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Mercredi 30 Novembre 12 :00-14 :30
Yehudi Menuhin, European Parliament
Orient-Occident
Dialogue des âmes : bridging cultures through music Concert et conversation entre Jordi Savall, UNESCO Artist
for Peace, et Georges Corm, ancien ministre et historien
libanais
Hosted by MEP Ernest Maragall with the support of the Greens/EFA group in the European Parliament
UN DIALOGUE DES ÂMES
Écouter ces musiques d’Orient et d’Occident,
subtilement rassemblées par Jordi Savall, n’est pas une expérience
ordinaire. Parce qu’à l’émotion esthétique vient s’ajouter un
sentiment plus intense encore, celui de communier, par
enchantement, avec une humanité réconciliée.
Celle-ci n’a-t-elle pas perdu quelque chose de son âme
dans la seconde moitié du XVe siècle, lors de la mort simultanée de
Séfarade et d’al-Andalous, quarante ans après l’écroulement de
Byzance ? Entre l’Orient et l’Occident, des passerelles mentales et
spirituelles ont été détruites, qui n’ont jamais été réparées depuis. La
Méditerranée a cessé d’être cette mer nourricière située au centre de
notre univers culturel, pour ne plus être qu’un champ de bataille, et
une barrière.
Aujourd’hui, notre mer commune est le lieu où s’élève la
Muraille invisible qui partage la planète entre Nord apeuré et Sud
désespéré ; et entre des communautés planétaires qui ont pris
l’habitude de se méfier de « l’Autre », et de s’en démarquer. Le
monde arabe et le monde juif semblent avoir oublié leur féconde
parenté d’autrefois ; l’Orient musulman et l’Occident de tradition
chrétienne semblent enfermés dans une confrontation sans issue.
Pour redonner à notre humanité déboussolée quelques
signes d’espoir, il faut aller bien au-delà d’un dialogue des cultures
et des croyances, vers un dialogue des âmes. Telle est, en ce début
du XXIe siècle, la mission irremplaçable de l’art. Et c’est très
précisément ce que nous éprouvons à l’écoute de ces superbes
musiques venues d’époques et de terres diverses. Soudain nous
découvrons, ou redécouvrons, que les civilisations qui nous
paraissaient éloignées les unes des autres, et même ennemies, sont
étonnamment proches, étonnamment complices.
Au cours de ce voyage dans le temps et l’espace, nous
nous demandons à chaque instant si les conflits auxquels nous
sommes accoutumés ne sont pas trompeurs, finalement, et si la vérité
des hommes et des cultures ne réside pas plutôt dans ce dialogue des
instruments, des accords, des cadences, des gestes et des souffles.
Monte alors en nous un sentiment de joie profonde, né d’un acte de
foi : la diversité n’est pas forcément un prélude à l’adversité ; nos
cultures ne sont pas entourées de cloisons étanches ; notre monde
n’est pas condamné à des déchirements sans fin ; il peut encore être
sauvé...
N’est-ce pas là, d’ailleurs, depuis le commencement de
l’aventure humaine, la raison première de l’art ?
AMIN MAALOUF
ORIENT-OCCIDENT DIALOGUE DES ÂMES
Dialogue entre les musiques chrétiennes,
sépharades, ottomanes et arabo-andalouses
autour de la Méditerranée
SYRIE Invocation: ”Dance du vent”(ney)
ISRAËL Qamti be-Ishon Layla - Improvisation d’après le Cantique
des Cantiques
FRANCE La Quarte Estampie Royal - Le Manuscrit du Roi (Paris,
XIIIè siècle)
SYRIE À Damas - Texte: Qays ibn al-Moullawwah (Majnoun Layla)
MOLDAVIE Der makām-ı Hüseynī Sakīl-i Ağa Rıżā - Mss. D.
Cantemir, 89
CHYPRE Dillirga / Tillirkotissa - Chanson & dance de Chypre (grec
& turc)
ESPAGNE Paxarico tu te llamas (instr.) - Traditionnel séfarade
SYRIE Ce Brun Hal asmar – Chant traditionnel de Damas (Syrie)
ROUMANIE Der makām-ı Uzzäl Sakîl "Turna" Semâ’î - Mss. D.
Cantemir, 324
ISRAËL La Moledet shuvi roni - Asher Mizrahi (Jérusalem)
ARMÉNIE Ene Sarére – Traditionnel arménienne
CHYPRE Koniali - Chanson & dance traditionnel de
Grèce et Turquie
GRÈCE Apo xeno meros
ISRAËL Torah
SYRIE Ghazali
RHODES Durme, hermosa donzella (instr.)
MAROC Ghazali tal jàhri (instr.)
& Tous ensemble
HESPÈRION XXI
Orit Atar (Israël) Voix
Waed Bouhassoun (Syrie) Voix
Katerina Papadopoulou (Grèce) Voix
Haïg Sarikouyoumdjian Duduk & Belul
Moslem Rahal Ney
Yurdal Tokcan Oud
Hakan Güngör Kanun
Dimitri Psonis Santur & Moresca
Pedro Estevan Percussion
Jordi Savall Vièle, Rebec
& Direction
Avec le soutien du Département de la Culture de la
Generalitat de Catalunya et de l’Institut Ramon Llull
HESPÈRION XXI
Ancient music’s most important value stems from its ability as a
universal artistic language to transmit feelings, emotions and
ancestral ideas that even today can enthral the contemporary listener.
With a repertoire that encompasses the period between the 10th and
18th centuries, Hespèrion XXI searches continuously for new
points of union between the East and West, with a clear desire for
integration and for the recovery of international musical heritage,
especially that of the Mediterranean basin and with links to the New
World.
In 1974 Jordi Savall and Montserrat Figueras, together with Lorenzo
Alpert and Hopkinson Smith, founded the ancient music
ensemble Hespèrion XX in Basel as a way of recovering and
disseminating the rich and fascinating musical repertoire prior to the
19th century on the basis of historical criteria and the use of original
instruments. The name Hespèrion means “an inhabitant of Hesperia”,
which in ancient Greek referred to the two most westerly peninsulas
in Europe: the Iberian and the Italian. It was also the name given to
the planet Venus as it appeared in the west. At the turn of the 21st
century Hespèrion XX became known as Hespèrion XXI.
Today Hespèrion XXI is central to the understanding of the music
of the period between the Middle Ages and the Baroque. Their
labours to recover works, scores, instruments and unpublished
documents have a double and incalculable value. On one hand, their
rigorous research provides new information and understanding about
the historical knowledge of the period, and on the other hand, the
exquisite performances enable people to freely enjoy the aesthetic
and spiritual delicacy of the works of this period.
Right from the beginning Hespèrion XXI set out on a clearly
innovative and artistic course that would lead to the establishment of
a school in the field of ancient music because they conceived, and
continue to conceive, ancient music as an experimental musical tool
and with it they seek the maximum beauty and expressiveness in
their performances. Any musician in the field of ancient music will
have a commitment to the original spirit of each work and has to
learn to connect with it by studying the composer, the instruments of
the period, the work itself and the circumstances surrounding it. But
as a craftsman in the art of music, he is also obliged to make
decisions about the piece being played: a musician’s capacity to
connect the past with the present and to connect culture with its
dissemination depend on his skill, creativity and capacity to transmit
emotions.
Hespèrion XXI’s repertoire includes, amongst others, the music of
the Sephardi Jews, Castilian romances, pieces from the Spanish
Golden Age, and Europa de les Nacions. Some of their most
celebrated concert programmes are Les Cantigues de Santa Maria
d’Alfons X El Savi, La Diàspora Sefardí, the music of Jerusalem,
Istanbul, Armenia and the Folías Criollas. Thanks to the outstanding
work of numerous musicians and collaborators who have worked
with the ensemble over all these years Hespèrion XXI still plays a
key role in the recovery and reappraisal of the musical heritage, and
one that has great resonance throughout the world. The group has
published more than 60 CDs and performs concerts for the whole
world, appearing regularly at the great international festivals of
ancient music.
Orit Atar (Israël) Voix A poet and singer with unique and exciting voice that penetrates to
the soul. Sings Jewish prayers with Moroccan Andalusian melodies.
Performs in concerts in Israel and the world with orchestras in
Jewish music festivals and world music.
Soloist of the Israeli Andalusian Orchestra. Successful emotion and
touch the heart of the audience. In her performances sings in
Moroccan Jewish liturgical and favourite songs Moroccan,
Andalusian, French, Algerian, Spanish, Ladino and more.
Orit has collaborated with singers: David Daor ,Kobi Aflalo, Etti
Ankri , Dikla ,Mika Karni, Yair Dalal ,Lior Elmalech, Shlomo Bar
and more. Orit collaborated with Israeli music producer Nadav Biton.
Together they worked on the new album coming out so on.
Waed Bouhassoun (Syrie) Voix La jeune joueuse de luth et chanteuse syrienne, Waed Bouhassoun
possède un timbre de voix d’une qualité rare, comme on n’en entend
plus qu’exceptionnellement, une de ces fameuses voix de la chanson
arabe des années trente. On va tout de suite penser à Oum Kalthoum
ou à Asmahan, mais non, pas du tout, bien qu’elle soit de la même
ville que cette dernière, Waed a une voix qui n’est la copie d’aucune
autre, elle a la voix de Waed. Dès sa première audition à Alep, les
spécialistes (sammaïnes) ne s’y sont pas trompé et ont
immédiatement reconnu son talent et symboliquement autorisée à se
présenter en public ce qu’elle fit à Paris à la Maison des Cultures du
Monde et à l’Institut du Monde Arabe en mars 2006. Le succès là
aussi fut immédiat et la presse unanime salue «une révélation », « les
applaudissements pleuvent » « l’époustouflante Waed »...
De retour en Syrie, Waed va enchaîner les concerts notamment à
l’Opéra de Damas. Toujours en 2006, elle est invitée au Festival
d’Assilah puis au Festival de la Madinah à Tunis avant une nouvelle
tournée en France, puis le Festival de Tétouan (mai 2007), celui des
musiques sacrées du monde à Fès (juin 2007) et à nouveau le
Festival d’Assilah (2007).
Le 31 janvier 2008, dans le Salon des Ambassadeurs de l’Alhambra
de Grenade, elle est, avec Curro et Carlos Piñana, la vedette du
concert d’inauguration de “Damas capitale culturelle du monde
arabe”. Elle y interprète, en s’accompagnant au ‘oud, des poèmes de
Wallada et d’Ibn Zaydoun qu’elle a mis en musique. Le concert est
retransmis par plusieurs télévisions du monde arabe. En mars 2008
Waed présente, en création mondiale, à l’Auditorium de l’Opéra
Bastille à Paris, dans le cadre du Festival de l’Imaginaire, des
poèmes chantés de la grande mystique Rabi’a al ’Adawiya,
accompagnée par le joueur de nay Kudsi Erguner, un muezzin
d’Istambul, un joueur de kanoun et un percussionniste. Ce même
concert sera invité à l’Opéra de Damas puis à Soueida (Syrie) en mai
2008 et le 30 juin au Festival de Spoleto (Italie). Depuis la parution
de son premier CD : “La voix de l’amour”, elle a présenté plusieurs
concerts en solo.
Actuellement Waed présente des concerts en solo avec des
participations à des concerts avec d’autres musiciens ou des
ensembles (notamment celui de Jordi Savall avec lequel elle a
enregistré un CD en 2013: Orient Occident II : Hommage à la Syrie).
Katerina Papadopoulou (Grèce) Voix She was born in Athens. Eight years old she entered J.Tsiamoulis
choir where she attended Byzantine music and folk singing lessons
as well as Greek traditional dance. She participated in all the
concerts and recordings of the choir until 1990. At the age of
thirteen she started ud lessons with H.Tsiamoulis.
In 1991 she represented Greece at the world meeting of young artists
(JMF-Jeunesse Musiqual de France), which took place in Paris,
playing ud and singing.
From 1993 to 2001 she worked as an ud teacher at the “experimental
music high school of Pallini. In 1995 she lectured workshops about
the Greek music and musical instruments in high schools and
lyceums of Finland. She has also worked for five years at the “Pireas
music center”, teaching ud and being a member of the “orchestra of
Pireas municipality”. In 2000 she acquired her Byzantine music
diploma after attending lessons with Y.Arvanitis.
She has sung in several music programs broadcasted by Greek
national TV about rebetiko and Greek traditional music. The most
important are: a series for Traditional music called “Lalitades”, and
two series about rebetiko, one called: “In rememberance of beautiful
times”, and another called: “The four famous composers of Piraeus”.
She has participated in several recordings of Greek traditional music
as well as contemporary Greek music.
In 2000 - after archive and personal research – she recorded with
S.Sinopoulos, P.Dimitrakopoulos and V.Karipis a CD with songs
from Meli in A.Minor named: “Ta tragoudakia mou poulo”. The CD
was published in 2002 and was voted from the music magazine
“Echo & artis” as the best CD of Greek traditional music for the year
2002. In May of 2007 she released the cd-single “San
helidoni”(Cantini), singing three songs of Sokratis Sinopoulos. In
the autumn of 2008 she released “Amygdalaki tsakisa”(Music
Corner), an lp with songs from different regions of Greece. In May
2010 together with Hristos Tsiamoulis and Sokratis Sinopoulos they
published “Politiki zygia”(Legend), which was a live recording of a
concert in Utreht in November 2008. In 2013 "Amygdalaki tsakisa"
was published in the United States of America by Golden Horn
Records with the title : "Drawing in an almond".
In the Greek traditional music field she has worked with: D.Samiou,
H.Aidonidis, M.Kaliontzidis, H.Tsiamoulis, “Archive of Greek
music”, “The Melpo Merlier music folklore archive” and others, and
in the contemporary Greek music field with: N.Xidakis,
N.Papazoglou, P.Thalassinos, P.Dourdoubakis, “Orchestra of
colours”, Evanthia Remboutsika and others.
She teaches Greek folk singing in the “Conservatory of Athens
1871”.
Haïg Sarikouyoumdjian Duduk & Belul Born in 1985. He begins the doudouk (Armenian oboe) in the age of
13 years. He makes numerous stays with different masters in
Armenia, where he learnt on one hand the technique of the
instrument, with all his nuances of stamp, and on the other hand the
traditional repertoire with all it subtleties (subtlety of the interval,
the intonations, the ambiguities and the rhythmic multiplicities, the
work of the ornament, the development of the modes).
He collaborated until 2004 with an Armenian traditional set (group),
supervised by Gaguik Mouradian who profoundly marked him by
the approach of the music. He works now on various projects of
which Medjlis, where the Armenian music meets the jazz and the
contemporary music and a duo of traditional music of Armenia. In
2009 he started to collaborate with Jordi Savall and Hespèrion XXI.
With them he has participated in different projects around the world
Moslem Rahal Ney Graduated from the High Institute of Music in Damascus, he is also
a composer and Instrument maker for Ney and Kawala. He performs
as Soloist at the Syrian National Symphony Orchestra and he is a
member in The National Arabic Music Group. Moslme is as a
teacher of ney in the High Institute of Music in Damascus. He has
been the founder and the conductor of the ensembles "Nawa Group"
& “Shams Ensemble Group".
Moslem has participated in the Arabic scientific of Music as
arbitration for developing Nay and also in the international meeting
of Nay solist in 25th Jerash Festival. He have played with the
Philharmonic Orchestra of Qatar for the "Concerto Arab" composed
by Marcel Khalifa" in some very famous venues as the Albert Hall
in UK, La Scala Milan (Italy), the Theatre Champs Elysees in Paris
and in the Opera Kennedy Center in Washington.
His productive musical career has lead him to play around the world
in the most renewed venues visiting Europe and Asia with the Syrian
Symphony Orchestra, the National Group for Arabic Music, and
performing in a lot of Festivals.
As a writer, he wrote the chapter specified for the Ney instrument in
The Musical Dictionary collected by professor Victor Babinco. He
also wrote a manuscript titled "Ney between Making and Playing".
Moslem Rahal has been invited by Maestro Jordi Savall to perform
in his concerts as Ney soloist travelling around the world and he has
been very welcomed by the international press for his performances.
Yurdal Tokcan Oud Yurdal Tokcan is being regarded as one of the finest oud players in
the world today. His style combines older traditions with many new
stylistic innovations, which are also present in his playing of the
fretless guitar. His new compositions combine traditional rich
melodies with polyphonic textures performed on Turkish classical
instruments.
Tokcan is a graduate of Istanbul Technical University’s Turkish
State Conservatory. While completing his master’s program there,
he joined the faculty as an oud instructor. Tokcan continues to teach,
sharing his knowledge, experience, and technique with Turkish and
foreign students.
In 1990, he joined Istanbul State Classical Turkish Music Ensemble
under the artistic direction of Tanburi Necdet Yasar. He is a member
of the Istanbul Fasil Ensemble and the Istanbul Tasavvuf Music
Ensemble, and a founding member of the Istanbul Sazendeleri, a
group dedicated to presenting Turkish instrumental works. Tokcan
has participated in many recordings and has performed
internationally.
As a soloist, Tokcan performed in the Netherlands with the
Amsterdam Percussion Group and Chamber Orchestra in a program
titled European Music Around Oud, and with the Tekfen
Philharmonic Orchestra in Turkey, the United Kingdom, France,
Germany and Belgium. Tokcan joined Burhan Ocal (percussion),
Goksel Baktagir (kanun), Selim Guler (kemence), and Arif Erdebil
(ney) in concert, the recording of which won the 1998 “Best Ethnic
Album” in France. Tokcan has played in many of ney virtuoso Kudsi
Erguner’s ensembles, both in Turkey and abroad. He performed in
Israel with Group Baharat and with long time collaborator, kanun
player Goksel Baktagir. Recently, Tokcan has been recording and
performing with Israeli Ladino artist Hadass Pal Yarden. His work
can also be heard on Bende Can, an album of his original
compositions.
Tokcan represented Turkey in several international festivals and
celebrations, including the 3rd International Oud and Lavta Festival
in Dresden, Germany and the 2002 International Oud Meeting in
Thessaloniki, Greece (along with oud players Ara Dinkjian, Simon
Shaheen, Haig Yazdjian, and Omar Bashir). In 2003, he performed
at the Oud Festival in Jordan, at the Arabic Music Festival at the
Cairo Opera Hall, and Turkish Year in Japan. Tokcan performed in
Jerusalem in a pan-Mediterranean
Hakan Güngör Kanun He was born in Ankara at 1973. He received his first music lessons
from his father, oud player Ali Osman Güngör and his first Kanun
lessons from Ozhan Kayhan. At 1990 initially, he studied at the
music department of Gazi University and then at 1992, he passed
to Composition Department of ITU Turkish Music Conservatory.
During six years, he followed the courses of named musicians and
professors such as Yavuz Ozustun, Nail Yavuzoglu, Emin Sabitoglu,
Mutlu Torun, Selahattin Icli, Ruhi Ayangil, Erol Deran about
solfege, composition, harmony and counterpoint, technics of Kanun,
European classical music and Turkish classical music. His melodic
style, his rich sound as well as, the clearness and tenderness of his
Mezrab (plectrum) make him very unique. He is considered a
virtuoso of this instrument.
Since the 1993 he collaborated with world famous musicians such
as; KUDSI ERGUNER, JORDi SAVALL, YOYOMA, RENAUD
GARCIA-FONS, FAZIL SAY, OKAY TEMIZ. He has participated
in their concerts and played in their CDs made in Europe and Turkey.
Beside giving concerts, he is a teaching specialist at Halic University
and he works at Istanbul Radio House as a Kanun player. He also
produces and presents the famous show MUZIK DEYINCE at TRT
Music Channel.
Dimitri Psonis Santur & Moresca Dimitri Psonis débute à Athènes, sa ville natale, ses études d’analyse
musicale, harmonie, contrepoint, musique byzantine et instruments
populaires grecs. Il les poursuit à Madrid, où il obtient le titre le plus
élevé pour la percussion et la pédagogie musicale au Conservatorio
Superior de Música, de marimba avec Robert Van Sice et Peter
Prommel, et de musique contemporaine avec Iannis Xenakis. Il
collabore avec de nombreux orchestres en Espagne. Il a fondé les
ensembles de percussion Krustá, Aula del Conservatorio de Madrid,
P’An-Ku et Trío de Marimbas Acroma.
Il a collaboré avec plusieurs troupes de théâtre et a réalisé des
enregistrements pour RNE et TVE et enregistré la bande sonore de
divers films.
Il travaille avec de nombreux ensembles de musique ancienne :
Hespèrion XXI, Le Concert des Nations, Sema, Speculum, Orchestre
Baroque de Limoges.
Il donne des cours de percussion et de pédagogie dans différentes
écoles de musique et conservatoires, ainsi que des conférences sur la
musique orientale.
Récemment, il s’est consacré à l’interprétation de la musique
classique ottomane et de la musique populaire de Grèce et de
Turquie, ainsi qu’à ses instruments : santur et tar iraniens, saz et oud
turcs, santuri et lauto grecs et tous les instruments à percussion de
ces régions. Il a fondé l’ensemble Metamorfósis puis Misrab, avec
Pedro Estevan et Ross Daly.
Pedro Estevan Percussion Pedro Estevan began to study percussion at Madrid’s Conservatory
of Music, moving subsequently to Aix-en Provence to study
contemporary percussion with Sylvio Gualda and African percussion
with the Senegalese teacher Doudou Ndiaye Rose. He has also
studied tambourine technique with Glen Velez.
A founding member of The Percussion Group of Madrid, he has
worked with many important national and international musical
formations such as the National Orchestra of Spain, Radio
Television of Spain, Madrid Symphony Orchestra, Gulbenkian of
Lisbon, Orchestra of the 18th Century directed by Frans Brüggen
and with the groups: Koan, Sacqueboutiers de Toulouse, Paul
Winter Consort, Camerata Iberia, Anleut Música, Ensemble La
Romanesca, Accentus, Sinfonye, La Real Cámara and Ensemble
Baroque de Limoges.
An eclectic musician, he feels a special commitment to early music -
Hespèrion XXI, Le Concert des Nations, Ensemble La Romanesca,
The Harp Consort and SEMA- and to contemporary music -
Rarafonâa, Grupo Círculo, Orquesta de las Nubes and PAN-KU
Percusión.
As a concert soloist he has performed with the Orquesta de Cámara
Nacional de España and with the Orquesta Reina Sofía, participating
in highly prestigious festivals and in numerous programmes of
contemporary music with sessions exclusively featuring percussion.
He has taken part in various productions for radios and televisions in
Spain, United Kingdom, Norway, USA, Canada, Japan and Australia
and he has participated in more than one hundred cds, with special
mention to: «Nocturnos y Alevosias» and «El aroma del Tiempo».
He took part in the Paul Winter cd which received a Grammy on
1993.
He also teaches Historic Percurssion at the ESMUC (The Superior
Music School of Catalonia).
JORDI SAVALL
For more than fifty years, Jordi Savall, one of the most versatile
musical personalities of his generation, has rescued musical gems
from the obscurity of neglect and oblivion and given them back for
all to enjoy. A tireless researcher into early music, he interprets and
performs the repertory both as a gambist and a conductor. His
activities as a concert performer, teacher, researcher and creator of
new musical and cultural projects have made him a leading figure in
the reappraisal of historical music. Together with Montserrat
Figueras, he founded the ensembles Hespèrion XXI (1974), La
Capella Reial de Catalunya (1987) and Le Concert des Nations
(1989), with whom he explores and creates a world of emotion and
beauty shared with millions of early music enthusiasts around the
world.
Savall has recorded and released more than 230 discs covering the
Medieval, Renaissance, Baroque and Classical music repertories,
with a special focus on the Hispanic and Mediterranean musical
heritage, receiving many awards and distinctions such as the Midem
Classical Award, the International Classical Music Award and the
Grammy Award. His concert programmes have made music an
instrument of mediation to achieve understanding and peace between
different and sometimes warring peoples and cultures. Accordingly,
guest artists appearing with his ensembles include Arab, Israeli,
Turkish, Greek, Armenian, Afghan, Mexican and North American
musicians. In 2008 Jordi Savall was appointed European Union
Ambassador for intercultural dialogue and, together with Montserrat
Figueras, was named “Artist for Peace” under the UNESCO “Good
Will Ambassadors” programme.
Jordi Savall’s prolific musical career has brought him the highest
national and international distinctions, including honorary doctorates
from the Universities of Evora (Portugal), Barcelona (Catalonia),
Louvain (Belgium) and Basel (Switzerland), the order of Chevalier
de la Légion d’Honneur (France), the Praetorius Music Prize
awarded by the Ministry of Culture and Science of Lower Saxony,
the Gold Medal of the Generalitat of Catalonia and the prestigious
Léonie Sonning Prize, which is considered the Nobel prize of the
music world. “Jordi Savall testifies to a common cultural inheritance
of infinite variety. He is a man for our time” (The Guardian, 2011).