Michael Manneback

Born in Belgium, settled in Mauritius for several years, I spent 13 years in event management and audiovisual production at Impact Production Group. Lighting, video, drone, editing – I learned to tell stories with images. Today I tell stories with words.

I launched Agence Narria to help French-speaking coaches and entrepreneurs develop their online visibility without spending their evenings on it. I create Google-optimized SEO articles, LinkedIn posts that generate engagement, and newsletters that build customer loyalty – all delivered in 48 hours, personalized to your voice and ready to publish.

My approach is simple: you talk to me about your business, your clients, what makes you different. I transform that into professional content that works for you 24/7. No generic text, no copy-pasting, your expertise at the center, my writing at your service.

The first time I placed my hands on this steel dome, I felt like I was touching something ancient, something that existed before words. Two half-spheres welded together, a few carefully tuned notes around a central "ding," and yet... a sonic depth that defies understanding.

What fascinates me deeply is that the handpan does not tolerate haste. It forces you to slow down. When you strike too hard, too fast, too ego-driven – it closes off, it sounds hollow. But when you approach it with gentleness, with listening, with a form of humility... it opens up like a flower and reveals layered harmonics that seem to come from another world.

I often play outdoors. Under a tree, near the water. Because the handpan is an instrument that belongs to open spaces, to wide skies. Its resonances blend with the wind, with the silence between two notes, with that emptiness that is never truly empty.

What I also love is the community that revolves around this instrument. The handpan was born in 2000 in Bern, Switzerland, at the hands of Felix Rohner and Sabina Schärer – and in just two decades, it has brought together thousands of players around the world, united by the same quest: to find in sound something that resembles peace.

Every event begins long before the first guests arrive. It begins in the mind, on a plan, in a conversation where someone says: "I want people to experience something unforgettable." That's where I come in.

My job is to transform empty spaces into complete universes. The installation of event structures – reception tents, modular free shapes, custom frameworks – is the ephemeral architecture of the celebration. Every taut canvas, every placed beam is a decision that conditions the entire atmosphere. A well-designed space is already half the emotion.

Light, on the other hand, is my favorite language. Directing light for a corporate event, a private gala, or a brand launch is telling a story without uttering a single word. A well-placed spotlight, a wash of color that matches a client's visual identity, a play of backlighting that sculpts a scene – all of this is conceived, programmed, anticipated. Light does not lie: it reveals or it hides, and I decide.

Video production adds an extra dimension. Large-format projections, high-resolution LED screens, live capture and real-time editing – event video is now essential. It amplifies, it documents, it transforms a speech into a show and a moment into a memory.

And then there is the sky. Piloting drones for aerial shots is offering a perspective that no one in the room can see – but that everyone will feel. A flyover at sunset, a sequence shot over a jubilant crowd: these images have a rare emotional power.

Four disciplines. A single objective: to make the event exceed the expectations of those who dreamed it.