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

Categories
radio sound design

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 design

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 narrative short film sound design

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 film sound design

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
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
sound design

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 design

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 film music live 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

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
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
theatre music

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 film

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
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
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 film sound design

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 design

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
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
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
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
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
records

Yearbooks 1: 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 1: 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
 

Limousine Mmmm… | La Shark

Categories
records

Limousine Mmmm...: 2013, 10"
All songs written and performed by:
Samuel Geronimo Deschamps, Sami El-Enany, Ben Markham,
Lewis Maynard and Nick Buxton
Label: Pour Femme Records

Limousine Mmmm...: 2013, 10"
All songs written and performed by:
Samuel Geronimo Deschamps, Sami El-Enany, Ben Markham,
Lewis Maynard and Nick Buxton
Label: Pour Femme Records

Imaginary Music | La Shark

Categories
records

Imaginary Music: 2015
All songs written and performed by:
Samuel Geronimo Deschamps, Sami El-Enany, Ben Markham,
Lewis Maynard and Nick Buxton
Label: Tape Music

Imaginary Music: 2015
All songs written and performed by:
Samuel Geronimo Deschamps, Sami El-Enany, Ben Markham,
Lewis Maynard and Nick Buxton
Label: Tape Music

Variable 4

Categories
installation

Created by James Bulley and Daniel Jones
With music contributions from Sami El-Enany

Variable 4 is an outdoor sound installation that translates weather conditions into musical patterns in real time. Using meteorological sensors connected to a custom software environment, the weather itself acts as conductor, navigating through a map of twenty-four specifically-written movements.

Every aspect of the piece, from broad harmonic progressions down to individual notes and timbres, is influenced by changes in the environment: wind, rainfall, sunlight, humidity, and temperature. The resultant composition is performed over an indeterminate duration through eight loudspeakers integrated into the landscape.

Created by James Bulley and Daniel Jones
With music contributions from Sami El-Enany

Variable 4 is an outdoor sound installation that translates weather conditions into musical patterns in real time. Using meteorological sensors connected to a custom software environment, the weather itself acts as conductor, navigating through a map of twenty-four specifically-written movements.

Every aspect of the piece, from broad harmonic progressions down to individual notes and timbres, is influenced by changes in the environment: wind, rainfall, sunlight, humidity, and temperature. The resultant composition is performed over an indeterminate duration through eight loudspeakers integrated into the landscape.

Clear Skies for String Quintet and Mobile Interactions | Sound As Terror

Categories
installation live

Performances:

-Farnborough Wind Tunnels - Speed of Sound Festival

-Hockney Gallery - Royal College of Art

Investigating ideas of noise and turbulence, sound and terror, El-Enany's Clear Skies for String Quintet and Mobile Interactions was performed as part of a festival dedicated to interpreting the history of aerodynamic advancement through sound, reactivating the decommissioned space of Q121 and air return duct.

Clear Skies involves mobile interactions from any phone that connects to the Sound As Terror network during the performance. Audio loops derived from drone recordings sent from Gaza are scattered via audience's phones as the string quintet play, recontextualising and interacting with the mobile phones. Questions of the ever-present state of surveillance echo anxiously as participants grip their phones. 

Sound as Terror  is a research project into sound as affect, with a current focus on military drone soundscapes and their effect on peoples everyday lives. Through research into humanitarian laws and regulations, first hand experience as well as definitions of sound as terror, we move from analysis and dialogue, into composing and sound actions. We use sound to enunciate social relationships and think of collaborative compositions as both physical forms of coming together, as well as explorations into sonic communication. Our work mostly takes the form of sound interactions and manifestations informed by in-depth research.

Score available on request

Performances:

-Farnborough Wind Tunnels - Speed of Sound Festival

-Hockney Gallery - Royal College of Art

Investigating ideas of noise and turbulence, sound and terror, El-Enany's Clear Skies for String Quintet and Mobile Interactions was performed as part of a festival dedicated to interpreting the history of aerodynamic advancement through sound, reactivating the decommissioned space of Q121 and air return duct.

Clear Skies involves mobile interactions from any phone that connects to the Sound As Terror network during the performance. Audio loops derived from drone recordings sent from Gaza are scattered via audience's phones as the string quintet play, recontextualising and interacting with the mobile phones. Questions of the ever-present state of surveillance echo anxiously as participants grip their phones. 

Sound as Terror  is a research project into sound as affect, with a current focus on military drone soundscapes and their effect on peoples everyday lives. Through research into humanitarian laws and regulations, first hand experience as well as definitions of sound as terror, we move from analysis and dialogue, into composing and sound actions. We use sound to enunciate social relationships and think of collaborative compositions as both physical forms of coming together, as well as explorations into sonic communication. Our work mostly takes the form of sound interactions and manifestations informed by in-depth research.

Score available on request

“If the people hear the wrong music, the Empire will fall”

Categories
installation

The Red Mansion Art Prize Exhibition 2019 at the Royal Academy.

Video Installation by Ibrahim Cisse,
'If the people hear the wrong music, the Empire will fall'.

Music and Sound Design by Sami El-Enany

The Red Mansion Art Prize Exhibition 2019 at the Royal Academy.

Video Installation by Ibrahim Cisse,
'If the people hear the wrong music, the Empire will fall'.

Music and Sound Design by Sami El-Enany

Gentle Dust

Categories
installation

Berlin Biennale X, August 2018
Showroom MAMA, Rotterdam, September - October 2017
ROOM Gallery and Projects, Johannesburg, October 2016
Jupiter Woods, London, August 2016

And so, gently the dust will fall, upon the carelessly wrapped paintings. And gently the colours on the canvas, they will fade away. Images of soup cans, guns and flowers, they will fade away. And gentle dust will fall upon the seamless glass vitrines, scattered pedestals, high security cameras. Gentle dust, upon the long forgotten sculptures, abandoned in the corners of the wide quiet cubes.

Gentle Dust imagines and stages the desertion of the museum of modern art through performative readings, a video installation and music. The museum of modern art is understood here as a symbol, historically and presently linked to the colonial matrix of power. The live performances respond to the question of how we can disengage from the narratives that are told and taught by these museums. The project is understood as the beginning of a dialogue in which we, as a multiplicity of young art practitioners, foreground the stories, perspectives and questions that have a special urgency to us in this time of crisis.

First instalment co-curated with Rianna Jade Parker at Jupiter Woods in London. This instalment includes spoken contributions by Rianna Jade Parker, Isaac Kariuki, Imani Robinson and Caspar Jade Heinemann, a video animation and text by Dorine van Meel, original music to the video by Sami El-Enany and voice-overs by Emma Bennett and Holly Pester

Second instalment organised i.c.w. Mbali Khoza at ROOM Gallery and Projects in Johannesburg. This instalment includes spoken contributions by Thato Magano, Sipho Charles Gwala, Senzo Brian Sibisi and Natasha Jacobs and an expanding multichannel soundtrack by Sami El-Enany.

Third instalment co-curated together with independent artist-curator and writer Rianna Jade Parker at Showroom MAMA in Rotterdam. New contributions to the video by Susu Amina, Tirza Balk, Yakari Gabriel, Abdel-Rahman Hassan and Alina Jabbari. Events organised by Rianna Jade Parker i.c.w. Hudda Khaireh, as well as Natalia Sorzano i.c.w. Nathalie Hartjes and MAMA's Artistic New Talents. New performances by Pelumi Adejumo and Albinus. The exhibition also includes a 'reference space' that contains key texts and imagery compiled by Rianna Jade Parker.

Gentle Dust concluded at the Berlin Biennale with life performances by Abdel-Rahman Hassan, Alina Jabbari, Dorine van Meel and Ibrahim Cissé together with Sami El-Enany.

Gentle Dust has been made possible through additional financial support from the Arts Council England, the Dutch Embassy in London and the Mondriaan Fund.

Berlin Biennale X, August 2018
Showroom MAMA, Rotterdam, September - October 2017
ROOM Gallery and Projects, Johannesburg, October 2016
Jupiter Woods, London, August 2016

And so, gently the dust will fall, upon the carelessly wrapped paintings. And gently the colours on the canvas, they will fade away. Images of soup cans, guns and flowers, they will fade away. And gentle dust will fall upon the seamless glass vitrines, scattered pedestals, high security cameras. Gentle dust, upon the long forgotten sculptures, abandoned in the corners of the wide quiet cubes.

Gentle Dust imagines and stages the desertion of the museum of modern art through performative readings, a video installation and music. The museum of modern art is understood here as a symbol, historically and presently linked to the colonial matrix of power. The live performances respond to the question of how we can disengage from the narratives that are told and taught by these museums. The project is understood as the beginning of a dialogue in which we, as a multiplicity of young art practitioners, foreground the stories, perspectives and questions that have a special urgency to us in this time of crisis.

First instalment co-curated with Rianna Jade Parker at Jupiter Woods in London. This instalment includes spoken contributions by Rianna Jade Parker, Isaac Kariuki, Imani Robinson and Caspar Jade Heinemann, a video animation and text by Dorine van Meel, original music to the video by Sami El-Enany and voice-overs by Emma Bennett and Holly Pester

Second instalment organised i.c.w. Mbali Khoza at ROOM Gallery and Projects in Johannesburg. This instalment includes spoken contributions by Thato Magano, Sipho Charles Gwala, Senzo Brian Sibisi and Natasha Jacobs and an expanding multichannel soundtrack by Sami El-Enany.

Third instalment co-curated together with independent artist-curator and writer Rianna Jade Parker at Showroom MAMA in Rotterdam. New contributions to the video by Susu Amina, Tirza Balk, Yakari Gabriel, Abdel-Rahman Hassan and Alina Jabbari. Events organised by Rianna Jade Parker i.c.w. Hudda Khaireh, as well as Natalia Sorzano i.c.w. Nathalie Hartjes and MAMA's Artistic New Talents. New performances by Pelumi Adejumo and Albinus. The exhibition also includes a 'reference space' that contains key texts and imagery compiled by Rianna Jade Parker.

Gentle Dust concluded at the Berlin Biennale with life performances by Abdel-Rahman Hassan, Alina Jabbari, Dorine van Meel and Ibrahim Cissé together with Sami El-Enany.

Gentle Dust has been made possible through additional financial support from the Arts Council England, the Dutch Embassy in London and the Mondriaan Fund.

Between the Dog and the Wolf | South London Gallery | 2015

Categories
installation

An installation created by Dorine van Meel
With an evolving multichannel soundtrack by Sami El-Enany

"In love at eight with Othello’s Desdemona. On our strawberry iMac I draw her massive soprano body tightly folded in a blue silk dress. No images of the play to be found anywhere, this was before the internet. And at bedtime I tell him dragons don’t exist, fear the real world instead."

Dorine van Meel is the fourth recipient of the Nina Stewart Artist Residency at the SLG. For her first solo show in a public gallery Van Meel presents a multi-channel installation exploring language and female subjectivity, through a soundtrack of two female narrators combined with alternating projections of digital imagery.

An installation created by Dorine van Meel
With an evolving multichannel soundtrack by Sami El-Enany

"In love at eight with Othello’s Desdemona. On our strawberry iMac I draw her massive soprano body tightly folded in a blue silk dress. No images of the play to be found anywhere, this was before the internet. And at bedtime I tell him dragons don’t exist, fear the real world instead."

Dorine van Meel is the fourth recipient of the Nina Stewart Artist Residency at the SLG. For her first solo show in a public gallery Van Meel presents a multi-channel installation exploring language and female subjectivity, through a soundtrack of two female narrators combined with alternating projections of digital imagery.

#NauruFilesReading

Categories
documentary film music live short film sound design

Directed by Sami El-Enany
Sound and Music by Sami El-Enany
Edited by Asli Umut
Camera by Phillip Wood, Asli Umut and Tristan Martin

#NauruFilesReading was a political action and durational performance undertaken by activists outside Australia House, London on 26th August 2016. The performance involved the reading of the Nauru Files, a database of over 2000 incident reports leaked to the Guardian Australia. A result of the ten hour oral intervention is a sound archive of documented incidents of abuse, self- harm, humiliation and squalor that is everyday life for refugees on Nauru.The duration, monotony and repetition entailed in the reading of each file echoes the normalisation of the violence and tedium endured by refugees in indefinite detention.

For more information go to:

http://naurufilesreading.blogspot.co.uk

Nauru Files Reading is a durational performance involving the reading of the Nauru Files, a database of over 2000 incident reports leaked to the Guardian Australia from the Australian refugee detention centre in the Republic of Nauru. The Australian government detains refugees indefinitely on Christmas Island and on two remote Pacific islands, Nauru and Manus Island (Papua New Guinea) as part of its offshore detention policy designed to deter refugees from arriving in Australia by boat. More than 500 refugees are detained on Nauru, including many children. These refugees are from countries including Iran, Sri Lanka, Afghanistan, Iraq and Somalia. Refugees on Nauru are regularly subjected to abuse, violence, sexual assault and rape. Self-harm and suicide attempts are common. Two refugees have died on Nauru. Omid was a 23 year old refugee from Iran who died after self-immolating and receiving inadequate treatment in April 2016. Rakib was a 23 year old refugee from Bangladesh who died in May 2016 after overdosing on paracetamol. A 19 year old Somali refugee, Hodan, self-immolated in April 2016 and survived with burns to 70% of her body. 
 
Nauru Files Reading is an unsanctioned live performance in defiance of Australia’s offshore detention of refugees. An oral intervention, Nauru Files Reading will produce a sound archive of documented incidents of abuse, self-harm, humiliation and squalor that is the everyday life for refugees on Nauru. In response to the Australian government’s refusal to close the camps and bring the detained refugees to Australia, this performance is a gesture of solidarity towards the detained refugees. The duration, monotony and repetition entailed in the reading of each file echoes the normalisation of the violence and tedium endured by refugees in indefinite detention.   
 
Australia House, London, the performance site for Nauru Files Reading, marks Australian diplomatic territory in the heart of the colonial motherland. The narrative of abuse exposed by Nauru Files Reading directly contradicts the image the Australian High Commission seeks to convey of Australia as a progressive nation and a desirable destination for tourists, students, highly-skilled workers and international investors. Nauru Files Reading embodies the ongoing racist violence that has defined the settler colony of Australia since its inception.
 
Key players in Australian offshore detention 

 

DIBP - The Australian Department of Immigration and Border Protection (formerly ‘the Department of Immigration and Citizenship’) has been headed by Liberal Party Minister Peter Dutton since December 2014. Since July 2015, the department includes an armed operational agency known as Australian Border Force which oversees boat turn-backs and the forcible transportation of refugees to offshore camps and other detention facilities.

IHMS - International Health and Medical Service is a private medical service which has held successive contracts with Australia’s immigration department since 2009, totaling well over Aus$1.6bn. The company is owned by International SOS (Australasia), whose largest client is the US military. 

Save The Children (STC) - This charity has been contracted by DIBP to provide education, recreation and child protection services to refugees on Nauru since August 2013. Following the Nauru files leak, 26 former STC workers publicly called for an end to offshore processing, stating that the files are "just the tip of the iceberg".

Broadspectrum (formerly known as ‘Transfiled’) - Broadspectrum is an Australian corporation which provides infrastructure maintenance services. Transfield Services has held a contract worth Aus$1.22 bn. for the provision of "welfare services" at Australia’s detention centres on Manus Island and Nauru since January 2014. It subcontracts security services at both sites to Wilson Security. The company changed its name to Broadspectrum after its founders withdrew its right to use the name "Transfield" due to the reputational damage done through its offshore detention centre contracts. As of May 2016, the Spanish infrastructure company Ferrovial acquired a 90% share in Broadspectrum.

Wilson Security - Wilson Security is an Australian private security company. It is a subcontractor of Transfield Services at Australian offshore detention facilities. It has been working on Nauru since late 2012 and on Manus Island since February 2014. Wilson also holds significant contracts providing security services for Melbourne University, the Australian National University, and private carparks in central Sydney and Melbourne.

Directed by Sami El-Enany
Sound and Music by Sami El-Enany
Edited by Asli Umut
Camera by Phillip Wood, Asli Umut and Tristan Martin

#NauruFilesReading was a political action and durational performance undertaken by activists outside Australia House, London on 26th August 2016. The performance involved the reading of the Nauru Files, a database of over 2000 incident reports leaked to the Guardian Australia. A result of the ten hour oral intervention is a sound archive of documented incidents of abuse, self- harm, humiliation and squalor that is everyday life for refugees on Nauru.The duration, monotony and repetition entailed in the reading of each file echoes the normalisation of the violence and tedium endured by refugees in indefinite detention.

For more information go to:

http://naurufilesreading.blogspot.co.uk

Nauru Files Reading is a durational performance involving the reading of the Nauru Files, a database of over 2000 incident reports leaked to the Guardian Australia from the Australian refugee detention centre in the Republic of Nauru. The Australian government detains refugees indefinitely on Christmas Island and on two remote Pacific islands, Nauru and Manus Island (Papua New Guinea) as part of its offshore detention policy designed to deter refugees from arriving in Australia by boat. More than 500 refugees are detained on Nauru, including many children. These refugees are from countries including Iran, Sri Lanka, Afghanistan, Iraq and Somalia. Refugees on Nauru are regularly subjected to abuse, violence, sexual assault and rape. Self-harm and suicide attempts are common. Two refugees have died on Nauru. Omid was a 23 year old refugee from Iran who died after self-immolating and receiving inadequate treatment in April 2016. Rakib was a 23 year old refugee from Bangladesh who died in May 2016 after overdosing on paracetamol. A 19 year old Somali refugee, Hodan, self-immolated in April 2016 and survived with burns to 70% of her body. 
 
Nauru Files Reading is an unsanctioned live performance in defiance of Australia’s offshore detention of refugees. An oral intervention, Nauru Files Reading will produce a sound archive of documented incidents of abuse, self-harm, humiliation and squalor that is the everyday life for refugees on Nauru. In response to the Australian government’s refusal to close the camps and bring the detained refugees to Australia, this performance is a gesture of solidarity towards the detained refugees. The duration, monotony and repetition entailed in the reading of each file echoes the normalisation of the violence and tedium endured by refugees in indefinite detention.   
 
Australia House, London, the performance site for Nauru Files Reading, marks Australian diplomatic territory in the heart of the colonial motherland. The narrative of abuse exposed by Nauru Files Reading directly contradicts the image the Australian High Commission seeks to convey of Australia as a progressive nation and a desirable destination for tourists, students, highly-skilled workers and international investors. Nauru Files Reading embodies the ongoing racist violence that has defined the settler colony of Australia since its inception.
 
Key players in Australian offshore detention 

 

DIBP - The Australian Department of Immigration and Border Protection (formerly ‘the Department of Immigration and Citizenship’) has been headed by Liberal Party Minister Peter Dutton since December 2014. Since July 2015, the department includes an armed operational agency known as Australian Border Force which oversees boat turn-backs and the forcible transportation of refugees to offshore camps and other detention facilities.

IHMS - International Health and Medical Service is a private medical service which has held successive contracts with Australia’s immigration department since 2009, totaling well over Aus$1.6bn. The company is owned by International SOS (Australasia), whose largest client is the US military. 

Save The Children (STC) - This charity has been contracted by DIBP to provide education, recreation and child protection services to refugees on Nauru since August 2013. Following the Nauru files leak, 26 former STC workers publicly called for an end to offshore processing, stating that the files are "just the tip of the iceberg".

Broadspectrum (formerly known as ‘Transfiled’) - Broadspectrum is an Australian corporation which provides infrastructure maintenance services. Transfield Services has held a contract worth Aus$1.22 bn. for the provision of "welfare services" at Australia’s detention centres on Manus Island and Nauru since January 2014. It subcontracts security services at both sites to Wilson Security. The company changed its name to Broadspectrum after its founders withdrew its right to use the name "Transfield" due to the reputational damage done through its offshore detention centre contracts. As of May 2016, the Spanish infrastructure company Ferrovial acquired a 90% share in Broadspectrum.

Wilson Security - Wilson Security is an Australian private security company. It is a subcontractor of Transfield Services at Australian offshore detention facilities. It has been working on Nauru since late 2012 and on Manus Island since February 2014. Wilson also holds significant contracts providing security services for Melbourne University, the Australian National University, and private carparks in central Sydney and Melbourne.

White Girl

Categories
film music narrative short film

Directed by Nadia Latif
Written by Omar El-Khairy
Music by Sami El-Enany

Beth is seemingly lost. As she wanders around seeking out help from strangers, her interactions take darker turns. Terror lies around every corner.

Directed by Nadia Latif
Written by Omar El-Khairy
Music by Sami El-Enany

Beth is seemingly lost. As she wanders around seeking out help from strangers, her interactions take darker turns. Terror lies around every corner.

Wasteworld

Categories
film music narrative short film sound design

Written and Directed by: Andrea Niada
Music and Sound Design: Sami El-Enany
Producer: Oliver Sunley
Director of Photography: Riccardo Angelucci

A woman hatches into a menacing world made of bin bags, where she must find the key to a mysterious container, which holds the terrifying secret of this strange place.

Written and Directed by: Andrea Niada
Music and Sound Design: Sami El-Enany
Producer: Oliver Sunley
Director of Photography: Riccardo Angelucci

A woman hatches into a menacing world made of bin bags, where she must find the key to a mysterious container, which holds the terrifying secret of this strange place.

Walking With Shadows

Categories
feature film film music narrative

-Africa Movie Academy Award (AMAA) Nomination for ACHIEVEMENT IN SOUNDTRACK-

Producers: Funmi Iyanda, Olumide F. Makanjuola,
Xeenash Mohammed, Victoria Thomas
Director: Aoife O’Kelly
Music: Sami El-Enany
Editing: Matthew Maria
Cinematography: Gerard Puigmal
Starring: Ozzy Agu, Funiola Aofiyebi,
Zainab Bologan

In Lagos, Nigeria, Ebele Njoko has been running all his life.

A search for acceptance and love from his family, has led him to recreate himself as Adrian Njoko, respected father, husband, and brother. Suddenly, Adrian’s past and secrets have caught up with him and his world soon begins to crumble as he frantically tries to control the growing ripple effect of a revelation. Walking With Shadows is adapted from Jude Dibia’s 2005 book of the same title, which was awarded Sweden’s Natur och Kultur Prize. It stars Ozzy Agu and Zainab Balogun

-Africa Movie Academy Award (AMAA) Nomination for ACHIEVEMENT IN SOUNDTRACK-

Producers: Funmi Iyanda, Olumide F. Makanjuola,
Xeenash Mohammed, Victoria Thomas
Director: Aoife O’Kelly
Music: Sami El-Enany
Editing: Matthew Maria
Cinematography: Gerard Puigmal
Starring: Ozzy Agu, Funiola Aofiyebi,
Zainab Bologan

In Lagos, Nigeria, Ebele Njoko has been running all his life.

A search for acceptance and love from his family, has led him to recreate himself as Adrian Njoko, respected father, husband, and brother. Suddenly, Adrian’s past and secrets have caught up with him and his world soon begins to crumble as he frantically tries to control the growing ripple effect of a revelation. Walking With Shadows is adapted from Jude Dibia’s 2005 book of the same title, which was awarded Sweden’s Natur och Kultur Prize. It stars Ozzy Agu and Zainab Balogun

The Planning Game

Categories
animation film music game short film sound design

          pw: game

Film by Ria Dastidar
Sound and Music by Sami El-Enany

Haven’t you always wanted to build a property, but feel defeated by the bureaucracy of the planning system? Josef K an intrepid pink mouse enters the retro 8- bit computer world of The Planning Game, to out wit the system to create his dream house!

This animation has been made for display at the UK Pavilion at the Bi-city Biennale of Urbanism/Architecture.

          pw: game

Film by Ria Dastidar
Sound and Music by Sami El-Enany

Haven’t you always wanted to build a property, but feel defeated by the bureaucracy of the planning system? Josef K an intrepid pink mouse enters the retro 8- bit computer world of The Planning Game, to out wit the system to create his dream house!

This animation has been made for display at the UK Pavilion at the Bi-city Biennale of Urbanism/Architecture.

The Followed

Categories
film music narrative short film