The Calais Sessions - Ismail’s story
Ismail is from Afghanistan. He’s a singer, and plays the dambora, a two-stringed, long-necked lute. Attached to the index finger of his right hand is a small metal hook with which he strums the strings, maintaining a regular percussive beat by drumming the body of the instrument at the same time. A bracelet of metal rings adds further rhythm and texture.
Ismail’s expressions and body language change rapidly when he’s performing – he is animated and laughing one moment, intense and subdued the next.
He also plays Benedict’s viola, and the darbuka (drum).
Amin joins in on darbuka.
Damien, the Calais Sessions’ recording engineer takes a break, whilst Ismail talks to us and a couple of journalists.
He tells us the harrowing story of why he had to flee Afghanistan with his wife and children. He rolls up his sleeve to reveal burn scars and explains that the Taliban plunged his right arm into scalding water to prevent him from playing. He also shows us a gun-shot wound in his stomach.
He lights a cigarette and walks away, looking into the distance.
Amidst the mud, the cold, the lack of privacy, the uncertainty, after the traumatic experiences many of the refugees have experienced to get to Europe, playing music and singing provides some respite; it brings a brief moment of normality, a little relief from anxiety. It’s a means of bringing people together and communicating with a shared language, it helps people tell stories, to express their feelings, to reconnect with home. The joy of the moment is visible on the musicians’ faces and in their body language as they sing and play. Emotions run high and the energy is powerful. It’s a point of connection that needs no additional explanation or justification.
You can watch a short video The Calais Sessions recorded of Ismail playing here.