. Capacity was 450 each night and both nights were performed to a full capacity audience. As part of MIF’s Community Box Office programme. A number of these groups attended and their feedback is outlined below. © Sharon Latham for Manchester International Festival . 100 tickets were allocated to CAN to distribute at £3 per ticket to their network of refugee and asylum seeker groups.5.

’ Daniel Murphy. The group that came are all either on section 4 support or destitute and don't have much or any cash for nights out. I particularly liked the BWO's own material. 7. ‘They were amazing. Guardian Online and City Life. as well as footage of their rehearsals.the performance was great. Manchester Evening News and Music OMH. . Band On The Wall.’ B of Educated Thugz reviewing online for BBC Manchester. Audience Feedback Audiences to the Beating Wing Orchestra concerts rated the event highly. Importantly. A 7 minute film entitled Speaking Through Music and featuring the BWO rehearsals with Amadou and Mariam was aired on CNN.290. After the trip I felt very happy because I enjoyed myself. George House Trust. I would like to do something like this again. the Manchester Evening News.6. all of them in harmony together . Guardian Weekend Guide. the Guardian.’ Tim Chatterton. New York Time Out. All of them raved about it afterward and asked me to pass on our thanks. In Critical response to the performances was positive. 93% of the audience rated it 7 out of 10 or higher with 52% giving it the top scores of 9 or 10. and generated future bookings for the group. Sample comments from the audience include: ‘This has to be one of the festival highlights…………………. ‘Having never seen the band before I had no expectations about them but I loved the music and all the performers and thought it was really professional and well thought out. A selection of comments from the press can be found in the opening pages of this report and a selection of reviews are attached as Appendix 6.and collaborating with those Malian superstars. this level of profile has increased awareness of the orchestra locally and nationally. a 6 minute film on The Guardian Online featured the stories of the refugee and asylum seeker musicians of the orchestra. Society Guardian.’ Stockport Refugee Support Group member. ahead of the performances. Metro. it was like they had been playing together for years. ‘Ten of our service users and two staff went to the tent and everyone (including myself) thought it was fantastic. ‘Before the trip I did not have any idea about it so I was very excited. Chinese Opera was a stroke of genius. http://www.’ BBC Manchester Online The collaboration captured the imagination of journalists and commentators and. I would definitely go to see Beating Wing again!” Stockport Refugee Support Group member. Press and critical feedback ‘It was like it wasn’t a new collaboration. earning an array of 4* reviews including the Guardian. the work was covered in a range of print and broadcast media including the Metro. that's just a blessing in itself. I enjoyed the music and the The advertising equivalent value of this press interest was £43.

Found Amadou and Mariam and the music. This has given me great confidence in myself and who I am.’ Zhou. On the last day of the workshops I felt really confident. ‘[At first I found it] difficult to connect to the CD and come up with ideas. 5 new members were recruited through auditions in September 2008 and Arun Ghosh was appointed shortly after. All of the musicians felt that the project had helped them grow in confidence. ‘[The project has been] very important to me. By the time of the first development workshops with Amadou and Mariam none had been identified and the plan was to recruit again in January 2009. it became clear during the first workshops that the group was working well together and a relationship had been established with Amadou and Mariam. All of the musicians indicated that they were learning and developing new skills including: Learning about new African Malian music Being more confident using email communication Learning how to fuse different musical and cultural styles Learning about working as part of a team and interacting with other musicians Learning about how to be flexible to change. You have really helped my confidence and given me confidence to help change some things in my life. It was felt that bringing in additional members after this point could be detrimental to the working relationship of the group and a decision was taken not to expand the group further. However.8. Learning to write and practice English language skills. for example: ‘It has given me confidence in myself and ability as a musician and artist to make music with all people. The final number of musicians on stage during the performance was 13. Thank you very much. asylum seeker and migrant backgrounds.’ Lis. The legacy section of this report discusses the post-2009 continuation and development of the orchestra. .’ Ismaeel. as evidenced below. The objective that was not met (the number of participants in the group being 11 rather than 12) was a result of a decision taken to protect the development of the project. how to work really hard and get better. Objective 2: 100% of the orchestra members learning new skills and gaining more confidence through the process. whoever and whatever level they are and where ever they are from. brilliant in person. The progress and professional development of the group was evaluated after each development workshop. and is explained below. Yves Abadi and 10 members of the Beating Wing Orchestra including Musical Director Arun Ghosh. Objective 1: Continuation and development of BWO. At this stage the CAN team were looking for 2 further musicians to bring Arabian or Middle Eastern influences to the orchestra’s music. 1 member of the orchestra had to drop out in April due to personal circumstances. Performance against key objectives All but one of the key objectives set at the start of the project were achieved. This is perhaps an inevitable risk when working with members of the community who have such instability in their personal lives. There was the space and very good guidance from them. Very happy when I see group really helping me. and how to make individual ideas work Learning how to work with professional musicians. This comprised Amadou and Mariam. an ‘international orchestra’ of 12 musicians from refugee. 5 of the original BWO musicians took part in the 2009 commission.

This project brought together disparate musical cultures and styles. not just as individuals. I love now African music. I like. particularly for me. ‘The music is new and different. but this is not here at BWO. but I found a way in. For many it was the first time they had worked with a Chinese Bel Canto singer.’ Emmanuela.’ Jaheda.’ Nicki. Everyone here at BWO are bosses of their own musical bands – which are all different. They [Amadou and Mariam] are really professional. However. ‘First time I share with musicians from different cultures. I will learn more and get better. with barriers such as language and differences in musical style and rhythm to is not just about the personal development but about the group.’ Aisha. the musicians had not only gained confidence individually but were working more collaboratively together. The language (French) was a bit of a barrier at first. and to MIF audiences. This is the learning . but to musicians like Amadou and Mariam. It was a source of pride for many of the group that they could showcase their heritage not just to other members of the orchestra. The returning orchestra members had worked together before but for many of the new members this was their first experience of working together in such a culturally and musically diverse group.’ Azzad. The opportunity to play with Amadou and Mariam brought the orchestra’s work to a much higher standard and provided an opportunity for the orchestra to explore the Malian music discipline as a group.’ Zhou. We need to think more as a group.’ Emmanuela. ‘I’m happy I join African Music. We need more practice time with group.’ Aisha.By the end of the project. sharing ideas and working as a group with a shared ambition: ‘Now we have more references we need to engage in the ideas. ‘We are much more confident. especially for me in writing lyrics that had meaning etc but I got over it. Finding the Rap within the music was difficult at first but I found a way. It is very important for Kurdish people and I feel proud to share my music. This is first time for me. the structure of the project (based on re-imagining Amadou and Mariam’s work) occasionally felt to some members as though it . I was inspired. this proved a challenge. However. it also proved an inspiration and meant that they were able to share their cultural and musical heritage with musicians from host communities in Manchester and from other cultures across the world. [The project] has been an important door opening for me to meet and share with new people ‘ Ismaeel. The 3 days really amazing and beautiful. We need more group development/consistent playing. and whilst it had both pros and cons. ‘The standard of the orchestra has gone up dramatically. Sharing this part of themselves and their heritage was important to the members. ‘[I was able to share] my people’s music and showcase [it] in an international project like this. it has provided a highly successful model that could be replicated and developed in the future. cultures and musical styles and to have provided a potential model (for MIF and the wider sector) for future inter-cultural collaborations. The creative approach for this project was different to the way the orchestra had worked in their first commission for MIF. Really interesting so far. Objective 3: Successful collaboration between different communities. On occasion. We got really tight together. so I was very pleased to share my cultural art form. ‘I was able to share my Brazilian heritage and music styles such as Maracatua.

‘[Amadou and Mariam] were very open. You could follow very clearly what they wanted/intended/expected of me and I was given the space to try and achieve what they wanted. He respected all. approaching new arrangements and working together musically.. ‘What was good was the flexibility of everyone and willingness to work together and try new things. they just stop and start again until you get it right did you notice?’ Pat.’ Ismaeel. This was partly solved by the inclusion of a Beating Wing Orchestra composition. The mix of people here means that we can start to do something really original.they don’t tell you that you are doing it the creative freedom of the orchestra. We all get each other and the musicians are great. Objective 4: 3 high-quality. very patient and hard working.’ Emmanuela. Pure African music making and they work in the African way .’ Arun. The orchestra’s own reflections on the concerts also demonstrate how they felt about what they had achieved: ‘This was the best I have ever played. I enjoyed the process and working style very much. . They had a very good leadership style.’ Amadou. This year I have felt that my standards have gone up. I felt the pressure and at times it was really hard but I made me take things seriously. full-length performances by the end of the 2009 Manchester International Festival. ‘The rehearsals are going really well. This is quite unusual.’ ‘Arun was the perfect Musical Director. Date 20th March 2009 7th July 2009 8th July 2009 Nature of performance Exodus Live Event BWO and Amadou and Mariam BWO and Amadou and Mariam Capacity 200 450 450 The enthusiasm and positive feedback received from press and audiences is testament to the highquality of the performances produced. I have improved as a singer. in the concerts. Louange was a piece that Amadou and Mariam really liked and were able to find their own parts in.this project will be hugely beneficial to the future of the orchestra..’ Nicki. I am not so used to people wanting me to do well. Louange. Everyone in Beating Wing Orchestra wants everyone to do really well. but was able to keep us all tight and was assertive when he needed to be.’ Lis. Feedback from the Musical Director also reinforced the positive effect the project had on the group: ‘working within and learning the musical structures of Amadou and Mariam’s work has given the orchestra an incredible basic ability to creativity. ‘They have a nice way of working. I think that compared to my performance at the first years festival with Reem. I have always felt that I was not quite at a professional level. ‘I will never forget this year of working together and with Amadou and Mariam and Arun.

Importantly. Some of their responses to the performances are outlined in section 6 above. Women from the Far West. Whilst challenges arose. which included provision of practical assistance such as child-care. describing it as challenging but uplifting and inspiring.’ Ismaeel. the Middle East. The participants enjoyed the project. priced at £3 per ticket. was critical to the success of the project and without it several of the participants would have found it difficult to remain involved. asylum seeker and migrant backgrounds The show was attended by many of the orchestra’s friends and family involving communities from Africa. . they were overcome through collaborative effort. The nature of the participants and the lead artists. their approach to the project and the effort that they all put into making the project a success was extraordinary. This support. Bangladesh. as well as emotional support. Conclusions This was one of the most exciting and rewarding of the MIF Creative projects for 2009. The skill and commitment of the Community Arts North West team ensured that the participants felt supported and able to commit to the full term of the project. the lead artists also enjoyed the project and the process of working with the orchestra: ‘Thanks to you all on behalf of Amadou & Mariam and myself. We are currently exploring ways of building on this approach in the future. 9. flexibility in scheduling. Feedback from the participating groups was incredibly positive and reinforced the idea that a wider scheme could be of benefit not only to the communities involved but to increasing awareness and attendance at cultural events in Manchester in the future. which is very unusual as African people will show their appreciation of the music by moving to the rhythm. Some of these groups were able to attend the performances through tickets made available by MIF through a pilot initiative called the Community Box Office (CBO). ‘Some of [my] African friends were not moving to the music. China and more locally. to parts of the local community that have traditionally been culturally disenfranchised. as well as further helping to finance some asylum seeker groups to attend. This is a real accolade. [I] never thought that we would do work at the level we did. Testimony. ‘Amadou said that he did not recognize Dhuru at all. Tickets were available for a number of shows including Amadou & Mariam and the Beating Wing Orchestra. Rainbow Haven. George House Trust.’ Marc Antoine Moreau. The show was also watched and warmly received by refugee and asylum seeker communities and organizations including WAST (Women Asylum Seekers Together). and others attending through Arts About Manchester. This project has been a fantastic experience and it has been a pleasure to work with you all. the local audience development agency. for which CAN assisted distribution of 100 CBO tickets. Through the CBO.’ Emmanuela. he felt that we had made it completely different and he liked a lot the new arrangement. They said it was because they were so overcome.‘Fantastic – I was very proud. Objective 5: Raised awareness and increased audience attendance by community groups / members who come from refugee.’ Pat. MIF worked in partnership with a number of different community organizations to distribute 650 Festival tickets. Specific challenges included:• The nature of the personal circumstances facing the members of the orchestra.

CAN are shortly to recruit for a worker to assist the group with ongoing administration and to ensure that they are able to respond to these performance requests as well as be proactive in looking for further bookings. The orchestra have continued to meet and develop since their performances at MIF 2009. . to ensure a high-quality experience for all involved.• Long-term. The group are now fully constituted with a bank account. The profile that the performances at MIF gave the Beating Wing Orchestra has had significant positive effect and the group has been invited to perform at 10 different events across Autumn 2009 and Spring 2010. They have been successful in securing funding from a range of sources to continue their development and progression into 2010. The project was delivered on-time and to budget – see financial report in appendix 5. where they will be able to perform a mixture of new repertoire as well as music developed during the course of this project. Individual members of the orchestra have also gained new employment after the project including working with established international artists such as Nitin Sawhney. . Structuring the development workshops in short but intense periods of 2-3 days was important but also challenging for orchestra members unused to working at this intensity. Everyone said how much they loved working with Amadou and Mariam and how generous they were. • • • • 10. Language could potentially have been a barrier to communication but the musicians found their own way of communicating together through music. The appointment of a strong musical director to lead the group during these sessions. who are not UK-based. such as bringing the orchestra’s work to a higher standard. Other members continue to wait to hear how their situation will be resolved. management committee and board. distance collaboration with international artists. whilst remaining within budget. There is hope that the group will be able to secure a building-based partnership with a Manchester music venue to increase their access to good-quality rehearsal and performance space. and working with the Malian music discipline. and in periods between contact with Amadou and Mariam. Although the project became more about interpretation and re-imagining of Amadou and Mariam’s own music. Legacy Since the end of the project two of the members of the orchestra have received leave for themselves and their family to remain in the country. was critical to this approach being successful. there were other huge gains. rather than composition of new music. The project had to be structured carefully to ensure enough contact time between the Beating Wing Orchestra and Amadou and Mariam. level of concentration and discipline.

The second Manchester International Festival came to a close on Sunday 19 July having presented three weeks of world premieres and special events by leading artists from across the world. Erin McNeaney. Amadou and Mariam Amadou Bagayoko and Mariam Doumbia met at the Institute for the Young Blind in Bamako. David Martin. Appendix 2: Biography. Natasha Evans. Manchester International Festival Later in the process assistance also came from the following: MIF team CAN Team Jack Thompson. visual arts and popular culture.working creatively together in shared arena’s and drawing upon the rich heritage and experiences of Greater Manchester’s diverse communities. www. Community Arts North West Nicki Dupuy Chair of Beating Wing Orchestra Jen Cleary Head of Creative Learning. new work and special events and takes place biennially in Manchester. CAN also developed a partnership with Martin Harris Centre at the University of Manchester leading to in-kind rehearsal space. Segun Lee French. The Festival launched in 2007 as an artist-led. as well as two BBC Radio 3 awards followed and the success of Dimanche à Bamako gave Amadou and Mariam the opportunity to tour and meet and collaborate with a wide range of musicians. In 1980 .they got married. management of orchestra’s weekly rehearsals. create. Kate Mohin Ian Marsh. and produce cultural programmes of work. Rachel Robinson. A prestigious Les Victoires De La Musique award (the French equivalent of the Grammys).co. CAN’s main priority is to create access to cultural production for people that are excluded or on the fringes of mainstream cultural resources. With a strong focus on cross cultural collaborative production. commissioning festival presenting new works from across the spectrum of the performing arts. delivery of the first workshop with Amadou and Mariam. and both feature on their critically-acclaimed new album. artists and agencies to encourage. CAN managed the recruitment of new members of the orchestra. production and delivery of the development workshops. a unique creative learning programme reaching far across Greater Manchester and engaging local people in development and delivery of large-scale and high-quality artistic work. produced by CAN. arts development organisation who since 1978. and general support for members of the orchestra. Welcome To Mali. have worked in partnership with communities. Sandra Roemermann. MIF managed recruitment and management of the lead artist. marketing and ticketing of the events and management of the production of concerts during MIF 09.can. Devina Kumar. Community Arts North West (CAN) is a Manchester based. artists and communities . Damon Albarn and Somalian rapper K’Naan were just two. Cathy Gallagher. Tje Ni Mousso and Wati. Mali. Despite being hugely popular in Mali.Appendix 1: Project Management Manchester International Festival is the world’s first festival of original. . Manchester International Festival Cilla Baynes Creative Director. the Exodus programme brings together a great mix of people. Adelle Robinson For this project. played their first concert together and started to make music as a band. it wasn’t until the duo’s collaboration with Manu Chao on 2005’s Dimanche à Bamaka that they were propelled into the French The development team for the project included: Simon Mellor General Director. is a dynamic programme of participatory cultural production working with refugees and asylum seekers and local host communities. The Exodus project. recording albums such as such as Sou Ni Ti. New for 2009 was MIF Creative. Nadja Coyne. Faye Salisbury. UK.

Bass Guitar and Percussion. Jaheda who is of Bangladeshi origin. Brazilian. Folk. Zhou Juan is from Hulong in mainland China and sings Chinese Bel Canto which is like a popular/operatic folk tradition. Nicki has also composed and produced Sound Installations. back home. Soukouss. Zouk. As a composer and band leader he wanted to combine his skills with other musicians from different musical influences to show that people from a variety of backgrounds can work and play together. Ismaeel is of Iraqi Kurdish origin and has lived in Holland for 10 years where he was involved in similar BWO multi cultural music groups. contemporary composed work. Pat Mackman is originally from DR Congo and now living in Manchester. Sao Paulo and Pernambuco in North East Brazil. He has played with various groups including ‘Africano Sound with Winnie Kibula’ He has taken part in the Exodus Refugee traineeship in 2006 and has taught and performed nationally. Soul. Serge Tebu came to this country from Cameroon in 2007 with only the love of music with which to find his place in the community. Bossa Nova. Slow and Pop. Reggae. Serge plays piano and keyboard and is the founder member of Kokoriko an African/Jazz/Blues fusion band based in Manchester. Rock. Zougla. Pat plays drum Kit and percussion and various styles of music including Congolese style Reggae. music teacher. Aisha Lourenco is a Brazilian percussionist with ten years experience as a performer. Based in Manchester. rapping in Bangla(Sylheti) and English. which aims to develop links between Brazilian and UK community groups. Lis spent 2 years in Croatia learning and performing Bosnian and Macedonian music for which we have taken her on. Jazz and classical. Indie. Brazilian Styles and Classical. She has been singing since a child and has won many competitions in China. Azzad Hassan is a Kurdish Saz player who has played with many groups in Iraq. She is a member . His music is predominantly Kurdish Folk and is a member of KAC (Kurdish Arts and Culture) based in Stockport. Nicki Dupuy is originally from Wales and plays Double Bass.Appendix 3: Biographies of the Beating Wing Orchestra members Emmanuela Machozi Yogolelo is a vocalist from DR Congo now Living in Manchester. is a rapper/singer /wordsmith with her own unique take on Hip Hop. Jaheda Choudhury is a member of international Hip Hop collective Ajah. She is the founder member and Lead vocalist of the popular Band ‘Testimony’ who perform a range of African Gospel Music. Nicki has performed everything from Jazz. working with children from the Favela’s of Recife-PE. Blues. Electronic / Dance music and pop. Nicki is also an experienced community music facilitator. Ismaeel Osman Sabir plays acoustic guitar and sings in a Kurdish contemporary folk style songs of Diaspora and displacement. Afoxés and Samba groups in Brazil since the age of 14 years. Aisha has performed in Maracatus. improvised. He was also involved in a number of bands in Kurdistan (North Iraq) Lis Murphy is classically trained and plays violin as well as sings in a wide range of styles including Bosnian. and has a strong interest in Brazilian music. and instrument-maker. as a new member of BWO. She first came to the UK in 2006 and has since returned to Manchester with the support of the Brazilian Ministry of Culture to work on her project “Building Bridges”. Emmanuela has been singing from the age of 6 years in church choirs and other bands.

2002) and he has since worked on over 20 major productions.848 59.728 30.858 9. western classical. Arun Ghosh Arun Ghosh is an established musical director and composer for theatre and drama. matured in Manchester and now living in London. travel. Appendix 4: Biography.380 859 5. bred in Bolton. with the sounds and styles of hip-hop. She also sings classical with Canzonetta and Manchester chamber choir. Appendix 5: Financial Reporting INCOME Paul Hamlyn Foundation MIF Community Arts North West Ticket income TOTAL EXPENDITURE Commission: Dec ‘08 – July ‘09 Artist fees. Arun’s musical vocabulary and vision reflects his rich geographical heritage. Indian classical and folk. rock.683 27. production costs Artist Liaison Technical General and box office Sub total Fees (artists and support staff) Equipment / studio hire Access and participation Materials Subtotal TOTAL 20. plays fiddle and sings with Brazilian band Juba de Lea. Arun’s music is full of lyrical melodies and searching harmonies.977 3.964 903 18.683 . Using the spirit and language of jazz.367 242 9.738 9.of Behar (Bosnian music band).130 3. His first work was Storm by Lemn Sissay (Contact Theatre.685 2. toured the UK with Teo Krilic. pop and avant-garde. Conceived in Calcutta.097 59.848 9. down to earth directness and psychedelic ambient introspection.000 20. travel.425 5. production costs Rehearsal Costs Sub total Running: July 2009 Artist fees.

Appendix 6: Press Title of Publication: The Guardian Subject of Article: Amadou & Mariam/Beating Wing Date: 09/07/09 Page: 1/1 .

Title of Publication: Manchester Evening News Subject of Article: Amadou & Mariam/Beating Wing Date: 10/07/09 Pages: 1 .

there's a Kurdistani saz player in the background. Fantastic. vibrant. and a Bangladeshi rapper is about to make her entrance. that truly memorable moment of cross-cultural collaboration mentioned above comes during BWO's own composition for the festival. The fact that they play it twice (once as an encore) is perhaps the only mis-step here. July 8. nationalities. And if that sounds like it should be a mess. and it shows. it's to everybody's credit that it sounds like the most obvious thing in the world. Meanwhile. a Chinese bel canto opera singer is singing. Indeed. The music sounds warm. and is the confirmation that music can transcend borders. Amadou is playing a delightfully evocative African guitar lick. . This is a proper collaboration for MIF that has been worked on since the end of last year. races and colours. And what becomes immediately clear is that this isn't some chance for a worthy bunch of musicians based in Manchester to play with international stars. happy. You get the sense that the sheer joyfulness works both ways: sure.Title of Publication: Music OMH Subject of Article: Amadou & Mariam/Beating Wing Date: 10/07/09 Pages: 1 The sheer joy of Amadou & Mariam and The Beating Wing Orchestra Wednesday. the delight in the Bosnian fiddle player to play with Amadou & Mariam is completely evident. but A&M are also revelling in hearing their early songs (the majority are from before their breakthrough album Dimanche A Bamako) reinterpreted in new ways. 2009 There is a truly memorable moment during this collaboration between Malian duo Amadou & Mariam and refugee/migrant collective The Beating Wing Orchestra. but you can't blame them in a way: it fits effortlessly with Amadou & Mariam's music.

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