The Tomb

Categories
music narrative radio sound

Written by Sebastian Baczkiewicz
Directed by Steve Bond and Joby Waldman
Music and Sound Design by Sami El-Enany

A Reduced Listening Production for BBC Radio 4

After decades of searching the Valley of the Kings, British archaeologist Howard Carter and his newly appointed Egyptian assistant Shafiq Tadros uncover a step leading to the tomb of Tutankhamun. Funder Lord Carnarvon and his daughter Lady Evelyn arrive and an unauthorised inspection of the tomb takes place. Decades later a chance meeting on the streets of Paris with an Egyptian student causes Shafiq to excavate his own story.

In November 1922 the discovery of Tutankhamun's tomb became the biggest news story in the world. Virtually untouched for over three thousand years, the tomb contained priceless artefacts including a solid gold coffin, thrones, archery bows, trumpets and fresh linen underwear. Egypt, newly liberated from British rule, hailed the discovery of Tutankhamun as a symbol of its glorious rebirth as an independent nation. But who will control the terms of the dig, and who will keep the treasure?

Original drama based on true events. Written by Sebastian Baczkiewicz

Written by Sebastian Baczkiewicz
Directed by Steve Bond and Joby Waldman
Music and Sound Design by Sami El-Enany

A Reduced Listening Production for BBC Radio 4

After decades of searching the Valley of the Kings, British archaeologist Howard Carter and his newly appointed Egyptian assistant Shafiq Tadros uncover a step leading to the tomb of Tutankhamun. Funder Lord Carnarvon and his daughter Lady Evelyn arrive and an unauthorised inspection of the tomb takes place. Decades later a chance meeting on the streets of Paris with an Egyptian student causes Shafiq to excavate his own story.

In November 1922 the discovery of Tutankhamun's tomb became the biggest news story in the world. Virtually untouched for over three thousand years, the tomb contained priceless artefacts including a solid gold coffin, thrones, archery bows, trumpets and fresh linen underwear. Egypt, newly liberated from British rule, hailed the discovery of Tutankhamun as a symbol of its glorious rebirth as an independent nation. But who will control the terms of the dig, and who will keep the treasure?

Original drama based on true events. Written by Sebastian Baczkiewicz

The Book of Harth

Categories
documentary feature film music sound

Directed by Pierre Guillet
Produced by Hiran Balasuriya, Sami El-Enany, Pierre Guillet and Matthew Maria
Edited by Hiran Balasuriya
Music by Sami El-Enany
Sound Design by Steve Bond and Sami El-Enany

A Shadow Court and Affirmative Youth Production

-WINNER: First Prize for Best Feature Documentary - Rhode Island International Film Festival-
-WINNER: Best Documentary Feature - Atlanta Underground Film Festival-
-OFFICIAL SELECTION: Kevin Smith's SModCastle Film Festival 2022-

For 20 years, conceptual artist David Greg Harth carried a Bible with him every single day, seeking signatures from the most culturally significant people in the world. In The Book of Harth, filmmaker Pierre Guillet follows the artist during the final year of his absurd quest, trailing him to scenes of frenetic celebrity worship. As Harth secures signatures behind stage doors, in city streets, and on the fringes of red carpets, Guillet cops spontaneous interviews with previous signees, from Noam Chomsky to Kevin Smith. As the last hours of his magnum opus draw to a close, Harth struggles to reconcile the project’s meaning with its personal cost.

Directed by Pierre Guillet
Produced by Hiran Balasuriya, Sami El-Enany, Pierre Guillet and Matthew Maria
Edited by Hiran Balasuriya
Music by Sami El-Enany
Sound Design by Steve Bond and Sami El-Enany

A Shadow Court and Affirmative Youth Production

-WINNER: First Prize for Best Feature Documentary - Rhode Island International Film Festival-
-WINNER: Best Documentary Feature - Atlanta Underground Film Festival-
-OFFICIAL SELECTION: Kevin Smith's SModCastle Film Festival 2022-

For 20 years, conceptual artist David Greg Harth carried a Bible with him every single day, seeking signatures from the most culturally significant people in the world. In The Book of Harth, filmmaker Pierre Guillet follows the artist during the final year of his absurd quest, trailing him to scenes of frenetic celebrity worship. As Harth secures signatures behind stage doors, in city streets, and on the fringes of red carpets, Guillet cops spontaneous interviews with previous signees, from Noam Chomsky to Kevin Smith. As the last hours of his magnum opus draw to a close, Harth struggles to reconcile the project’s meaning with its personal cost.

Bristol Fashion

Categories
feature film music narrative sound

Directed by Pierre Guillet
Written by Pierre Guillet, Timothy John Foster, Lea Nayeli
Starring Lea Nayeli, Raul A. Perez, Richard DiFrisco
Music, Sound Design and Mix by Sami El-Enany

Feature film telling the story of a young transgender woman who escapes her troubled home to find solace in a dilapidated boatyard.

Christina is a young trans woman who’s running—from her past and home. When she buys a broken-down boat for that purpose, she gets more than she bargained for in the boat’s owner, Esteban—warm, funny and dying to take her to dinner. He gives her a place to stay on an abandoned barge and helps her fix up the boat. Slowly but surely, they find themselves quietly navigating the sometimes messy waters of a straight man falling for a trans woman.

As their connection grows, Christina makes a temporary but real home for herself on the docks and begins to rebuild her life as Esteban rebuilds her boat. Day by day, she begins to find something steady in a ramshackle barge, a barely-running boat, and stocking the aisles in a mundane grocery store. She slowly sheds the pieces of the life that haunts her, moving past the memory of an assault and people who never valued her.

But maybe it’s not in romance that we find connections that matter—maybe it’s in something deeper than that, something that looks a lot more like real, true friendship. That is what Christina and Esteban find in each other. We can’t find home standing still; for some of us, home is in finding who we are, in raising the anchors and embracing freedom on the water.

Directed by Pierre Guillet
Written by Pierre Guillet, Timothy John Foster, Lea Nayeli
Starring Lea Nayeli, Raul A. Perez, Richard DiFrisco
Music, Sound Design and Mix by Sami El-Enany

Feature film telling the story of a young transgender woman who escapes her troubled home to find solace in a dilapidated boatyard.

Christina is a young trans woman who’s running—from her past and home. When she buys a broken-down boat for that purpose, she gets more than she bargained for in the boat’s owner, Esteban—warm, funny and dying to take her to dinner. He gives her a place to stay on an abandoned barge and helps her fix up the boat. Slowly but surely, they find themselves quietly navigating the sometimes messy waters of a straight man falling for a trans woman.

As their connection grows, Christina makes a temporary but real home for herself on the docks and begins to rebuild her life as Esteban rebuilds her boat. Day by day, she begins to find something steady in a ramshackle barge, a barely-running boat, and stocking the aisles in a mundane grocery store. She slowly sheds the pieces of the life that haunts her, moving past the memory of an assault and people who never valued her.

But maybe it’s not in romance that we find connections that matter—maybe it’s in something deeper than that, something that looks a lot more like real, true friendship. That is what Christina and Esteban find in each other. We can’t find home standing still; for some of us, home is in finding who we are, in raising the anchors and embracing freedom on the water.

I Carry It With Me Everywhere

Categories
film music narrative short sound

Written and Directed by Arwa Aburawa and Turab Shah
Music and Sound Design by Sami El-Enany

Commissioned by the Brent Biennial 2022

Informed by interviews with first-generation migrants, this short film weaves together the lives of multiple characters as they confront inherited ideas of belonging.

From the severed connection to a motherland following the death of a parent, to the generational experience of displacement, or the feeling of nostalgia for a place and time forever out of reach, I Carry It With Me Everywhere explores how migration results in moments of rupture from which new understandings of home and belonging may emerge.

The UK government’s antagonistic relationship with migrant communities forms the quietly simmering backdrop of the film, as communities are forced to come to terms with the reality that not everyone can find safety and belonging in the nation state. This reality was most recently demonstrated by the Windrush scandal, as well as the new proposals brought forward by the Nationality and Borders Act, through which the government plans to send asylum seekers to Rwanda, or to strip non-white British people of their citizenship without warning.

 

Shot in black and white, the film seeks to convey the timeless and ongoing search for answers in response to the experience of these hostile environments, which are familiar to many migrant communities in the UK. In the process, they seek to subvert the idea that belonging is an inherently positive experience. What if a moment of belonging here, in the UK, is also a moment of losing belonging somewhere else? What if that shift also requires giving up a more rooted space of belonging for a precarious one, one that is always at risk of being taken away? The film evokes this deep sense of loss, whilst also honouring what people continually manage to build and create in resistance.

Written and Directed by Arwa Aburawa and Turab Shah
Music and Sound Design by Sami El-Enany

Commissioned by the Brent Biennial 2022

Informed by interviews with first-generation migrants, this short film weaves together the lives of multiple characters as they confront inherited ideas of belonging.

From the severed connection to a motherland following the death of a parent, to the generational experience of displacement, or the feeling of nostalgia for a place and time forever out of reach, I Carry It With Me Everywhere explores how migration results in moments of rupture from which new understandings of home and belonging may emerge.

The UK government’s antagonistic relationship with migrant communities forms the quietly simmering backdrop of the film, as communities are forced to come to terms with the reality that not everyone can find safety and belonging in the nation state. This reality was most recently demonstrated by the Windrush scandal, as well as the new proposals brought forward by the Nationality and Borders Act, through which the government plans to send asylum seekers to Rwanda, or to strip non-white British people of their citizenship without warning.

 

Shot in black and white, the film seeks to convey the timeless and ongoing search for answers in response to the experience of these hostile environments, which are familiar to many migrant communities in the UK. In the process, they seek to subvert the idea that belonging is an inherently positive experience. What if a moment of belonging here, in the UK, is also a moment of losing belonging somewhere else? What if that shift also requires giving up a more rooted space of belonging for a precarious one, one that is always at risk of being taken away? The film evokes this deep sense of loss, whilst also honouring what people continually manage to build and create in resistance.

Accompaniment for Ever-Present Sounds

Categories
music radio sound

Composed and Produced by Sami El-Enany

First broadcast on BBC Radio 4, Tuesday 31 May 2022 as part of 'Short Cuts, Series 31, Sound Effects'

A Falling Tree Production

Accompaniment for Ever-Present Sounds first maps the sound of my tinnitus, a high slightly muffled G sharp in my right ear, then uses that sound as an inspiration for a composition.

The thought was, perhaps by treating my tinnitus as an integral part of something I find beautiful, I could befriend it.

A month after making this piece, I have noticed that my tinnitus bothers me less.

Sometimes our fears are like huge and contorted shadows of a finger puppet. If we are able to face them, we may realise they are actually very small.

Composed and Produced by Sami El-Enany

First broadcast on BBC Radio 4, Tuesday 31 May 2022 as part of 'Short Cuts, Series 31, Sound Effects'

A Falling Tree Production

Accompaniment for Ever-Present Sounds first maps the sound of my tinnitus, a high slightly muffled G sharp in my right ear, then uses that sound as an inspiration for a composition.

The thought was, perhaps by treating my tinnitus as an integral part of something I find beautiful, I could befriend it.

A month after making this piece, I have noticed that my tinnitus bothers me less.

Sometimes our fears are like huge and contorted shadows of a finger puppet. If we are able to face them, we may realise they are actually very small.

OOMK: STUART Papers | Art Night 2021

Categories
film music short sound

Created by Rose Nordin in collaboration with Rob Akin
Music and Sound by Sami El-Enany

Collaborative art publishing practice OOMK (One of My Kind) create a new commission for Art Night 2021, with a short film that documents the making of their visual newspaper "STUART Papers"

Created by Rose Nordin in collaboration with Rob Akin
Music and Sound by Sami El-Enany

Collaborative art publishing practice OOMK (One of My Kind) create a new commission for Art Night 2021, with a short film that documents the making of their visual newspaper "STUART Papers"

Deadly Structures

Categories
game live music narrative sound

A game created by Sami El-Enany and David Denyer

Produced by Werkflow

Art by Viktor Timofeev

Graphic Design by Workform

Deadly Structures is a first-person open-world soundgame set in a land that cannot be seen. Carved entirely out of first-hand field recordings made in abandoned industrial landscapes in Leipzig, a world both vivid and unspeakable was born.

Become the User, a nameless character that roams a sentient wasteland, an ear-witness to an unliving world. Encounter forgotten technologies and cryptic mythologies. Confront, evade and embody other organisms, always at the mercy of a hostile and every-changing ecosystem. Fix, break, scavenge and kill for a hope to escape, but most of all, do not lose your way... Only the most loyal players have a chance of escaping Deadly Structures and uncovering their ultimate purpose.

...Or do none of this and something else entirely. Deadly Structures was conceived as a pareidolic soundworld where each player can imagine their own world and will throughout.

Deadly Structures is created using the Unreal Engine and FMOD and is playable on Mac and PC with additional PS4 and XBOX controller support. 

A game created by Sami El-Enany and David Denyer

Produced by Werkflow

Art by Viktor Timofeev

Graphic Design by Workform

Deadly Structures is a first-person open-world soundgame set in a land that cannot be seen. Carved entirely out of first-hand field recordings made in abandoned industrial landscapes in Leipzig, a world both vivid and unspeakable was born.

Become the User, a nameless character that roams a sentient wasteland, an ear-witness to an unliving world. Encounter forgotten technologies and cryptic mythologies. Confront, evade and embody other organisms, always at the mercy of a hostile and every-changing ecosystem. Fix, break, scavenge and kill for a hope to escape, but most of all, do not lose your way... Only the most loyal players have a chance of escaping Deadly Structures and uncovering their ultimate purpose.

...Or do none of this and something else entirely. Deadly Structures was conceived as a pareidolic soundworld where each player can imagine their own world and will throughout.

Deadly Structures is created using the Unreal Engine and FMOD and is playable on Mac and PC with additional PS4 and XBOX controller support. 

Comfort Eating

Categories
radio sound

Presented by Grace Dent
Series Producer Leah Green
Sound Design and Mix for Series 1 & 2: Sami El-Enany

Produced by The Guardian

Comfort Eating with Grace Dent | Lifeandstyle | The Guardian

Have you ever wondered what famous people actually eat? In our new podcast, Guardian restaurant critic Grace Dent does just that, asking well-known guests to lift the lid on the food they turn to when they’re at home alone – and what comfort foods have seen them through their lives.

Presented by Grace Dent
Series Producer Leah Green
Sound Design and Mix for Series 1 & 2: Sami El-Enany

Produced by The Guardian

Comfort Eating with Grace Dent | Lifeandstyle | The Guardian

Have you ever wondered what famous people actually eat? In our new podcast, Guardian restaurant critic Grace Dent does just that, asking well-known guests to lift the lid on the food they turn to when they’re at home alone – and what comfort foods have seen them through their lives.

Road to Heaven

Categories
narrative radio sound

Cast:
E***... E.M. Williams
RON... Richard Cant
GIGI DERRIERE... Travis Alabanza

Writer: Lettie Precious
Director: Anthony Simpson-Pike
Sound Design & Mix: Nicholas Alexander and Sami El-Enany
Producer: Matt Trueman
Additional production: Robbie MacInnes

A Novel production for BBC Radio 4

BBC Radio 4 - Drama, Road to Heaven

E***’s adolescent years are a bleak existence of abuse at home and bullying at school. But after they read an extraordinary novella called Sphinx, their eyes are opened to their own identity and to an overpowering new world - gay clubs.

Anne Garretta’s ground breaking novella, Sphinx, is the world’s first genderless love story and serves as the inspiration for this extraordinary story of self discovery and self acceptance. The journey of our anonymous protagonist, E***, closely reflects the story of this play’s author, Lettie Precious, who found their own path to Heaven in similar circumstances.

Cast:
E***... E.M. Williams
RON... Richard Cant
GIGI DERRIERE... Travis Alabanza

Writer: Lettie Precious
Director: Anthony Simpson-Pike
Sound Design & Mix: Nicholas Alexander and Sami El-Enany
Producer: Matt Trueman
Additional production: Robbie MacInnes

A Novel production for BBC Radio 4

BBC Radio 4 - Drama, Road to Heaven

E***’s adolescent years are a bleak existence of abuse at home and bullying at school. But after they read an extraordinary novella called Sphinx, their eyes are opened to their own identity and to an overpowering new world - gay clubs.

Anne Garretta’s ground breaking novella, Sphinx, is the world’s first genderless love story and serves as the inspiration for this extraordinary story of self discovery and self acceptance. The journey of our anonymous protagonist, E***, closely reflects the story of this play’s author, Lettie Precious, who found their own path to Heaven in similar circumstances.

Messages to a Post Human Earth

Categories
installation music narrative sound

Produced by Anagram
Written by May Abdalla
Sound and Music by Chu-Li Shewring and Sami El-Enany 
Editing: Sami El-Enany

IDFA DocLab Immersive Non-Fiction Experience, Amsterdam
19th - 28th November 2021

Messages to a Post Human Earth (DocLab Live: Liminal Systems) Live Event, Amsterdam
23th November 2021

Messages to a Post Human Earth is an interactive, multi-sensorial journey for two people to do together. You and your partner will embark on an evocative audio journey featuring augmented reality (AR), to reimagine your relationship with the natural world.

The story explores the work of Monica Gagliano and an essay by science fiction writer Stanislaw Lem, which he wrote for the Human Interference Task Force in the 1980s. Lem’s essay was written in response to a request for ideas of what to do with nuclear waste and it’s incredibly long life span; he suggested encoding messages into the DNA of plants. Gagliano is well known for her research into plant intelligence and the behaviours that demonstrate memory by the Mimosa plant.

Designed for two people to experience together, you will be provided with a special device and props before being sent off to explore the natural world; a hearing, living thing, sensorially alert like you.

You and your partner’s short journeys are different but will work in synchronicity with the other. Like a symbolic choreography, both of your actions become a performance for the other.

Invisible to the naked eye, the audio narration and AR content comes to life to invite musing on the living environment and a future world in which humans will no longer be present.

Produced by Anagram
Written by May Abdalla
Sound and Music by Chu-Li Shewring and Sami El-Enany 
Editing: Sami El-Enany

IDFA DocLab Immersive Non-Fiction Experience, Amsterdam
19th - 28th November 2021

Messages to a Post Human Earth (DocLab Live: Liminal Systems) Live Event, Amsterdam
23th November 2021

Messages to a Post Human Earth is an interactive, multi-sensorial journey for two people to do together. You and your partner will embark on an evocative audio journey featuring augmented reality (AR), to reimagine your relationship with the natural world.

The story explores the work of Monica Gagliano and an essay by science fiction writer Stanislaw Lem, which he wrote for the Human Interference Task Force in the 1980s. Lem’s essay was written in response to a request for ideas of what to do with nuclear waste and it’s incredibly long life span; he suggested encoding messages into the DNA of plants. Gagliano is well known for her research into plant intelligence and the behaviours that demonstrate memory by the Mimosa plant.

Designed for two people to experience together, you will be provided with a special device and props before being sent off to explore the natural world; a hearing, living thing, sensorially alert like you.

You and your partner’s short journeys are different but will work in synchronicity with the other. Like a symbolic choreography, both of your actions become a performance for the other.

Invisible to the naked eye, the audio narration and AR content comes to life to invite musing on the living environment and a future world in which humans will no longer be present.

Creation of the Birds

Categories
music narrative radio sound

Written, Composed and Produced by Sami El-Enany

Owlman performed by Joe Winnsmith
String necklace performed by David Denyer
Birdsong performed by Jessica Winter

A Falling Tree production for BBC Radio 3

Part tone poem and part narrative reimagining of Remedios Varo’s painting of the same name, Creation of the Birds by Sami El-Enany is a fantastical exploration of the metamorphosis from an abstract idea to a finished artwork. Varo’s painting depicts an anthropomorphic owl sitting at a desk, drawing a series of birds. After being drawn, the birds are imbued with starlight refracted from a magnifying lens in the owl’s other hand and come to life, taking flight out of a window into the night.

El-Enany chose to focus on three main aspects for his Creation of the Birds, the Owl as the creator, their tool - the string instrument brush that hangs from their neck, and the very birds that are worked into existence. El-Enany sent a microphone to Joe Winnsmith, an avid conservationist and bird enthusiast in a small village in Scotland, to play the part of the Owl. Together, Winnsmith and El-Enany devised a system of personifying and biographing the birds that would be conjured to life by the Owl. For the magical stringed instrument, El-Enany decided to use an entirely custom-tuned and prepared hammered dulcimer to create a unique sound that would not be recognisable as any known string instrument to a listener. With violinist David Denyer, he created a palette of improvised bowing, plucking and hammering techniques to embody the characteristics of the birds. Finally, for the birds themselves, El-Enany slowed down field recordings of birds to allow them to be 'mimicked' by a human voice. Working with vocalist Jessica Winter, the recording of the human voice is then sped up to create the sense that these birds were being ushered from a metaphysical plane into our very world, no longer immaterial, now palpable and real.

El-Enany’s Creation of the Birds is a look at the private life of an artist, the origins of inspiration, and an ode to the personalities of beautiful birds and the landscapes they inhabit. The piece is in three movements - The Skylark, The Oystercatcher and The Blackbird.

Written, Composed and Produced by Sami El-Enany

Owlman performed by Joe Winnsmith
String necklace performed by David Denyer
Birdsong performed by Jessica Winter

A Falling Tree production for BBC Radio 3

Part tone poem and part narrative reimagining of Remedios Varo’s painting of the same name, Creation of the Birds by Sami El-Enany is a fantastical exploration of the metamorphosis from an abstract idea to a finished artwork. Varo’s painting depicts an anthropomorphic owl sitting at a desk, drawing a series of birds. After being drawn, the birds are imbued with starlight refracted from a magnifying lens in the owl’s other hand and come to life, taking flight out of a window into the night.

El-Enany chose to focus on three main aspects for his Creation of the Birds, the Owl as the creator, their tool - the string instrument brush that hangs from their neck, and the very birds that are worked into existence. El-Enany sent a microphone to Joe Winnsmith, an avid conservationist and bird enthusiast in a small village in Scotland, to play the part of the Owl. Together, Winnsmith and El-Enany devised a system of personifying and biographing the birds that would be conjured to life by the Owl. For the magical stringed instrument, El-Enany decided to use an entirely custom-tuned and prepared hammered dulcimer to create a unique sound that would not be recognisable as any known string instrument to a listener. With violinist David Denyer, he created a palette of improvised bowing, plucking and hammering techniques to embody the characteristics of the birds. Finally, for the birds themselves, El-Enany slowed down field recordings of birds to allow them to be 'mimicked' by a human voice. Working with vocalist Jessica Winter, the recording of the human voice is then sped up to create the sense that these birds were being ushered from a metaphysical plane into our very world, no longer immaterial, now palpable and real.

El-Enany’s Creation of the Birds is a look at the private life of an artist, the origins of inspiration, and an ode to the personalities of beautiful birds and the landscapes they inhabit. The piece is in three movements - The Skylark, The Oystercatcher and The Blackbird.

A Summoning: In Response to Leonora Carrington

Categories
music narrative radio sound

Emerging from a desolate landscape, a woman ascends to an alter where she conjures strange entities through ritual magic.

Her first incantation calls forth the totemic horse. Now bestowed with wings, the horse takes flight immediately, unwilling to abide by any other’s will, they are freed into the world.

Next, the caster arranges her ingredients on the alter, readying herself for the second summoning. The woman’s voice, transcendent and impassive, goads the hyena into the world. feral and fluctuant, the human-animal hybrid makes a mockery of decorum. Her call: both taunting and tantalising, her wildness: a virtue.

The ritual deepens, the caster now enacts both somatic and verbal components in her spell while a liquid within an egg-shaped cauldron begins to bubble. The vessel transforms, more egg now than pot, spewing shrouded visages, an open red mouth, a protruding tongue, carrion-feasting chicks. The scavengers of death are given life, the shapeless caster is reborn.

Both fantastic and believable, playful and cryptic, A Summoning is a sonic narrative inspired by the iconography and visual storytelling found in the paintings of Leonora Carrington. A Summoning is inhabited by some of Carrington’s most treasured beasts.

Leonora Carrington, Self-Portrait (Inn of the Dawn Horse),1937-1938

Emerging from a desolate landscape, a woman ascends to an alter where she conjures strange entities through ritual magic.

Her first incantation calls forth the totemic horse. Now bestowed with wings, the horse takes flight immediately, unwilling to abide by any other’s will, they are freed into the world.

Next, the caster arranges her ingredients on the alter, readying herself for the second summoning. The woman’s voice, transcendent and impassive, goads the hyena into the world. feral and fluctuant, the human-animal hybrid makes a mockery of decorum. Her call: both taunting and tantalising, her wildness: a virtue.

The ritual deepens, the caster now enacts both somatic and verbal components in her spell while a liquid within an egg-shaped cauldron begins to bubble. The vessel transforms, more egg now than pot, spewing shrouded visages, an open red mouth, a protruding tongue, carrion-feasting chicks. The scavengers of death are given life, the shapeless caster is reborn.

Both fantastic and believable, playful and cryptic, A Summoning is a sonic narrative inspired by the iconography and visual storytelling found in the paintings of Leonora Carrington. A Summoning is inhabited by some of Carrington’s most treasured beasts.

Leonora Carrington, Self-Portrait (Inn of the Dawn Horse),1937-1938

The Inaudible Spectrum

Categories
documentary music radio sound

Composed and Produced by Sami El-Enany

 

A Falling Tree Production for 'Short Cuts' for the episode 'Silence'.
First broadcast on Radio 4 on Tuesday 18th May 2021

'The Inaudible Spectrum' is made entirely from a process of bringing sounds that are authentically outside of the range of human hearing within it. It seeks to question the notion of silence and sound through dismantling human-centric forms of perception and allowing listeners to perceive aspects of reality that are usually inaccessible.

All sounds are first-hand field recordings from around the world and include:
-Recordings of bats made in Senegal using a supersonic microphone
-Faint atmospheric events in VLF radio bands captured with magnetic antenna
-Extremely faint vibrations in material and soil, recorded using a geophone.
-Pitch shifting subsonic and supersonic information recorded at extremely high sample rates.

First heard on Falling Tree Production's 'Short Cuts: Silence' broadcast on Radio 4 on Tue 18 May 2021.

Composed and Produced by Sami El-Enany

 

A Falling Tree Production for 'Short Cuts' for the episode 'Silence'.
First broadcast on Radio 4 on Tuesday 18th May 2021

'The Inaudible Spectrum' is made entirely from a process of bringing sounds that are authentically outside of the range of human hearing within it. It seeks to question the notion of silence and sound through dismantling human-centric forms of perception and allowing listeners to perceive aspects of reality that are usually inaccessible.

All sounds are first-hand field recordings from around the world and include:
-Recordings of bats made in Senegal using a supersonic microphone
-Faint atmospheric events in VLF radio bands captured with magnetic antenna
-Extremely faint vibrations in material and soil, recorded using a geophone.
-Pitch shifting subsonic and supersonic information recorded at extremely high sample rates.

First heard on Falling Tree Production's 'Short Cuts: Silence' broadcast on Radio 4 on Tue 18 May 2021.

Covering Edward Said: 40 years of Islam, Media and the West

Categories
documentary radio sound

Narrated by Nesrine Malik
Producer: Katherine Godfrey⠀
Sound Design: Sami El-Enany 
Executive Producer: Steven Rajam

An Overcoat Media production for BBC Radio 4

In 1981, the Palestinian intellectual Edward Said published a book that examined how ideas of Islam are disseminated in the western news media by commentators and experts. It was called Covering Islam: How the Media and the Experts Determine How We See the Rest of the World.

Forty years on, columnist and author Nesrine Malik examines how Said's ideas - and the responses to them - stack up. Through his blistering public lectures and interviews, we hear not only Said’s irrepressible erudition and his humour but the prescience of Said’s ideas today - ones that speak to questions of identity and coexistence.

Covering Islam emerged from Said’s observations of the western media’s coverage of the Iranian Revolution in 1979. Reflecting later, Said said the media's 'arsenal of images' created an impression of "the utmost negative sort of evil emanation...as if the main business of Muslims was to threaten and try to kill Americans.” When he came to update Covering Islam 17 years later, after the Gulf War, Said believed the situation to be even worse.

Nesrine Malik explores how Said’s scholarship and public intellectualism sought to dismantle the idea of a “clash of civilisations” between ‘The West’ and ‘Islam’ through the 80s and 90s to his death in 2003 - and how these tropes have played out and twisted since. Nesrine also considers what Said’s ideas might offer us now, and how he might have dealt with social media and its dissemination of his ideas.

With contributions from Timothy Brennan, the author of the biography Places of Mind, a Life of Edward Said; D D Guttenplan, the editor of The Nation Magazine; Rizwana Hamid, the Director of the Muslim Council of Britain's Centre for Media Monitoring; and Asad Haider, on of the founding editors of Viewpoint magazine and the author of Mistaken Identity.

Narrated by Nesrine Malik
Producer: Katherine Godfrey⠀
Sound Design: Sami El-Enany 
Executive Producer: Steven Rajam

An Overcoat Media production for BBC Radio 4

In 1981, the Palestinian intellectual Edward Said published a book that examined how ideas of Islam are disseminated in the western news media by commentators and experts. It was called Covering Islam: How the Media and the Experts Determine How We See the Rest of the World.

Forty years on, columnist and author Nesrine Malik examines how Said's ideas - and the responses to them - stack up. Through his blistering public lectures and interviews, we hear not only Said’s irrepressible erudition and his humour but the prescience of Said’s ideas today - ones that speak to questions of identity and coexistence.

Covering Islam emerged from Said’s observations of the western media’s coverage of the Iranian Revolution in 1979. Reflecting later, Said said the media's 'arsenal of images' created an impression of "the utmost negative sort of evil emanation...as if the main business of Muslims was to threaten and try to kill Americans.” When he came to update Covering Islam 17 years later, after the Gulf War, Said believed the situation to be even worse.

Nesrine Malik explores how Said’s scholarship and public intellectualism sought to dismantle the idea of a “clash of civilisations” between ‘The West’ and ‘Islam’ through the 80s and 90s to his death in 2003 - and how these tropes have played out and twisted since. Nesrine also considers what Said’s ideas might offer us now, and how he might have dealt with social media and its dissemination of his ideas.

With contributions from Timothy Brennan, the author of the biography Places of Mind, a Life of Edward Said; D D Guttenplan, the editor of The Nation Magazine; Rizwana Hamid, the Director of the Muslim Council of Britain's Centre for Media Monitoring; and Asad Haider, on of the founding editors of Viewpoint magazine and the author of Mistaken Identity.

Today In Focus | Guardian | 2021

Categories
radio sound

Ongoing work as Sound Designer

Hosted by Anushka Asthana and Rachel Humphreys, Today in Focus brings you closer to Guardian journalism. Combining personal storytelling with insightful analysis, this podcast takes you behind the headlines for a deeper understanding of the news, every weekday.

Ongoing work as Sound Designer

Hosted by Anushka Asthana and Rachel Humphreys, Today in Focus brings you closer to Guardian journalism. Combining personal storytelling with insightful analysis, this podcast takes you behind the headlines for a deeper understanding of the news, every weekday.

Danger Force Goes Digital | Nickelodeon | 2021

Categories
animation film narrative short sound

I worked with Skillbard on the Sound Design of this animated web series created by Cartuna

The Danger Force kids go digital in this 3D animated web series for Nickelodeon. Our heroes must journey through a fantasy video game world full of homages to popular titles and immersive environments!

I worked with Skillbard on the Sound Design of this animated web series created by Cartuna

The Danger Force kids go digital in this 3D animated web series for Nickelodeon. Our heroes must journey through a fantasy video game world full of homages to popular titles and immersive environments!

The Time for Thailand

Categories
animation documentary film music short sound

Directed and Produced by Helena Kardová

Animation by Steff Lee and Jack Ross

Music and Sound Design by Sami El-Enany

An animated film for Monocle X MFA Thailand 

Directed and Produced by Helena Kardová

Animation by Steff Lee and Jack Ross

Music and Sound Design by Sami El-Enany

An animated film for Monocle X MFA Thailand 

The Mandjet: In Response to Bridget Riley

Categories
music radio

Bridget Riley, Shih-Li, 1975

The lines draw you in. They want to prepare you, in the utmost stillness, for the moment you can no longer see them. The colours shift and move before you, or is it within you? Your eyes begin to water as you begin to exist on the surface of your skin.

"The Mandjet" is a soundwork I made in response to the painting "Shih-Li" by Bridget Riley and was first heard on "The Gallery" episode of Short Cuts on Radio 4.

Shih-Li, for me, feels like a trip on board The Mandjet, one of the earliest mythological examples of a space travelling vessel, a solar ship that carried Ra across the sky each day.

Undulations of light cresting the bow - singing bowls and sinewaves, elapsing like waves without weight in an ever journeying arc...

Bridget Riley, Shih-Li, 1975

The lines draw you in. They want to prepare you, in the utmost stillness, for the moment you can no longer see them. The colours shift and move before you, or is it within you? Your eyes begin to water as you begin to exist on the surface of your skin.

"The Mandjet" is a soundwork I made in response to the painting "Shih-Li" by Bridget Riley and was first heard on "The Gallery" episode of Short Cuts on Radio 4.

Shih-Li, for me, feels like a trip on board The Mandjet, one of the earliest mythological examples of a space travelling vessel, a solar ship that carried Ra across the sky each day.

Undulations of light cresting the bow - singing bowls and sinewaves, elapsing like waves without weight in an ever journeying arc...

I Like It Here

Categories
film narrative short sound

Written & Directed by Amartei Armar
Starring: Sydney Quartey & Kofi Dorve
Original Soundtrack Osei Korankye & Ernest “Ronaldo” Opoku
Sound Design and Sound Mix: Sami El-Enany

A third culture Ghanaian-American youth takes the taxi ride of his life in an attempt to catch a flight out of Accra leaving his country, ailing Grandfather, and deep rooted feelings of cultural displacement behind.

Written & Directed by Amartei Armar
Starring: Sydney Quartey & Kofi Dorve
Original Soundtrack Osei Korankye & Ernest “Ronaldo” Opoku
Sound Design and Sound Mix: Sami El-Enany

A third culture Ghanaian-American youth takes the taxi ride of his life in an attempt to catch a flight out of Accra leaving his country, ailing Grandfather, and deep rooted feelings of cultural displacement behind.

Mud of Sorrow: Touch

Categories
live sound

Concept & Choreography: Akram Khan
Dancers: Akram Khan and Natalia Osipova
Musicians: Nina Harries & Raaheel Husain
Poem: Suhaiymah Manzoor-Khan
Sound Design: Sami El-Enany

Two of the world’s most celebrated dancers, Akram Khan and Royal Ballet principal Natalia Osipova, perform together for the first time, using two great classical dance forms, ballet and kathak. This is a re-imagining of a duet from Khan’s critically acclaimed collaboration with Sylvie Guillem, Sacred Monsters. This powerful work is accompanied by double-bassist Nina Harries, singer Raaheel Husain, an original poem 'Do You Remember?' by Suhaiymah Manzoor-Kha and a sound design by Sami El-Enany.

Concept & Choreography: Akram Khan
Dancers: Akram Khan and Natalia Osipova
Musicians: Nina Harries & Raaheel Husain
Poem: Suhaiymah Manzoor-Khan
Sound Design: Sami El-Enany

Two of the world’s most celebrated dancers, Akram Khan and Royal Ballet principal Natalia Osipova, perform together for the first time, using two great classical dance forms, ballet and kathak. This is a re-imagining of a duet from Khan’s critically acclaimed collaboration with Sylvie Guillem, Sacred Monsters. This powerful work is accompanied by double-bassist Nina Harries, singer Raaheel Husain, an original poem 'Do You Remember?' by Suhaiymah Manzoor-Kha and a sound design by Sami El-Enany.

Second Self: Beethoven Resurrection

Categories
documentary feature film live music narrative

A film by Hugo Glendinning and Tilly Shiner

Original Score by Sami El-Enany

World premiere & live orchestral performance: KunstFestSpiele Herrenhausen, Hannover September 24-25 2020.

A concert-film co-created by Tilly Shiner, Hugo Glendinning and Sami El-Enany.

London, Halloween 2019. Britain is on the verge of Brexit. Ludwig van Beethoven is in the city, or rather: his spirit. He is looking for justice. The Royal Philharmonic Society had commissioned the 9th Symphony from him, but fed him an insulting 50 dollars.

Accompanied by live music, the magically realistic concert-film tells the fictional story of Beethoven's journey to London. That night, the city is in a process of self-destruction. At sunset, Beethoven is pulled from the mud of the Thames. He staggers through the streets in madness, joining night owls, demonstrators and offenders. He drinks and smokes and is increasingly disgusted by his strenuous search for the Royal Philharmonic Society. They are musicians and artists who, despite his ragged appearance, give him hope that his legacy will live on: in Trafalgar Square, a grieving woman breathes the 'Ode to Joy', and on the banks of the Thames, the arrangement of a violin sonata sounds. Beethoven's nocturnal journey ends at dawn on the Thames, when the city awakens again. The music for the film seems to be a work by Beethoven, a ghost work composed and arranged by the British-Egyptian film composer Sami El-Enany, performed live by the Hanoverian musica assoluta.

A magical-realist documentary, a speculative ghost story, a concert, an improvised, slow-motion disaster movie.



A film by Hugo Glendinning and Tilly Shiner

Original Score by Sami El-Enany

World premiere & live orchestral performance: KunstFestSpiele Herrenhausen, Hannover September 24-25 2020.

A concert-film co-created by Tilly Shiner, Hugo Glendinning and Sami El-Enany.

London, Halloween 2019. Britain is on the verge of Brexit. Ludwig van Beethoven is in the city, or rather: his spirit. He is looking for justice. The Royal Philharmonic Society had commissioned the 9th Symphony from him, but fed him an insulting 50 dollars.

Accompanied by live music, the magically realistic concert-film tells the fictional story of Beethoven's journey to London. That night, the city is in a process of self-destruction. At sunset, Beethoven is pulled from the mud of the Thames. He staggers through the streets in madness, joining night owls, demonstrators and offenders. He drinks and smokes and is increasingly disgusted by his strenuous search for the Royal Philharmonic Society. They are musicians and artists who, despite his ragged appearance, give him hope that his legacy will live on: in Trafalgar Square, a grieving woman breathes the 'Ode to Joy', and on the banks of the Thames, the arrangement of a violin sonata sounds. Beethoven's nocturnal journey ends at dawn on the Thames, when the city awakens again. The music for the film seems to be a work by Beethoven, a ghost work composed and arranged by the British-Egyptian film composer Sami El-Enany, performed live by the Hanoverian musica assoluta.

A magical-realist documentary, a speculative ghost story, a concert, an improvised, slow-motion disaster movie.



Extensa

Categories
installation music sound

Installation by Flavia Tritto

Sound Design and Music by Sami El-Enany

Shown at Museo Nuova Era, (Bari,IT)

In a suspended time, a creature wanders around an apparently wasted land. Its origin is unclear, and so is its identity. What is clear is that it is searching for something. This pursuit -both physical and introspective- materializes in a silent and dynamic dialogue with the timeless inhabitants of this land: the olive trees.

This narrative is displayed in the sequence of images and sounds that make up “Trust Me With Your Full Weight,” the video installation at the centre of Flavia Tritto’s solo show, “Extensa”.
In the scenario presented, traditional binary hierarchies are overturned: the human figure is no longer central nor dominating, but rather is “alien”, detached from the natural world towards which it attempts to (re)connect. The scene is a tangle for feelings and thoughts only hinted at, which creates an ambiguous space for visitors to inhabit.

This earthly dimension becomes the place where the Human steps back to rethink its relationship with Nature, grounding its exploration in tactile interactions that are no longer overwhelming but rather characterized by care and attunement. This vision is projected through a just perceptible olive harvesting net -inherited by the artist from her grandfather- which here takes the shape of an olive tree’s trunk.

Shot in Puglia, the video constitutes a practice of reconciliation between the artist and her roots, created when she returned “as a foreigner” after years of absence. It is a cautious rapprochement, a silent dialogue, which generates a (reciprocal?) entrusting, and a re-discovery of what it means to be human by means of environmental stewardship.

This work is also a moment for reflection on the environmental conditions of the local land, hit by the tragedy of Xylella and desertification. These ecological concerns are embedded both in the video installation and in the net sculptures, which stand simultaneously as a plastic metaphor of the problematic relationship between the Human and the ecosystem, and as a reification of the filmed vision. Meanwhile, the movements of the performer (Katarina Nesic), poetically embody the need for a different kind of approach, based on care and respect.

Thus, in this epiphanic passage, any hesitation or superstructure is swept away and replaced by a suggestion of a symbiotic oneness with the environment, which can only be achieved if it becomes collective practice.

Installation by Flavia Tritto

Sound Design and Music by Sami El-Enany

Shown at Museo Nuova Era, (Bari,IT)

In a suspended time, a creature wanders around an apparently wasted land. Its origin is unclear, and so is its identity. What is clear is that it is searching for something. This pursuit -both physical and introspective- materializes in a silent and dynamic dialogue with the timeless inhabitants of this land: the olive trees.

This narrative is displayed in the sequence of images and sounds that make up “Trust Me With Your Full Weight,” the video installation at the centre of Flavia Tritto’s solo show, “Extensa”.
In the scenario presented, traditional binary hierarchies are overturned: the human figure is no longer central nor dominating, but rather is “alien”, detached from the natural world towards which it attempts to (re)connect. The scene is a tangle for feelings and thoughts only hinted at, which creates an ambiguous space for visitors to inhabit.

This earthly dimension becomes the place where the Human steps back to rethink its relationship with Nature, grounding its exploration in tactile interactions that are no longer overwhelming but rather characterized by care and attunement. This vision is projected through a just perceptible olive harvesting net -inherited by the artist from her grandfather- which here takes the shape of an olive tree’s trunk.

Shot in Puglia, the video constitutes a practice of reconciliation between the artist and her roots, created when she returned “as a foreigner” after years of absence. It is a cautious rapprochement, a silent dialogue, which generates a (reciprocal?) entrusting, and a re-discovery of what it means to be human by means of environmental stewardship.

This work is also a moment for reflection on the environmental conditions of the local land, hit by the tragedy of Xylella and desertification. These ecological concerns are embedded both in the video installation and in the net sculptures, which stand simultaneously as a plastic metaphor of the problematic relationship between the Human and the ecosystem, and as a reification of the filmed vision. Meanwhile, the movements of the performer (Katarina Nesic), poetically embody the need for a different kind of approach, based on care and respect.

Thus, in this epiphanic passage, any hesitation or superstructure is swept away and replaced by a suggestion of a symbiotic oneness with the environment, which can only be achieved if it becomes collective practice.

Opix | Opix

Categories
music records

Opix | Opix | 2020
Label: Faith and Industry
Written, Recorded and Produced by Sami El-Enany and Dampé
The second single from the Opix LP

Opix | Opix | 2020
Label: Faith and Industry
Written, Recorded and Produced by Sami El-Enany and Dampé
The second single from the Opix LP

You’ll See Me [Sailing In Antarctica]

Categories
music theatre

Created by Non Zero One
Composition and Sound Design by Sami El-Enany
Commissioned by the National Theatre

“We’re somewhere half way up some concrete, looking out, a little closer to the sky than normal. Here we have some time to just put our head in the clouds. Here is a place for you to see things.”

you’ll see [me sailing in antarctica] explores the way we look and the way we see. Visions past, present and future are brought to the table – some things could never live up to our imagination, and some are better than we could ever believe. Between you and the others here, you’ve seen so many things, and you’ll see so many more. But can anyone ever see the way you do?

On the roof of the National Theatre, 19 participants and five performers sit down together around a 4-metre diameter round table, which is mirrored to reflect the open sky above. Communicating with each other face-to-face, aided by single earpieces and boom microphones, participants are invited to look into their pasts, scrutinise their present and imagine their futures. Nothing is being broadcast – what happens on the roof stays on the roof, and participants can share as much or as little as they like.

A lyrical look at the science behind human perception, you’ll see [me sailing in antarctica] mixes fact and fantasy through performance lecture, surround sound, hidden televisions and sweeping panoramic views of the London skyline. Visual reasoning tests are carried out, eye muscles are exercised and someone runs around backstage with a camera strapped to their head.
Illuminated by a giant spherical air balloon floating overhead, the roof itself is part of the show, with the massive flytowers changing colour on cue and blistering strobes forming part of a big finale (lighting design by Sean Gleason). The sound design, incorporates an eight-channel surround system with generative music and live sampling, to ensure a unique soundscape for every performance.

you’ll see [me sailing in antarctica] was commissioned by the National Theatre as part of National Theatre Inside Out, a festival. The hour-long show played in a secret rooftop location for an extended run from 6-20 July 2012 at National Theatre.

you’ll see [me sailing in antarctica] was nominated for an Offie Award 2012.

Created by Non Zero One
Composition and Sound Design by Sami El-Enany
Commissioned by the National Theatre

“We’re somewhere half way up some concrete, looking out, a little closer to the sky than normal. Here we have some time to just put our head in the clouds. Here is a place for you to see things.”

you’ll see [me sailing in antarctica] explores the way we look and the way we see. Visions past, present and future are brought to the table – some things could never live up to our imagination, and some are better than we could ever believe. Between you and the others here, you’ve seen so many things, and you’ll see so many more. But can anyone ever see the way you do?

On the roof of the National Theatre, 19 participants and five performers sit down together around a 4-metre diameter round table, which is mirrored to reflect the open sky above. Communicating with each other face-to-face, aided by single earpieces and boom microphones, participants are invited to look into their pasts, scrutinise their present and imagine their futures. Nothing is being broadcast – what happens on the roof stays on the roof, and participants can share as much or as little as they like.

A lyrical look at the science behind human perception, you’ll see [me sailing in antarctica] mixes fact and fantasy through performance lecture, surround sound, hidden televisions and sweeping panoramic views of the London skyline. Visual reasoning tests are carried out, eye muscles are exercised and someone runs around backstage with a camera strapped to their head.
Illuminated by a giant spherical air balloon floating overhead, the roof itself is part of the show, with the massive flytowers changing colour on cue and blistering strobes forming part of a big finale (lighting design by Sean Gleason). The sound design, incorporates an eight-channel surround system with generative music and live sampling, to ensure a unique soundscape for every performance.

you’ll see [me sailing in antarctica] was commissioned by the National Theatre as part of National Theatre Inside Out, a festival. The hour-long show played in a secret rooftop location for an extended run from 6-20 July 2012 at National Theatre.

you’ll see [me sailing in antarctica] was nominated for an Offie Award 2012.

Emma

Categories
film music narrative short

Director: Sophie Gueydon
Cinematography: Hugo Glendinning
Music: Sami El-Enany

Emma is a portrait of a young girl who struggles between looking after her depressed Mum and being a child.


"Un Festival C'est Trop Court", Nice FR, 2019
Rencontres Du Cinéma Européen de Vannes, 2019
*Best Short Film* at the Santorini Film Festival, Greece, 2019
*Best Director* at the Budapest Independent Film Festival, Hungary, 2019
*Best Director* at Short To The Point Film Festival, Bucharest, Romania, 2019
*Finalist* at the BlackBird Film Festival, NY, USA, 2019
*Finalist* at the Brighton Rocks Film Festival, UK, 2019
*Semi Finalist* at the Nazareth Film Festival, Israel, 2019
London Lift Off Film Festival, London, UK, 2018
Portland Film Festival, USA, 2018
Shorts On Tap Film Festival with TimeOut London, London King'sX, 2019, 2019
Cardiff Mini Film Festival, Cardiff, UK, 2019
LIFF Lebanese Independent Film Festival, Beirut, 2019
LiftOff Amsterdam, 2020
Discover Film, London, 2020

Director: Sophie Gueydon
Cinematography: Hugo Glendinning
Music: Sami El-Enany

Emma is a portrait of a young girl who struggles between looking after her depressed Mum and being a child.


"Un Festival C'est Trop Court", Nice FR, 2019
Rencontres Du Cinéma Européen de Vannes, 2019
*Best Short Film* at the Santorini Film Festival, Greece, 2019
*Best Director* at the Budapest Independent Film Festival, Hungary, 2019
*Best Director* at Short To The Point Film Festival, Bucharest, Romania, 2019
*Finalist* at the BlackBird Film Festival, NY, USA, 2019
*Finalist* at the Brighton Rocks Film Festival, UK, 2019
*Semi Finalist* at the Nazareth Film Festival, Israel, 2019
London Lift Off Film Festival, London, UK, 2018
Portland Film Festival, USA, 2018
Shorts On Tap Film Festival with TimeOut London, London King'sX, 2019, 2019
Cardiff Mini Film Festival, Cardiff, UK, 2019
LIFF Lebanese Independent Film Festival, Beirut, 2019
LiftOff Amsterdam, 2020
Discover Film, London, 2020

Rabbit Hole | Opix

Categories
music records

Rabbit Hole | Opix | 2020
Label: Faith and Industry
Written, Recorded and Produced by Sami El-Enany and Dampé
The second single from the Opix LP

Rabbit Hole | Opix | 2020
Label: Faith and Industry
Written, Recorded and Produced by Sami El-Enany and Dampé
The second single from the Opix LP

Opix | Faith and Industry | 2020

Categories
music records

Opix LP, 33min | 2020
Label: Faith and Industry
Written, Recorded and Produced by Sami El-Enany and Dampé

Opix LP, 33min | 2020
Label: Faith and Industry
Written, Recorded and Produced by Sami El-Enany and Dampé

End-of-life Conversation

Categories
animation documentary film music short sound

Directed and Animated by Diana Gradinaru
Sound and Music by Sami El-Enany

Can an innovative collaboration improve the impact and dissemination of the key findings from a qualitative study that explores clinician and informal caregiver views and experiences of having end-of-life conversations?

A team at the Cicely Saunders Institute, King’s College London have undertaken a series of face-to-face interviews with junior doctors, senior doctors and informal caregivers who have participated in the Second Conversation across different medical specialities and hospital sites. Through this study, the team aim to understand, explore and compare experiences of having conversations about end of life or advanced illness and the Second Conversation from these three different perspectives.

The aim of this artistic collaboration is to produce an innovative and creative output based on the results of this research, to help communicate and disseminate the main findings and engage the key stake holders in the topic. The project team anticipate the primary audience will be doctors, as the aim of the Second Conversation is to improve their communication skills.

Directed and Animated by Diana Gradinaru
Sound and Music by Sami El-Enany

Can an innovative collaboration improve the impact and dissemination of the key findings from a qualitative study that explores clinician and informal caregiver views and experiences of having end-of-life conversations?

A team at the Cicely Saunders Institute, King’s College London have undertaken a series of face-to-face interviews with junior doctors, senior doctors and informal caregivers who have participated in the Second Conversation across different medical specialities and hospital sites. Through this study, the team aim to understand, explore and compare experiences of having conversations about end of life or advanced illness and the Second Conversation from these three different perspectives.

The aim of this artistic collaboration is to produce an innovative and creative output based on the results of this research, to help communicate and disseminate the main findings and engage the key stake holders in the topic. The project team anticipate the primary audience will be doctors, as the aim of the Second Conversation is to improve their communication skills.

Mothers of Invention | 2020

Categories
radio sound

Mothers of Invention | Series 3 | 2020
Hosted by Mary Robinson, Maeve Higgins, Thimali Kodikara
Sound Design by Sami El-Enany

Mothers Of Invention is a podcast on feminist climate change solutions from (mostly) women around the world.

With ten years to go before we see irreversible changes to our planet, former Irish president Mary Robinson, comedian and writer Maeve Higgins, and series producer Thimali Kodikara dig into the biggest climate issues of our time with love, laughter and memorable storytelling.

Mothers Of Invention gives focus to the stories of black, brown and indigenous women and girls who have been innovating from the front lines of climate change for generations — all over the world! Through their knowledge – in the fields, in the courtroom, at the marches, and in the boardroom – every episode is an education on how to cope, get empowered, and force climate justice for all!

Mary Robinson, the first female President of Ireland and climate justice campaigner is one of the women leading the global climate movement. She is doing everything she can to raise the voices of other determined women, particularly those on the frontlines of climate change in the global south.   

Maeve Higgins, Irish comic based in NY, she is a contributing writer for the New York Times and her latest book 'Maeve in America' was published last year. She has completed  Maeve in America, a podcast series about immigration, and keeps her sense of humour about serious matters.  

Thimali Kodikara based in NY, she is the series producer of Mothers Of Invention. 

Mothers of Invention | Series 3 | 2020
Hosted by Mary Robinson, Maeve Higgins, Thimali Kodikara
Sound Design by Sami El-Enany

Mothers Of Invention is a podcast on feminist climate change solutions from (mostly) women around the world.

With ten years to go before we see irreversible changes to our planet, former Irish president Mary Robinson, comedian and writer Maeve Higgins, and series producer Thimali Kodikara dig into the biggest climate issues of our time with love, laughter and memorable storytelling.

Mothers Of Invention gives focus to the stories of black, brown and indigenous women and girls who have been innovating from the front lines of climate change for generations — all over the world! Through their knowledge – in the fields, in the courtroom, at the marches, and in the boardroom – every episode is an education on how to cope, get empowered, and force climate justice for all!

Mary Robinson, the first female President of Ireland and climate justice campaigner is one of the women leading the global climate movement. She is doing everything she can to raise the voices of other determined women, particularly those on the frontlines of climate change in the global south.   

Maeve Higgins, Irish comic based in NY, she is a contributing writer for the New York Times and her latest book 'Maeve in America' was published last year. She has completed  Maeve in America, a podcast series about immigration, and keeps her sense of humour about serious matters.  

Thimali Kodikara based in NY, she is the series producer of Mothers Of Invention. 

I’m Eating | Opix | 2020

Categories
music records

I'm Eating | Opix | 2020
Label: Faith and Industry
Written, Recorded and Produced by Sami El-Enany and Dampé
The first single from the Opix LP.

I'm Eating | Opix | 2020
Label: Faith and Industry
Written, Recorded and Produced by Sami El-Enany and Dampé
The first single from the Opix LP.

A Quickening | Orlando Weeks

Categories
music records

A Quickening | Orlando Weeks | 2020
Label: Play It Again Sam [PIAS]

Additional writing and performing by Sami El-Enany on:
'Blame or Love or Nothing', 'Takes a Village' and 'Summer Clothes'.

A Quickening | Orlando Weeks | 2020
Label: Play It Again Sam [PIAS]

Additional writing and performing by Sami El-Enany on:
'Blame or Love or Nothing', 'Takes a Village' and 'Summer Clothes'.

Yearbooks 3 | La Shark

Categories
music records

Yearbooks 3: 2014
All songs written and performed by:
Samuel Geronimo Deschamps, Sami El-Enany, Ben Markham,
Lewis Maynard and Nick Buxton
Self Release

Yearbooks is a 21 track collection of all La Shark's surviving early demos

Yearbooks 3: 2014
All songs written and performed by:
Samuel Geronimo Deschamps, Sami El-Enany, Ben Markham,
Lewis Maynard and Nick Buxton
Self Release

Yearbooks is a 21 track collection of all La Shark's surviving early demos

Yearbooks 2 | La Shark

Categories
music records

Yearbooks 2: 2014
All songs written and performed by:
Samuel Geronimo Deschamps, Sami El-Enany, Ben Markham,
Lewis Maynard and Nick Buxton
Self Release

Yearbooks is a 21 track collection of all La Shark's surviving early demos
 

Yearbooks 2: 2014
All songs written and performed by:
Samuel Geronimo Deschamps, Sami El-Enany, Ben Markham,
Lewis Maynard and Nick Buxton
Self Release

Yearbooks is a 21 track collection of all La Shark's surviving early demos
 

Year Books 1 | La Shark

Categories
music records