Posts Tagged ‘angry monk’




Luc Schaedler | go between films
CH 2005 | 97 | EN, DE, FR, Tib

«Angry Monk»: Tibet — the mystical roof of the world, peopled with enlightened monks? Only one of them wouldn’t toe the line: Gendun Choephel, the errant monk who left the monastic life in 1934 in search of a new challenge. A free spirit and multifaceted individual, he was far ahead of his time and has since become a seminal figure, a symbol of hope for a free Tibet. A rebel and voluble critic of the establishment, Gendun Choephel kindled the anger of the Tibetan authorities.

The cinematic journey through time portrays the life of this unorthodox monk, revealing a face of old Tibet that goes against popular clichés. The film makes an abundance of unique and rare historical footage available to the general public for the first time.

But it does not dwell on the past; rather it skilfully oscillates between tradition and modernity. Archival images of ancient caravans and monasteries give way to scenes of discos and multi-lane highways in Lhasa, where pilgrims pros- trate themselves as they circle the holy temple. ANGRY MONK offers a fascinating insight into a country whose eventful past is refracted in the multiplicity and contradictions of everyday life.

Ultimately, the documentary «Angry Monk» also tells the story of a man who left home to search for something that could have liberated traditional Tibet from its rigidity. An outsider who was always open to new things, he eventually became a stranger in his homeland and homeless in foreign lands — a wanderer between worlds.

(The documentary «Angry Monk» was also the main part of my Ph.D. in Visual Anthropology at the University of Zurich)

→ Ph.D.: ANGRY MONK: Literary, Historical, and Oral Sources for a Documentary Film (2007)

→ Gendun Choephel Conference at the Latse Library, New York


→ AM: Statement director
→ AM: Interview director
→ AM: Bio of Gendun Choephel
→ AM: Texts of Gendun Choephel
→ AM: Downloads
(photos & presskit)


Angry Monk (2005) link to Vimeo On Demand

→ click here  

PLAYLIST (9 Clips):

Unpublished scenes from Angry Monk

→ FESTIVALS (selection)

    – Sundance, Nomination Grand Jury Award
    – Busan (Competition)
    – Vancouver (Competition)
    – Montréal, Festival Nouveau Cinema (Competition)
    – München DOK.fest (Competition)
    – Melbourne (Competition)
    – Auckland (Competition)
    – Solothurner Filmtage official selection


    → Film Review – San Francisco Chronicle
    → Film Review – Indiewire
    → Film Review – Phayul
    → More on Gendun Choephel
    → Swiss Films Promotion Agency

    Poster of Angry Monk (2005) link to Vimeo On Demand

    go between films


    Film Production

    → A short portrait of «go between films» and the filmography of the film production company ←


    go-be•tween |gō biˈtwēn|

    go between films is engaged in making documentaries for cinematic and TV release to historical, social and political topics with a strong focus on cross-cultural dialogue. It aims to produce both artistically and intellectually challenging films.

    go between films defines itself at the interface of film and science. In addition to mentoring students in documentary filmmaking, go between films is engaged in research projects in the field of visual anthropology.

    go between films was founded by Luc Schaedler in 2009. In 2010 he was joined by scriptwriter and scriptconsultant Josy Meier.


    2020 • TRACES OF HOPE
    Producer, writer, director
    Documentary, 75 mins.
    In development | project start: Fall 2020

    2018 • A LONG WAY HOME
    Producer, writer, director, camera
    Documentary, 75 mins.
    Nomination for Swiss Film Award 2018

    2013 • WATERMARKS
    Producer, writer, director, camera
    Documentary, 80 mins.
    Invitation to Semaine de la critique (Locarno)

    2005 • ANGRY MONK
    Producer, writer, director
    Documentary, 97 mins.
    Invitation to Sundance (competition), nomination for the “Grand Jury Prize”.

    1997 • MADE IN HONG KONG
    Producer, writer, director, camera
    Documentary, 75 mins.
    Invitation to Leipzig (competition), Study Award 1997 (BAK)

    2011 · NAGA IDENTITIES (draft)
    Director, Camera

    Ethno-Documentary, 60 mins.

    2007 · BURIAL RITES

    TV-Documentary, Sternstunde, 30 mins.
    Directors: Mehdi Sahebi, Aya Domenig




    go between films – contact


    Vimeo Logo       Link to YouTube Channel

    Luc Schaedler


    Filmmaker &

    A short biography and a link to an interview about his films and independent film productions

    Luc Schaedler | *1963 in Zurich, Switzerland
    – Independent Swiss filmmaker and producer
    – Founder of the film production company «go between films»
    – Director and producer of «A Long Way Home» (2018); «Watermarks» (2013); «Angry Monk» (2005) and «Made in Hong Kong» (1997)
    – Invitations to international film festivals (selection): Sundance; Busan; Leipzig; Montreal; Locarno; Munich; Tel Aviv

    – 1985-2002 collaboration as program coordinator, film projectionist and barkeeper in the Off-Cinema Xenix in Zurich
    – 1988-92 travelled and worked in Asia | Barkeeper in Hong Kong and Tokyo
    – 1994-97 studied Visual Anthropology at the University of Zurich
    – Graduated with two documentary features: «Made in Hong Kong» (Master thesis, 1998) and «Angry Monk» (Ph.D. thesis, 2005)
    – 1998-2001 collaboration in setting up the children’s film club «Magic Lantern» in Zurich
    – Since 2001 various teaching positions in Visual Anthropology and documentary filmmaking at the Universities in Zurich, Bern and Fribourg
    – From 2006-08 head of the department of Visual Anthropology at the Anthropological Museum of Zurich University

    → INTERVIEW with Luc Schaedler about his films (04:30)

    → FILMOGRAPHY of Luc Schaedler

    → Luc Schaedler’s thoughts on films about Tibet
    (German only)


    → go between films – contact

    → Luc Schaedler – email


    Vimeo Logo       Link to YouTube Channel


    Luc Schaedler Filmemacher und Produzent von go between films, schweiz




    Visual Anthropology-Publications


    A (very) short introduction

    Visual Anthropology is a discipline of practice and theory. As a subfield of Cultural Anthropology it is concerned with the production of ethnographic images and the analysis of visual representations as well as its relationship to other fields of society and culture. Since his Master- and Ph.D thesis Luc Schaedler of «go between films» is involved in Visual Anthropology, both as part of his teaching at Universities and film schools, and as deep influence for his documentary films.

    «The relationship between verbal and visual forms of expression in the field of ethnography (science) are manyfold. How they be mixed, can not be categorically decided. Each situation needs its own assesment and an experimental attitude towards both. Which dosis may be prescribed, is solely a question of art.» MICHAEL OPPITZ

    → Article on «Visual Anthropology» at the University of Zurich, Switzerland
    (German only)

    → University of Zurich: Visual Anthropology
    (German only)


    Binoculars 1930 WS

    The reversal of the gaze, Eastern Tibet 1930’s


    Publications of Luc Schaedler

    Below you will find my Master thesis (Lizentiat), my Ph.D. thesis as well as a short selection of articles on documentary film theory, Buddhism & film and Tibet.

    ↓ The little differences: cross-cultural exchange in filmschools (2011)

    ↓ Über die Wissenschaftlichkeit von Dokumentarfilmen (2009)

    ↓ Ph.D.: ANGRY MONK: Literary, Historical, and Oral Sources for a Documentary Film (2007)

    ↓ Master: Arbeitsbericht zur Entstehung von MADE IN HONG KONG (1998)

    ↓ Westliche Okkupation und östliche Selbstreflexion: Buddhismus im Spielfilm (2002)

    ↓ Tibet: Ein Projektionsfeld Westlicher Phantasien (1994)


    A scientific discourse: Critical discussion of the documentary film ANGRY MONK as a hybrid between the arts and science.

    ↓ American Anthropologist (2010) – Angry Monk: Reflections on Tibet

    ↓ History & Anthropology (2008) – A critical review of «Angry Monk»

    ↓ Visual Anthropology (2008) – A critical review of «Angry Monk»

    IIAS Newsletter (2008) – Rebel with a cause: debunking the mythical & mystical Tibet

    ↓ AEMS Review (2008) – A critical review of «Angry Monk»

    ↓ Himal Southasian (2006) – The new reasoning of Gendun Choephel

    ↓ Revue de l’Inde (2006) – Réflexions sur le Tibet


    Here you will find a large collection of ethnographic films ↓

    DER web logo for light background



    go between films

    go between films gmbh
    luc schaedler
    Tellstrasse 3
    8004 Zurich

    EMAIL (→ Luc Schaedler)

    Streetmap (→ office)

    From the universe to Tellstrasse 3, Zurich



    Portrait of Luc Schaedler, go between films, switzerland

    Luc Schaedler – Nomination Swiss Film Award (2018)


    AM – Statement Director


    Angry Monk

    The idea for the film “Angry Monk — Reflections on Tibet” originated during several trips to China, Tibet and India between 1988 and 1999. Without being aware of it, I travelled to the same places that the protagonist of the movie visited 50 years before. Since 1988 I have been studying the country of Tibet and how the western world perceives it. And I repeatedly came across the name of Gendun Choephel.

    Gendun Choephel (1903-51) was a wanderer between worlds — at once a dreamer, a rebel and a researcher. He lived in a time that was decisive for the future of his country, between the British colonial invasion of 1903 and the occupation by the Chinese army in 1951. At that time Tibet wasn’t the inaccessible Shangri-La that people often claim, but a torn country on the verge of big changes. Tibet’s attempts to introduce a new social structure and to find its own way into the twentieth century failed because of the resistance of the conservative nobility and the monasteries.

    As Tibet moved towards isolation, Gendun Choephel was open to new experiences. We can trace his path through his writings, articles, pictures and sketches. He looked at his own society in a critical way, was interested in political issues and tried to apply them to everyday life; he was, therefore, the initiator of critical and intellectual thought within Tibetan society.

    During his last years, Gendun Choephel became a role model for many young Tibetans in Chinese-occupied Tibet and also for those in exile in India. While their parents lost Tibet, the younger generation looked for role models that would allow a critical view of their own society. But the western world only slowly became aware of Choephel because his life story doesn’t mesh with our rigid image of Tibet, which prefers to portray Tibetans as victims rather than the makers of their own history.

    Luc Schaedler

    AM – Interview Director


    Angry Monk


    Why did you chose the title “Angry Monk”?
    A monk is not supposed to be angry. The title is thus contradictory and provocative and that’s intentional; this contradiction is part of what the movie is about. The way the West sees Tibet has more to do with our own projections than with reality. Interestingly, in German and English there is a note of irony in the title which gets completely lost in the Tibetan translation. I found out that the title cannot really be translated into Tibetan. Apparently the combination of «angry» and «monk» is not planned…

    What made you make a film about Tibet?
    I travelled a lot in Asia and I often passed through Tibet. I first went to Tibet in 1989, shortly after the Tiananmen massacre in Bejing – during the time of the Lhasa uprisings. I also worked on Tibetan issues during my anthropology studies at university. A part of me is always on the road, seeking an encounter with all things foreign. My film is surely also the result of this personal interest, a way to give it a shape. But it also has purpose to actively participate in a specific discourse, the discussion that the West had long been having about Tibet.

    If we go back briefly to your travels: the film is structured like a journey. Did you plan that from the beginning or did it turn out that way during the editing?
    It was the idea from the beginning. Somehow that’s the point of the whole story. Because in a broader sense the whole life of Gendun Choephel, the central figure, was a journey. A journey from the border provinces to the city of Lhasa. From there he went abroad and came back again. Apart from this outer journey, there was the inner journey of a man who, agile-minded as he was, always remained «on the road». And furthermore, as already mentioned, the film is structured like that because I got to know Tibet as a traveller, too. Finally, a last aspect, the film is a dialogue with the past which is also a kind of travelling, time-travelling so to speak: the film moves back and forth between present and past that mirror each other…

    … at present the Chinese have the say. Was it difficult to get a permit to film?
    I was aware from the beginning that the authorities would have informants and therefore always knew what was going on. Thus, shooting secretly and getting an official permit for a bigger project were out of question. For that reason I had the idea to work with a small and unobtrusive team; actually, just the cameraman Filip Zumbrunn and me. We behaved like tourists, like teachers who wanted to show the video material to their students back home. Partly we were shooting the usual stuff: markets, monasteries, like all tourists do… (smiling), but we were really lucky, too; if we had been searched at some point and they would have found all the many videocassettes, who knows… But even if the film is critical of China, I clearly never meant to make a film against China. What I am interested in is the inner dynamics of Tibet and in this regard China is just one of the factors. After all I’m critical of Tibetan culture as well.

    What do you mean by that?
    First of all, I’m very critical of the one-sided way the West looks at Tibet: as a spiritual refuge, an inspiration for the mind… some managers even go to Buddhist monasteries to prepare for the next round of globalization debates. A lot of damage is done by reducing Tibet to a peace-loving pseudo-paradise, perceiving it as «Shangri-la» with all the Tibetans having a spiritual message ready for us. I believe this harms the struggle for Tibetan indepence. Furthermore, I find the romanticizing of the past rather problematic, though Tibet gets idealized not only in the West but by Tibetans as well. For instance, hardly 5% of the people controlled the whole country and the mingling of religion and politics developed into an unholy alliance of the aristocracy and the monastic establishment. This prevented necessary reforms and a policy of openness. Such things are often forgotten. Gendun Choephel and many others as well, such as the predecessor of the present Dalai Lama, were open for change but they failed time and again with their ideas because of the opposition of conservative forces who of course defend their privileges.

    Is this critical attitude intended to set your film off against other documentaries on Tibet?
    Yes, of course. There are so many films full of admiration for the monasteries, for the lamaism and also for the nomadic society which has been celebrated as a remnant of an age-old, intact culture. Similarly, I dislike political reports that make us believe that Tibet is a destroyed culture and that any resistance against the Chinese is defeated or futile in the end. But the situation is more complex and indeed a paradox: on the one hand so much has been destroyed since the invasion in 1950, especially during the cultural revolution it was done with meticulous precision. On the other hand, the Tibetans prove every day that there is a life under the Chinese. They have preserved their culture and language, they have kept alive more than one thinks. For instance, many of Gendun Choephel’s writings and paintings featured in my film, have been preserved in Tibet. In this sense Gendun Choephel becomes part of this «survival». What I mean to say is that the Tibetans shouldn’t be perceived just as victims but as a people who have managed very cleverly to resist the Chinese and who will go on showing their subversive spirit. I never intended to make a purely biographical film on Gendun Choephel, but he serves as a key to the understanding of the history and the complex present of Tibet. Choephel was a man with many sides who had fought for change and at the same time remained a Buddhist all his life. He never turned his back to his own culture. I deliberately chose to have only Tibetans speak about Gendun Choephel in my film: old people who knew him and other Tibetans of a later generation. At the end I cut out all the Western scholars and Tibet experts whom I had interviewed as well…

    … and the Dalai Lama never got a chance to speak either…
    I did this on purpose. Probably it would have been easy enough to get an interview with him. But I didn’t want his presence to dominate the film and the other interview partners to be pushed to the background. No matter what he would have said about Gendun Choephel, it would have been a confirmation for many that the film is justified. I didn’t want that, I didn’t want to have this «offical stamp». In my view it is very important that there is a parallel discussion on Tibet which doesn’t rely exclusively on the voice of the Dalai Lama.

    Interview by Till Brockmann, June 8, 2005

    AM – Bio Gendun Choephel


    Angry Monk


    Childhood in Eastern Tibet (1903-1927)
    Gendun Choephel was born 1903 in a small village in eastern Tibet, near the silk road, at the Chinese border, in a remote region populated by nomads. This region was inhabited by Muslims, Chinese and Tibetans that were constantly fighting each other. The villages often were attacked and looted by warlords. In this explosive and mixed cultural climate Gendun Choephel started to be interested in his Tibetan identity early on. He received a traditional education as a monk in the most important monastery of the region, where he developped a friendship with an American missionary that the other monks and his family resented. In 1927 he left the monastery and moved to Lhasa with a caravan of merchants.

    Monastery education in Lhasa (1927-34)
    In Lhasa Gendun Choephel studied in Drepung, the biggest monastery in the world. His rebellious attempts to bypass the monastery’s rules annoyed the other monks. Ultimately, monastic life suffocated him too much in Lhasa as well and he left the monastery. Afterwards he survived as a portrait painter and artist for rich aristocrats in Lhasa. In 1934 he met Rahul Sankrityayan, an Indian researcher of Buddhist teachings who also was a communist activist for the Indian struggle for independence from British colonialists.

    Journey across Tibet (1934-1938)
    Rahul Sankrityayan and Gendun Choephel travelled together across Tibet searching for old texts that were destroyed in India centuries earlier but had survived in remote monasteries in Tibet. For Rahul, historical research is part of his political fight; for him researching history is the key to the present. Gendun Choephel was Rahuls translator as well as his mediator for Tibetan culture. At the same time the fascinating stories about India awoke his curiosity.

    Journey across India (1938-1946)
    In India, Gendun Choephel was confronted with a foreign world. For the first time he saw a railway and other technological achievements. India was then undergoing radical changes and, contrary to Tibet, the Indians took their destiny into their own hands. The fight for independece was at its peak. Gendun Choephel’s view of his own culture started to change; in India he experienced the most creative phase of his life. He travelled across the country as a Buddhist pilgrim, lived in the crowded city of Calcutta, saw the ocean, visited brothels and libraries, wrote his first newspaper articles and translated the Kamasutra in Tibetan, enriching it with his own experiences. He sent many of his writings, notes and sketches back to Tibet in order to convey his impressions of a foreign world.

    Return to Tibet (1946-51)
    In 1946 Gendun Choephel returned to Tibet passing through the Indian-Tibetan border town of Kalimpong which, next to British and Chinese agents, was a nest of radical Tibetans who fell out of grace with Lhasa’s government. In 1939 they founded the Tibetan Revolutionary Party. Choephel got acquainted with the party and designed their logo: a sickle crossed by a sword. The Tibetan Revolutionary Party’s goal was to overthrow the tyrannical regime in Lhasa. When Gendun Choephels arrived in Lhasa the Tibetan government was already informed about his political activities. He began to write the political history of Tibet but this attempt was abruptly stopped by his arrest. He was accused of insurrection and thrown in jail for three years. In 1949 he was freed. But his heart was broken and he drowned his desperation in alcohol. Soon afterwards the Chinese army overran the Tibetan troops in eastern Tibet and, in 1951, shortly after the occupation of Lhasa by the Chinese army, Gendun Choephel died. Supposedly he commented on the political events of his era in this way: “Now we are in deep shit!.”

    AM – Poems Gendun Choephel


    Angry Monk


    On British colonialism, Calcutta 1941
    «Sponsored by kings and ministers the colonialists sent out a great army of bandits, calling them traders. They introduced new forms of living, but their laws were only good for the educated and wealthy. As for the poor, their small livelihoods are sucked like blood from all their orifices. It is in this way that the so-called wonders of the world were built, such as railroads and high buildings. I am an astute beggar, who spent his life listening. I know what I’m talking about.»

    Poem, Tibet 1946
    «In Tibet, everything that is old
    Is a work of Buddha
    And everything that is new
    Is a work of the Devil
    This is the sad tradition of our country»

    Article, Tibet Mirror Press, Kalimpong, 1938
    «In olden days, even in Europe, the world was thought to be flat. And when some intelligent people claimed the opposite, they were exposed to various difficulties, such as being burnt alive. Today, even in Buddhist countries everybody knows, that the world is round. However in Tibet, we still stubbornly state that the world is flat.»

    Foreword to Kamasutra translation, Calcutta 1939
    «As for me — I have little shame I love women. Every man has a woman. Every woman has a man. Both in their mind desire sexual union. What chance is the for clean behaviour? If natural passions are openly banned, unnatural passions will grow in secrecy. No law of religion — no law of morality can supress the natural passion of mankind.»


    AM – Downloads


    Angry Monk


    ↓ PRESSKIT (english)
    ↓ PRESSEHEFT (deutsch)

    ↓ DOSSIER DE PRESSE (français)

    Click on image → Image opens in browser →

    Choose “Save as” → Select download location →


    Novices, Yama Tashi Kyil





    monk radio

    Monk, Yama Tashi Kyil





    on the road

    On the Road, Tibet





    monk close

    Monk, Yama Tashi Kyil





    hindu soap

    Hindu Pilgrim, Varanasi, Indien






    Filip Zumbrunn, DoP







    Luc Schaedler, Director




    Luc Schaedler of go between films postions himself at the interface of film and science. Since 1996 he is engaged in projects that do scientific research with visual means.

    Made in Hong Kong (1996/98)
    A visual research project in the fields of urban anthropology, migration and oral history. The documentary film (75 mins.) is accompanied by a written text, that critically discusses the making of the film and the working process in the form of a handbook for students (3). It was the first film to be accepted as the main part of a MA at the University of Zurich.
    → To the film «Made in Hong Kong»
    → «Made in Hong Kong» – A Handbook for Students (3)

    Angry Monk – Reflections on Tibet (2002/07)
    This visual research into Tibetan history and the biography of the radical monk Gendun Choephel had been designed as a bastard between art and science from the very beginning. The documentary film (90 mins.) is accompanied by a written thesis (2) critically discussing and contextualizing the research materials. It was the first film to be accepted as the main part of a Ph.D at the University of Zurich.

    → To the film «Angry Monk»
    → «Angry Monk» – a scientific discourse

    Naga Identities (2009/12)
    The twelve hours of footage were shot in March 2009 as part of a large research project on
    Naga culture in India’s Northeastern border regions. Other products of the same research were the exhibtion “Naga: Ornaments and Ashes”, as well as the publication “Naga Identities: Changing Local Cultures in the Northeast of India”. It contains a collection of articles by various authors spanning an enlightening ark from the warring past, to an equally problematic present, to a very uncertain future. → to the project «Naga Identities»

    Digitalising of the film Shamans of the Blind Country (2007/08)
    Historical footage is mostly analog, the cinema of tomorrow digital: with color corrections, adaptions of the sound tracks as well as the reconstruction of the original order of the sequences Michael Oppitz’ ethnographic classic from 1978 was brought into the digital age. With Thomas Bochet.

    Poster of Made in Hong Kong

    Poster/flyer of “Made in Hong Kong”, 1997





    Luc Schaedler of go between films works as freelance lecturer since 2001. In addition to workshops and lectures at international universities – among them Vancouver, New York, Vienna and Berlin – he is regularly teaching and mentoring at Zurich University and the University of the Arts (film department). His emphasis lies in the fields of documentary filmmaking (theory and practice), cultural anthropology, with a special focus on visual anthropology, as well as Tibet (history and Buddhism).

    Most recently (2013) two seminars at the Institute of Social Anthropology at the University of Berne (Switzerland): Introduction to Visual Anthropology (The Classics of Ethnographic Filmmaking) and The Ethnographic Interview (Theory and Exercise).

    2009/10 Luc Schaedler has been involved in the Triangle Project, a cross-cultural exchange workshop between the film departments of the University of the Arts (Zurich), the Dramatiska Institutet (Stockholm) and the Theatre Academy of Shanghai.

    My paper ↓ The little differences about the workshop can be downloaded from here.

    A film by Yun Long Song
    (CH 2011, 10 Min., English)



    In his position as lecturer at the University of Zurich, Luc Schaedler has been mentoring the visual degrees (MA) of the students in the department of Visual Anthropolgy since 2006. The mentoring included the critical discussion of each proposal, productional and technical support as well as support during the editing, postproduction and promotion of the films. Luc Schaedler also initiated a colloquium for anthropology students in which they present and discuss their visual projects in different stages of the making (ongoing).

    The films were screened at the ethnographic student film festival Regard Bleu in Zurich and/or were invited to the Solothurner Filmtage in Switzerland (2007-2010):

    Promised Land (Balz Alter, CH 2010, 35 mins., MA, UniBa) • Chokora – Surviving on the Street (Lea Furrer, CH 2010, 50 mins., MA, UZH) • Arranged Love (Sarah Bregy, CH 2010, MA, UZH) • Por Amor (Isabelle Stüssi, CH 2009, 68 mins., MA, UZH) • Life in Bubbles (Nadine Lüchinger, CH 2009, 50 Min., Lizentiat, UZH) • Put Mira (Gian-Reto Gredig, CH 2008, 87 mins. MA, UZH) • The Cave of Justin (Mélanie Pitteloud, CH 2008, 52 mins., MA, UZH) • In A Whiteman’s Kontry (Balz Arter, CH 2008, 25 Min., Seminar, UniBa) • The Achuar (Elsner/Bissegger, CH 2008, 52 Min., MA, UZH) • Shanghai Manners (Claudia Jucker, CH 2007, 19 mins., Diploma, HSLU)

    In A Whiteman’s Kontry – German
    (Balz Alter, CH 2008)

    Chokora – Surviving on the Street (Filmstill)
    (Lea Furrer, CH 2010)

    Chokora WS

    Filmstill from “Chokora”, Kenya 2009