Tidigare Upplagor
In co-operation with a number of cultural institutions and artistic and intellectual networks, the non-profit organisation BwC (Bwana Club) has organised the Clandestino Festival annually at various venues in Gothenburg, Sweden since 2003.
The festival features music from the urban cultural environments created out of the waves of global migration during the late 20th century.
Some very progressive, conscious and engaging groups have taken part in the previous editions of festival including Fun^da^mental (UK), Talvin Singh (UK), Mala Rodriguez (Spain), Frèdèric Galliano & The African Divas (France), Gnawa Diffusion (France), Duoud (France), State of Bengal (UK), Badmarsh & UK Apache (UK), Clotaire K (France/Lebanon), Fathy Salama & Karima Naït (Egypt/Algeria), Bandish Projekt (India), Baul Shilpi (Bangladesh), Kamilya Jubran (Palestine), The Mighty Zulu Nation (South Africa), Buk Bak (Ghana), Recycler (France), Ali Boulo Santo (Senegal), Loüis 2000 (France), Lipitone (France), Nettle (Spain), Dj Rupture (USA), Zion Train (UK), Midaircondo (Sweden), MJM Propaganda (Sweden), Johannes Anyury (Sweden), U.K.O.N. (Sweden), VJ Bertranol (France), among others.
Besides its manifest musical content, the Clandestino Festival has a lot to offer in the artistic, philosophical and political arenas as well. It includes penetrating discussions (Clandestino Talks), poetry readings, art exhibitions, film screenings and various other forms of event that put cultural issues into critical focus. John Hutnyk, Lez Henry, Aki Nawaz, Raminder Kaur, Michael Drewett and many others have participated in the Clandestino Talks.
Clandestino Festival provokes us to think about multiculturalism in a new way, beyond the ‘folklorification’, and contrasts the current preoccupation with seeing other cultures as different and exotic. The festival relates, therefore, not only to recent migration movements and the multicultural diversity that characterises many of Europe segregated urban areas. It also strives to challenge the most common forms of expression used to represent cultural differences, and highlight the consequences of these representations for migrants.
Through progressive dj-sessions, electronic and acoustic concerts, literary and visual events BwC has, both theoretically and practically, developed a critique of contemporary forms of colonial classification relating to the manufacture of culture in Western countries.
Here you have the links for previous editions.