Asian Ambiance: Madhav Agerwal's Sirens for Silence & Sarojini Lewis with Razia

Asian Ambiance
An evening of gentle contrast that highlights change, and ways of dealing with legacy. Atmospheric music and intriguing investigations are in store!

acts;
Sirens for Silence is an ensemble currently based in India, creating meditative experiences for listeners in improvised settings using introspective sound and movement. Our journey has led us to pose some essential questions: If words were stripped away, what truths would we wish to convey? What drives that desire to express and how can we express it?
The concert lasts around 45-60 minutes and is unconventional with the intention of creating a surreal, dream-like atmosphere, yet being deeply rooted in an almost devotional presence.
with:
Madhav Agarwal is a musician, composer and producer currently based in Mumbai, India and has trained in North Indian Classical singing since the age of 4 (Prayag Sangit Samiti, Allahabad). He moved to the Netherlands in 2013 to pursue an education in Music Production / Sound Engineering (Art of Sound, Royal Conservatory of The Hague, Netherlands). His music is a mixture of the traditional and the avant-garde, his sound is described as strong and cinematic. He is also well versed with sound manipulation and design, and uses analog electronics and live processing to create a rich textured world of sound for the audience to immerse themselves in.
https://www.youtube.com/watch?v=lgNQnwXwloM
Tamara Kazziha is an Egyptian-Scottish violinist and singer. She has studied Western Classical and Scottish/Irish violin at the Royal Conservatoire in Glasgow, and has traveled extensively through Europe, Africa and Asia, collaborating and sharing music along her travels.
She uses her lived experience to create a deep, multi-faceted, womb-space of sound. Inspired by her own ongoing transmutational journey and background in Psychology, she is interested in offering a sense of belonging and care to those who are dealing with grief and have her music serve as a wake up call to reconnect with spirit, to feel what wants to be felt.
Felician Erlenburg is an Austrian saxophonist and multi-instrumentalist. Felician has been active as a performer and composer in Austria and the Netherlands. He received his education from Berklee College of Music, the National Conservatoire of Paris and the Conservatoire in The Hague. His most recent projects are the songwriting project What Is A Human and the experimental trio Zero Happy Campers. Felician also explores various somatic and philosophical disciplines in relation to sound, although aiming to place the human experience center stage.

Trespassing the Blind Site, Sarojini Lewis & Razia Barsatie
In Trespassing the Blind Site, Sarojini Lewis develops a dreamlike narrative with Razia Barsatie, together they use a series of performative gestures to unfold fragments of memory, movement, and voice, inviting the audience into an intimate, layered experience. Sarojini Lewis and Razia Barsatie share an Indo-Caribbean background and explore themes of migration, intergenerational silence, and women’s identity. Their collaboration is ongoing for five years, in dialogue they share materials that come from their culture like turmeric, blue pigments and autobiographical texts on these experiences.
They use these texts in the shape of a ritual in written form and spoken word to point to fragments of dreams and the emotion of guilt that remains invisible. Rather than constructing a linear narrative,the work unfolds through a sequence of gestures in which responsibility, loss, and self-determination intersect. The performance does not seek redemption; it remains present through the residues it leaves behind.

Sarojini Lewis is of mixed Asian-and Surinamese descent and works as an artist and researcher based in the Netherlands, with a background in fine arts and visual studies. She engages with archives, migration, and overlooked histories through photography, video, and performative research. Razia Barsatie is a Surinamese visual artist based in the Netherlands, her work emerges from her experience of growing up as a daughter within a religious Indo-Caribbean Muslim household, where obedience and restriction shaped both identity and belonging.

Both artists use the body as an archive, while Sarojini’s work focuses on indentured labour archives, articulated through self-portraits that reveal her vulnerability through the body and performative gestures. Razia Barsatie’s work explores materiality as a carrier of emotion and memory, in which scent, objects, and bodily actions function as memory structures that evoke sensory and affective responses. The body is central as an archive where personal and collective histories converge.texts on these experiences.