Cimarron announce appearance at french COLOMBIA festival

cimmparisThe show takes place on 7th Sept at Domaine de Villarceaux, Chaussy (95) with over 50 musicians taking part in over 10 shows during the day. For more details go to

Luego de su exitosa gira de verano en la que actuó en importantes festivales de World Music de Europa como el  Paleó Festival, de Nyon,  Suiza,  el Festival de Músicas de Mundo de Sines, en Portugal, y el Festival Río Loco,de Toulouse, Francia, eventos en los que CIMARRÒN fue considerado el grupo revelación y miles de espectadores ovacionaron su joropo contemporáneo, esta agrupación artística llanera regresa a los escenarios europeos como parte de la delegación musical de Colombia que actuará el 7 de septiembre en el  Festival D`Ile de France, en París.

La gran fiesta Colombiana, programa central de este importante festival en su edición 2014  contará con el apoyo del Ministerio de Cultura y la presencia de CIMARRÒN y consagrados artistas de la escena musical colombiana como Sidestepper, Esteban Copete y Rancho Aparte, Alvaro Mesa y La 33, entre otros.

AMJ and WOMAD schools project: Wiltshire Gazette and Herald

oriana womad 2014Malmesbury students give their all on WOMAD main stage

The Wiltshire Gazette and Herald:  Monday 28th July 2014  By Barry Leighton

You could see it in their faces – elation at having their music appreciated by so many people, pride at being part of an outstanding performance at a major festival and very likely relief that it all went so well.

Some 100 young musicians, singers and dancers from in and around Malmesbury opened this year’s WOMAD Festival with a spectacular, hour-long set of high energy roots reggae that had thousands of fans dancing ecstatically in a field.

Every year since the festival moved from Reading to Charlton Park, near the town, in 2007 music students from Malmesbury School and a cluster of surrounding village schools have collaborated with a group of world class musicians to open the event.

This year they linked up with a Bristol based reggae collective AMJ - John Hollis, Mark Spence and Andy Clarke – and after just a week or so of rehearsals had the unnerving task of performing what they had learnt in front of a huge crowd at the festival’s main, open air stage.

As the early evening sun beamed onto hordes of people swarming onto the grassy arena at 7pm on Thursday the ranks of singers and musicians, all wearing colourful T-shirts, struck-up a reggae beat that immediately had everyone dancing.

The AMJ collective provided a slick and solid reggae Afro framework within which the young musicians and singers expressed themselves while the dancers hardly stopped moving throughout.

“It was amazing, really amazing,” said breathless 11 year-old dancer Lily Gee-Smith, of Malmesbury primary school, minutes after stepping off-stage.

“I was slightly nervous at first but once we got started it was great.”

Fellow Malmesbury primary school pupil Sakura Clemo, 10, one of the singers, said: “It was really, really fun. A great experience. When you get on stage you don’t feel nervous any more – you just enjoy it.

“I could see my mum, my grandparents, and lots of people I knew in the crowd. Everyone seemed to be enjoying it. They were all dancing.”

Toby Journeaux, 17, normally plays classical and jazz saxophone but had to adapt his style to fit into a Jamaican groove for what was called The Road To Reggae project.

“I’d not experienced reggae at all until the rehearsals so it was all new to me," he said.

“But I’ve learnt a lot and it went really well. We were improvising a lot, bouncing off each other. It was great fun.”

Another Malmesbury School student Lucy Kershaw, 16, one of the singers, said: “It was a really fantastic experience. They (AMJ) were great people to work with. They were really good teachers. Was I nervous? Not at all. AMJ made us all feel really confident.”

Malmesbury School music teacher Debbie Corscadden said: “It was brilliant. It went really, really well. The students pulled out all the stops.”

Around half the students on-stage were from Malmesbury School while another 50 were recruited for the session from five local primary schools – Malmesbury, Brinkworth Earl Danby, Minety, Lea & Garsdon and Crudwell.

Their performance set the template for the fo llowing three days which saw around 30,000 world music fans converge on the Earl of Suffolk’s back garden to experience approximately 100 artists/bands from virtually every corner of the planet.

Malmesbury students learn a new rhythm for WOMAD appearance

The Wiltshire Gazette and Herald: Saturday 19th July 2014 By Barry Leighton

The spirit of Bob Marley has been alive, well and kicking up some unfamiliar but decidedly heady rhythms in Malmesbury over the past week and a half as the town has gone reggae crazy.

In the space of five days around 100 children applied their musical skills to performing some funky reggae beats in preparation for next week’s WOMAD Festival.

Music students from Malmesbury School and a cluster of village schools in the vicinity have risen to the challenge of creating their own take on the sunshine sounds of Jamaica.

During a series of intense sessions throughout last week they were tutored at the school by three experienced Bristol-based reggae musicians John Hollis, Mark Spence and Andy Clarke, known collectively as AMJ.

The trio – who also brought along several guest musicians – taught the children, aged between eight and 18, the basics of the music that emerged from the ghettos of Kingston during the 1960s.

On Tuesday Malmesbury’s reggae ensemble had a dress rehearsal within the medieval walls of the ruined abbey that has been more used to the sombre chants of monks.

Now the young reggae orchestra is set to open the four-day WOMAD – World of Music Art and Dance Festival – with a performance of material especially written for the event by AMJ on the main stage at 7pm on July 24.

“There’s been a positive vibration ever since the project began,” said music teacher Debbie Corscadden, quoting a phrase from the Bob Marley song of the same name.

“The school has certainly been filled with sunny, laidback music,” she said. “The children were very excited to be working with professional reggae musicians. Some of them are accomplished musicians themselves – even those as young as 12.”

While the younger children focused on singing and dancing, the older ones have learnt how to apply their talents to the singular reggae beat on a variety of instruments including bass, brass, guitars, keyboards and percussion.

It has now become a tradition for children in the area to open the event on the Thursday night in front of thousands of fans with a performance alongside a top world music band.

To see a gallery of photos, click here.

Catrin & Seckou No 1!

no1Many congratulations to Catrin and Seckou for reaching the No 1 slot on the Amazon World Music Chart. The album is also doing well in the US, currently placed at No 4 on the US Amazon African Chart.  

Catrin & Seckou on BBC Worldwide

BBC_Worldwide_LogoCross-Cultural Collaborations First broadcast: Saturday 16 August 2014

Global Beats showcases up and coming musical talent from around the world. Presenter Max Reinhardt explores the unique music that can result when artists from different traditions come together to create new sounds. As a broadcaster, event curator and director, Max’s musical life has focused on bringing together contrasting and diverse musical traditions.

This week, the programme also featured the magical sound of strings with Catrin Finch’s harp making award-winning music with the kora of Seckou Keita.

Click below to listen to the interview.

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Catrin & Seckou at Lorient Festival: Cap Sene-Galles!

/ Propos recueillis par Justin Daniel Freeman /

Racontez-nous la genèse du projet.

Seckou Keita : En mars 2012, mon manager, John Hollis, m'appelle en urgence alors que j'étais à Rome pour un concert pour l'Onu. Il avait lancé un projet entre le Malien Toumani Diabaté et la Galloise Catrin Finch. À cause des événements au Mali, ça n'a pas pu se faire comme prévu. Je suis arrivé dans le studio de Catrin qui n'avait aucune connaissance de la musique africaine et dès le premier jour, nous avons travaillé six heures. Finalement, Toumani est arrivé juste avant le premier des cinq concerts et le duo s'est transformé en trio pour les dates de Cardiff et Swansea .

Catrin Finch : Quand on joue avec certains musiciens, il y a un respect mutuel qui s'installe vraiment et c'est ce qu'il s'est passé avec Seckou. On a décidé de pousser le projet plus loin et ça a abouti à l'album "Clychau Dibon" sorti à l'automne .

Comment définiriez-vous votre musique ? S. K. : C'est difficile de mettre une étiquette là-dessus. Ce n'est pas classique, ce n'est pas world... C'est le résultat d'une expérience totale où l'on a dû aller l'un vers l'autre et chercher la ressemblance entre nos deux harpes. En fait, ce n'est pas de la musique du monde, c'est de la musique pour le monde !

C. F. : Je viens d'un monde très classique, lui d'une tradition de griot, très orale... On est tellement éloignés au départ qu'on pourrait peut-être ranger notre disque sur l'étagère "tout et n'importe quoi" ! ?

Avez-vous rencontré des difficultés à accorder vos répertoires respectifs ?

C. F. : Lorsque j'ai découvert les rythmiques que Seckou a connues toute sa vie, ça a été très difficile à assimiler. Venant d'une formation classique, j'essayais d'écrire nos compositions mais ça n'avait aucun sens, c'est quelque chose qui se ressent. C'est en jouant qu'on a compris qu'il y avait de nombreuses structures communes .

S. K. : Il y a en fait beaucoup de passerelles entre les mélodies galloises des XVe et XVIe siècles et la musique traditionnelle du Sénégal, de la Gambie et du Mali qui datent à peu près de la même époque. Elles se "parlent". Ça a pris peu d'efforts à marier. D'autre part, Catrin est une incroyable joueuse de harpe, elle a réussi à complètement se déconnecter de sa formation. Pour l'un comme pour l'autre il s'agissait tout simplement d'élargir nos horizons .

Quel a été votre mode de fonctionnement ?

S. K. : Au départ, je suis venu avec mes compositions et quelques morceaux traditionnels, car il fallait trouver des ressemblances entre les deux harpes. Après des recherches sur Llio Rhydderch, avec qui j'avais partagé une tournée en 2002, on a retrouvé un air qu'on a repris, en y ajoutant nos idées ; c'est devenu "Les bras de mer". Il y a aussi "Robert Ap Huw meets Nialing Sonko", qui vient du mélange de deux morceaux traditionnels qui se jouent avec les mêmes notes. Je n'ai rien changé sauf le tempo. Ces deux morceaux parlaient "la même langue". Ça nous a trop excités, on s'est dit : "Woaw comment se fait-il que ça se passe comme ça ?" En fait, le travail avait déjà été fait par nos ancêtres !"

C. F. : Après deux ans à travailler ensemble, on se pousse plus l'un l'autre. Le processus de création change. Au départ il fallait poser des bases. Aujourd'hui on est plus créatifs, on comprend mieux ce que peuvent faire nos instruments. Pendant les balances, par exemple, on arrive avec des petites idées. On sort vite nos smartphones pour ne pas les oublier mais là on arrive à tout un catalogue prêt à être enregistré !

Il y aura donc une suite à Clychau Dibon ?

C. F. : Peut-être ! On ne sait pas encore, mais pour l'instant notre premier album est toujours "en vie". On ne va pas prendre une décision trop rapide mais on le souhaite .

S. K. : On a déjà fait une trentaine de dates ensemble, il nous en reste une vingtaine et, autour de février 2015, on devrait sortir nos projets personnels. On est prêts pour un nouveau projet commun mais le temps ne nous le permet pas pour l'instant, on doit d'abord retrouver nos sources .

Catrin, Seckou and AMJ rock WOMAD 2014

wom1The Astar family were out in full force this week as WOMAD sold all 40,000 tickets for the first time at Charlton Park. Catrin & Seckou played a blinder in the early hours of Saturday morning. Don't take our word for it... here is what the papers said.

"Catrin Finch and Seckou Keita, a collaboration as delightful as it is unlikely. Finch, a Welsh harpist, was lined up a few years ago to play a tour with Malian kora player Toumani Diabaté, and warmed up by rehearsing with his Senegalese counterpart Keita. Diabaté eventually showed up mere hours before the first of those concerts, and though he was there for the tour, Finch felt a closer connection with Keita. They carried on working together and last year released an album of duets, Clychau Dibon, that proved a surprise hit.

Here, the blend of Manding and Welsh material finally stilled the buzz of chatter around the edge of the tent. They listened intently to each other, nodding and smiling as the songs took shape. They duelled playfully on “Future Strings”, Finch plucking ascending chords and running 47-string-long glissandi in a way that is hard for a kora to emulate, though Keita tried; when she knocked rhythms on the frame of her harp, his echo on the gourd of the kora was resonant and strong. The centrepiece of the set, as of the album, was “Robert Ap Huw Meets Nialing Sonko”: in the second half, when Finch took up the dancing Casamance pattern with her right hand, plucking the occasional bass string with her left, the whole tent held its breath."      Financial Times

"Following Thompson after midnight was the mellifluous award-winning sound of the kora and harp of Seckou Keita and Catrin Finch, as gorgeous as it is on record"   Independent

Copyright: York Tillyer

AMJ were also a huge success on the main stage with the Malmesbury schools' project. Their biggest gig yet and the Collective has expanded tenfold!


Seckou releases video for Kouma

Seckou has released a video for Kouma, a track from his excellent CD "Miro" ahead of its full release in France. Click to watch the video. Appropriately, since the song is about communication and interpretation/misinterpretation, it is also one of the few videos that features signalling for hard of hearing viewers (something Seckou was very insistent should be included).


A translation of the song reads

Please tell him. Tell him not to misinterpret my words. I'm talking to those who listen carefully. A mentor gives advice; a griot sings his truth. Someone who speaks likes his words but must remember that those words will be repeated many times. Please tell him not to misunderstand what I am trying to say. Please do not destroy their meaning. A griot will choose they words carefully; I send my words to you but you will try to hear what I am not saying. I know you are clever but that not my intention .Do not read between the lines or choose what you want to hear. A trouser with only one leg full of words will fall over. You must get the other side of the argument and fill the other leg. We have two ears two eyes. But one mouth Listen with Both ears, watch with both eyes but speak only once When you say something, be careful and make sure you only have to say it once. For goodness sake let's not re-interpret the truth. Don't make it up. Sometimes words have different meanings so be careful that you understand correctly. It is not always easy to see the good in someone and what they do until much later. Don't make me say something I didn't say or suggest I did something I didn't do You might not fully understand what I am saying now. So wait until you do before you speak


Cimarron announce european tour dates


Cimarron have confirmed some summer tour dates in Europe. They will be appearing at:

  • 17 July Cafés de L'été LA ROCHE SUR YON (France)
  • 18 et 19 July Tombées de la Nuit  RENNES (France)
  • 20 July Festival Musicas do Mundo de SINES (Portugal)
  • 24 July Festival Paleo de NYON (Suisse)
  • 25 July Nuits du Sud  VENCE (France)

Dibon Telerama! 4F review



Deux CD surprenants où la kora, la harpeluth des griots maliens, est élevée au rang d'instrument soliste.

Virtuose anobli notamment pour ses apartés magiques avec Ali Farka Touré, le Malien Toumani Diabaté fait partie de ces musiciens, qui ont contribué à faire de la kora, la harpe-luth des griots, un instrument soliste à part entière. Son propre père, le grand Sidiki Diabaté, fut pionnier du genre. Perpétuant cette science instrumentale avec son fils, le « petit » Sidiki, jeune prodige de 22 ans, star des scènes rap au Mali, dont on avait déjà entendu le panache et la vélocité. Symbole émouvant, leur huis clos familial (1) s'inscrit dans un certain classicisme. En ressuscitant de vieux morceaux oubliés, père et fils témoignent avant tout de l'intemporalité de leur tradition. Techniquement au sommet, plus volubiles qu'inventifs, ils se contentent de faire ruisseler à quatre mains l'ensorcelante geste mandingue. C'est déjà beaucoup...

On a connu Toumani Diabaté plus aventureux (ses foisonnantes Mandé Variations). Il a failli donner la réplique à la Galloise Catrin Finch sur le projet afro-celte de John Hollis. Les événements maliens ont freiné leur collaboration, et le Sénégalais Seckou Keita l'a remplacé. A travers l'entrelacs cristallin et onirique des cordes de la kora et de la harpe celtique, ce duo singulier explore sur Clychau Dibon (2) les points de convergence mélodiques et harmoniques entre deux cultures instrumentales multiséculaires. La richesse des arrangements (la harpe joue même les basses !) réinvente l'une et l'autre avec une grande fraîcheur. Tout le disque ne tient pas les promesses ambitieuses du premier titre, mélopée celte médiévale réveillée par un ostinato de kora. Mais le lyrisme transcende les compositions plus linéaires. Reproche éventuel à cette production anglaise : son parti pris esthétisant. La joliesse n'est pas un mal, mais plus de folie n'aurait pas nui. — Anne Berthod  

1) Toumani & Sidiki, Toumani et Sidiki Diabaté, 1 CD World Circuit/Harmonia Mundi .
2) Clychau Dibon, Catrin Finch et Seckou Keita, 1 CD Astar-Mwldan/L'Autre distribution .

Catrin & Seckou: "delicate but quietly thrilling" Guardian ***** Review


5 stars out of 5
Robin Denselow    
The Guardian, Friday 16 May 2014 15.29 BST
Bush Hall, London    

This, I suspect, will be remembered as one of the classic concerts of the year. It was the first London appearance of the celebrated young classical harpist Catrin Finch, and Seckou Keita, the finest British-based exponent of the African harp, the kora. Their debut album, Clychau Dibon, appeared in a whole batch of last year's "best of" lists, mine included, and one might have expected that the duo had already been elevated to the concert circuit – especially after Seckou Keita's impressive solo performance opening for afro-pop singer Salif Keita at the Barbican last month.

The Bush Hall can be rowdy, but they were treated with the respect and total silence that their delicate and quietly thrilling performance deserved. They started, appropriately, with the first track on their album, Genedigaeth Koring-Bato, a thoughtful and elegant piece dedicated to the world's finest kora player, the Malian star Toumani Diabaté. Diabaté had begun to explore the links between kora and harp when he toured Wales with Catrin Finch two years ago, but the collaboration was short-lived, partly because of the political chaos in Mali at the time, and Seckou Keita took over.

On this showing, it's difficult to imagine greater empathy between two outstanding musicians from different cultures that proved to have so much in common. Their first set was made up of instrumental pieces that constantly switched between Welsh and west African influences as the two players traded solo lines, rhythmic backing riffs and flurries of rapid-fire improvisation. From the delicate and gently stately Les Bras De Mer to the strummed kora passages on the rhythmic Future Strings, their playing was quietly exquisite, emotional and inventive. Returning after a break, they showed how their style is still evolving, as they added Welsh and Mandinka vocals in a new lament about a village that was flooded to provide a reservoir. Magnificent.

Clychau Dibon released in France and Switzerland today!


Clychau Dibon est la rencontre heureuse et inespérée entre la harpe celtique de la galloise Catrin Finch et la kora (la harpe africaine) du sénégalais Seckou Keita. Un conte de fées, de bardes et de bons esprits au service d’une quête de partage musical.

Réunir dans un même écrin, les sons mêlés de ces deux instruments si éloignés et si similaires est une idée qui a fait son chemin dans l’esprit de John Hollis, co-producteur du disque, depuis les années 80 lorsqu’il sillonnait l’Afrique mandingue en compagnie de Toumani Diabaté. Et certaines idées ont la vie dure ! Ce projet de rencontre, tel un écho du passé ressurgit lors de discussions entre John Hollis et Dilwyn Davis (Théâtre Mwldan de Cardigan, Pays de Galles) qui partageaient la même vision afro-celtique du mariage des cordes et qui deviendra l’autre co-producteur de l’album. Mais pour donner sens et corps à cette démarche il convenait de le faire avec les meilleurs représentants de chaque discipline.

Catrin Finch, « reine de la harpe », harpiste officielle du Prince de Galles d’un côté, Toumani Diabaté, génie malien des 21 cordes de l’autre. La rencontre est planifiée, répétitions, concerts. Malheureusement les évènements au Mali ont eu raison de la présence à temps de Toumani pour les répétitions. C’est Seckou Keita qui prit le relais et échangé avec Catrin sur le répertoire. Une vraie rencontre entre les deux artistes. Les concerts de Catrin et Toumani furent un triomphe et Seckou, invité sur scène par le duo affirma un charisme époustouflant, une élégante puissance de jeu ainsi qu’une humilité déconcertante entre ces deux monstres sacrés. Comme une évidence, en 2012, Catrin et Seckou décidèrent de consommer ensemble ce mariage de cordes et d’enregistrer cet album de feu.

Seckou Keita, naît en 1978 et grandit à Ziguinchor, capitale de la Casamance, au Sud du Sénégal. Il est élevé dans la maison des Cissokho, ses grands parents maternels, dans la pratique et la fabrication de tous les instruments traditionnels, kora, percussions diverses (seourouba, sabar, djembé). Famille de griots, les Cissokho sont des joueurs de kora. A l’âge de sept ans il construit sa première kora, à quatorze il apprend et restitue le répertoire mandingue. Egalement excellent percussionniste, il s’installe en Angleterre en 1998, base arrière de ses multiples tournées internationales. Catrin Finch quant à elle, sensiblement du même âge que Seckou, découvre la harpe à l’âge de 5 ans, quand elle assiste au concert d’une harpiste espagnole. Elle est subjuguée. Elle entame alors un cursus traditionnel et à 9 ans, elle a déjà terminé sa formation. Elle continuera de se perfectionner avec l’une des harpistes les plus renommées du pays, Elinor Bennett. A l’âge de 19 ans elle sera invitée à jouer à Buckingham Palace et deviendra entre 2000 et 2004 la harpiste officielle du palais. A ce titre elle ne cessera de voyager et de représenter son pays dans de multiples manifestations culturelles. Grâce à son statut et sa notoriété elle entend changer l’image qui est généralement celle de la harpe. Elle entend prouver à travers ce type de projet que la harpe n’est pas seulement un instrument médiéval très codifié mais également un incroyable vecteur d’émotions et de partage.

Deux artistes, deux cultures mais un héritage commun, celui des instruments à cordes au son de cristal, mais aussi deux pays imprégnés de cette tradition des bardes d’un côté, des griots de l’autre.

On y transmet les valeurs par le récit, l’oralité, la musique, la poésie. A l’écoute de l’album, on est estomaqués par cette alchimie, le résultat est saisissant, chaque titre, qu’il soit un traditionnel gallois ou une composition de Seckou est restitué comme s’ils les avaient toujours joués ensemble. Un album à mettre entre toutes les oreilles.


Clychau, en gaélique signifie la cloche, les Dibons sont des oiseaux présents notamment le long du fleuve Niger en Guinée. Ils vivent en couple pendant la journée et se séparent toutes les nuits pour retourner dans leur arbre respectif. Au petit matin, lorsqu’ils veulent se rejoindre, l’un chante et l’autre répond en volant vers lui. Ces appels ont été entendus par des chasseurs et restitués à l’aide de percussions. Ce rythme dibon accompagne généralement le retour des fermiers au village. Le dibon est aussi le nom donné à la deuxième corde de la kora.

Catrin & Seckou Usher Hall Review


Usher Hall, Edinburgh
Rob Adams

It's little wonder that Catrin Finch finds working with Seckou Keita liberating. After all, there can't be too many gigs for a concert harpist where she gets to run her nail down a bass string with mock venom, use the harp's body as a conga drum and administer gleeful skelps instead of arpeggios.

This all happened during Future Strings, where Keita's kora was used to produce various effects, including a pantomimed rub of his beard. They're clearly completely at ease with each other, these musicians from different continents but although they're part of separate cultures, they're both also representatives of long traditions and it may be this that makes them such a natural musical pairing.

Then again, maybe it's just because they both happen to be great players.

When Finch introduced something from the sixteenth century Welsh harper Robert Ap Huw's manuscripts, Keita was able to add, in an entirely complementary way, a tale and melody of similar vintage from his own lands and the two flowed together like comingling streams. And so it went over two sets of absorbing, conversational interaction, some of it reflective, some of it spectacularly intense, some of it dancing to a celebratory rhythm.

A piece inspired by the building in the 1960s of a reservoir at Tryweryn found Finch playing both electro harp and the concert model and intoning folk memories of lost homes and flooded valleys while Keita tugged a sympathetic rhythm and voiced a wordless, soulful commentary

Church bells chimed figuratively. Ships sailed. Mists hovered and best of all, Finch became a veritable string band, riffing and grooving superbly alongside Keita's agile, high tensile melodising.

Cimarron In Argentina

CIMARRON, EL JOROPO EN TIERRA GAUCHA Luego de su concierto el próximo 6 de mayo de 2014 en la Semana Universitaria Javeriana, CIMARRÓN llevará su joropo a los escenarios argentinos como representante de Colombia en el Mercado de las Industrias Culturales del Sur MICSUR 2014, en el que el Joropo del Nuevo Milenio pondrá a vibrar a los asistentes con su impactante propuesta escénica y musical. CIMARRÓN sigue su trayectoria internacional como el Grupo Musical de Joropo Llanero Colombiano que ha ganado reconocimiento para este género musical en 25 países de cuatro continentes.

After their concert on May 6, 2014 at the Javeriana University Week, CIMARRÓN perform as representative of Colombia in the Cultural Industries Market South MICSUR 2014, in which ther new style of Joropo will thrill the audience with its stunning visuals and music. CIMARRON international career has won recognition in 25 countries on four continents.

Catrin & Seckou win Songlines Magazine Best Cross-Cultural Collaboration Award 2014


We are delighted to have learned today that we have won Songlines Magazine Best Cross-Cultural Collaboration Award 2014.

More than 8,000 Songlines readers from 65 different countries voted for the awards shortlist, with the editorial board deciding the final winners. The magazine celebrates its 100th edition with the issue announcing the awards.

Read More…

Reuters article…

Songlines Awards Youtube trailer