Farah Rahman

Turmeric—also known as kurkuma, koenjit, hardi, haldi—has been cherished in Indian Siddha, Ayurvedic, Chinese, and Balinese plant medicine for over 4,500 years. It’s mentioned in ancient Sanskrit texts, Greek and Egyptian scriptures, revered for its spiritual, energetic, medicinal qualities, and vibrant natural dyes. Turmeric’s journey to Europe was marked by colonialism, but its sacred yellow color remains a symbol of spirituality across South Asian cultures. I’ve witnessed its significance firsthand at Hindu ceremonies, where it adorns clothes and flowers, and in Buddhist practices, where monks dye their robes with this sacred root. For me, turmeric carries deep personal meaning—the familiar masala scent takes me back to my mother’s kitchen, its part of my inner being and Surinamese Hindustani wedding ceremonies, where the bride and groom’s skin are rubbed in with haldi paste to ward off evil eye (Buri Nazar). This artwork was developed during my working residency and solo exhibit at Zone2Source last summer with the support of Mondriaan Fund. Photo by : Daniella Van Bergen

Opening day at the Podium Noord group exhibition!. I had the pleasure of preparing fresh apple, turmeric, ginger, and lemon juice for the audience, enhancing the experience of my multisensory artwork titled: ‘The Holy Color of Turmeric, the Sunlit Spice.’ ???? This artwork was developed during my solo exhibit at Zone2Source last summer. Turmeric, kurkuma, koenjit, hardi, haldi…this sunlit sacred spice has many names. Well known in Indian Ayurvedic, Chinese and Balinese plantmedicine potions and spiritual practices for more than 4500 years. Mentioned in ancient Sanskrit texts, Greek and Egyptian scriptures. Our ancestors, the herbalists of these times knew how to foster meaningful relationships between plants and humans. Learning from their plant teachers, growing together and cultivating kurkuma for its spiritual, energetic medicinal qualities and natural dyes. It was through colonialism the spice reached Europe. Nowadays the holy color yellow is still sacred in South Asian cultures and this powerful plant spirit has reached all over the world. I’ve attended Hindu ceremonies where the color is overal present in clothes and flowers. And in other life philosophy’s Buddhist munks dye their traditional robes with the sacred root. I’ve known this spice for its masala scent is locked into my inner being, it reminds me of my mothers cooking, the scent makes me feel at home and most recently from Surinamese Hindustani family wedding ceremonies where the bride and groom are rubbed in with a haldi paste. The reason why a haldi ritual is used is to rid the couple of Buri Nazar, the Sanskrit term for evil eye. Photo by : Daniella Van Bergen

Turmeric—also known as kurkuma, koenjit, hardi, haldi—has been cherished in Indian Siddha, Ayurvedic, Chinese, and Balinese plant medicine for over 4,500 years. It’s mentioned in ancient Sanskrit texts, Greek and Egyptian scriptures, revered for its spiritual, energetic, medicinal qualities, and vibrant natural dyes. Turmeric’s journey to Europe was marked by colonialism, but its sacred yellow color remains a symbol of spirituality across South Asian cultures. I’ve witnessed its significance firsthand at Hindu ceremonies, where it adorns clothes and flowers, and in Buddhist practices, where monks dye their robes with this sacred root. For me, turmeric carries deep personal meaning—the familiar masala scent takes me back to my mother’s kitchen, its part of my inner being and Surinamese Hindustani wedding ceremonies, where the bride and groom’s skin are rubbed in with haldi paste to ward off evil eye (Buri Nazar). This artwork was developed during my working residency and solo exhibit at Zone2Source last summer with the support of Mondriaan Fund. Photo by : Daniella Van Bergen

Bringing together medicinal plants, mushroom spores, light, smell and rotating frames, Rahman explores the possibilities of transforming light in a intimate meditative setting. Connecting memories of ancestors with found medicinal plants. Highlighting medicinal mushrooms foraged locally combined with plant compositions from Surinam that have cultural, spiritual, medicinal signifigance. By incorporating these plants and mushrooms Rahmann explores and strenghtens her ties with her background and connects with the resilience of her ancestors as wel as the plant knowledge thats had been passed down from colonial times.

Bringing together medicinal plants, mushroom spores, light, smell and rotating frames, Rahman explores the possibilities of transforming light in a intimate meditative setting. Connecting memories of ancestors with found medicinal plants. Highlighting medicinal mushrooms foraged locally combined with plant compositions from Surinam that have cultural, spiritual, medicinal signifigance. By incorporating these plants and mushrooms Rahmann explores and strenghtens her ties with her background and connects with the resilience of her ancestors as wel as the plant knowledge thats had been passed down from colonial times.

Self made incense as a way to create a welcoming stillness enviroment for the audience to smell. In particular to honour the ancestors who acknowlegde the use of plant medicine. The incense is made with herbs from colonial times (like cinnamon, cloves) and is made by the performers with good intentions in preparation of this ritual. (in collaboration with dancer/performer Fazle Shairmahomed.)

Bringing together medicinal plants, mushroom spores, light, smell and rotating frames, Rahman explores the possibilities of transforming light in a intimate meditative setting. Connecting memories of ancestors with found medicinal plants. Highlighting medicinal mushrooms foraged locally combined with plant compositions from Surinam that have cultural, spiritual, medicinal signifigance. By incorporating these plants and mushrooms Rahmann explores and strenghtens her ties with her background and connects with the resilience of her ancestors as wel as the plant knowledge thats had been passed down from colonial times.

Remembering the attentive participation of the audience during the ritual. After Fazle and I left, the audience passed on the ritualwashing of hands to each other. These kinds of special gathering moments can’t be rehearsed. There were many impressive moments, appropriate to the time and space we were in. (in collaboration with dancer/performer Fazle Shairmahomed.)

Bringing together medicinal plants, mushroom spores, light, smell and rotating frames, Rahman explores the possibilities of transforming light in a intimate meditative setting. Connecting memories of ancestors with found medicinal plants. Highlighting medicinal mushrooms foraged locally combined with plant compositions from Surinam that have cultural, spiritual, medicinal signifigance. By incorporating these plants and mushrooms Rahmann explores and strenghtens her ties with her background and connects with the resilience of her ancestors as wel as the plant knowledge thats had been passed down from colonial times.

Audience passing on the ritual washing of hands to each other. The water contains rosewater and reckit blue. This blue powder is used in surinamese rituals called wasi’s and is also used in surinamese hindustani culture. We were washed as babies in blue water. The color blue comes originally from the indigo fera plant which is brought from africa by the people that were made into slaves. They used it as a protection against the ‘evil eye’. This custom is still caried out today by many surinamese creole /hindustani. (In collaboration with dancer/performer Fazle Shairmahomad, photo by Sandra Uittenbogaard)

Audience passing on the ritual washing of hands to each other. The water contains rosewater and reckit blue. This blue powder is used in surinamese rituals called wasi’s and is also used in surinamese hindustani culture. We were washed as babies in blue water. The color blue comes originally from the indigo fera plant which is brought from africa by the people that were made into slaves. They used it as a protection against the ‘evil eye’. This custom is still caried out today by many surinamese creole /hindustani. (In collaboration with dancer/performer Fazle Shairmahomad, photo by Sandra Uittenbogaard)

Bringing together medicinal plant prints, mushroom spores, light, smell and rotating frames, Rahman explores the possibilities of transforming light in a intimate meditative setting. Connecting memories of ancestors with found medicinal plants. Highlighting medicinal mushrooms foraged locally combined with plant compositions from Surinam that have cultural, spiritual, medicinal signifigance. By incorporating these plants and mushrooms Rahmann explores and strenghtens her ties with her background and connects with the resilience of her ancestors as wel as the plant knowledge thats had been passed down from colonial times.

Bringing together medicinal plant prints, mushroom spores, light, smell and rotating frames, Rahman explores the possibilities of transforming light in a intimate meditative setting. Connecting memories of ancestors with found medicinal plants. Highlighting medicinal mushrooms foraged locally combined with plant compositions from Surinam that have cultural, spiritual, medicinal signifigance. By incorporating these plants and mushrooms Rahmann explores and strenghtens her ties with her background and connects with the resilience of her ancestors as wel as the plant knowledge thats had been passed down from colonial times.

Bringing together medicinal plant prints, mushroom spores, light, smell and rotating frames, Rahman explores the possibilities of transforming light in a intimate meditative setting. Connecting memories of ancestors with found medicinal plants. Highlighting medicinal mushrooms foraged locally combined with plant compositions from Surinam that have cultural, spiritual, medicinal signifigance. By incorporating these plants and mushrooms Rahmann explores and strenghtens her ties with her background and connects with the resilience of her ancestors as wel as the plant knowledge thats had been passed down from colonial times.

Bringing together medicinal plant prints, mushroom spores, light, smell and rotating frames, Rahman explores the possibilities of transforming light in a intimate meditative setting. Connecting memories of ancestors with found medicinal plants. Highlighting medicinal mushrooms foraged locally combined with plant compositions from Surinam that have cultural, spiritual, medicinal signifigance. By incorporating these plants and mushrooms Rahmann explores and strenghtens her ties with her background and connects with the resilience of her ancestors as wel as the plant knowledge thats had been passed down from colonial times.

In Curcuma Longa Characters verbindt Farah Rahman de heilige kleur geel van kurkuma planten die vanuit de koloniale geschiedenis in het Westen terechtkwamen met het rituele verhaal van familie en (haar) voorouders (India, Suriname) en gebruikt zij alternatieve foto technieken met kurkuma als lichtgevoelige stof. Tijdens haar werkperiode maakte zij connectie met medicinale planten uit het Amstelpark en ging zij in dialoog met bezoekers die kurkuma gebruiken. Op de ramen van de gallery maakte zij notities. Farah werkt hierin als ethnobotanist die spirituele medicinale rituele gebruiken en cultuur rondom planten bestudeerd.

In Curcuma Longa Characters verbindt Farah Rahman de heilige kleur geel van kurkuma planten die vanuit de koloniale geschiedenis in het Westen terechtkwamen met het rituele verhaal van familie en (haar) voorouders (India, Suriname) en gebruikt zij alternatieve foto technieken met kurkuma als lichtgevoelige stof. Tijdens haar werkperiode maakte zij connectie met medicinale planten uit het Amstelpark en ging zij in dialoog met bezoekers die kurkuma gebruiken. Op de ramen van de gallery maakte zij notities. Farah werkt hierin als ethnobotanist die spirituele medicinale rituele gebruiken en cultuur rondom planten bestudeerd.

In Curcuma Longa Characters verbindt Farah Rahman de heilige kleur geel van kurkuma planten die vanuit de koloniale geschiedenis in het Westen terechtkwamen met het rituele verhaal van familie en (haar) voorouders (India, Suriname) en gebruikt zij alternatieve foto technieken met kurkuma als lichtgevoelige stof. Tijdens haar werkperiode maakte zij connectie met medicinale planten uit het Amstelpark en ging zij in dialoog met bezoekers die kurkuma gebruiken. Op de ramen van de gallery maakte zij notities. Farah werkt hierin als ethnobotanist die spirituele medicinale rituele gebruiken en cultuur rondom planten bestudeerd.

In Curcuma Longa Characters verbindt Farah Rahman de heilige kleur geel van kurkuma planten die vanuit de koloniale geschiedenis in het Westen terechtkwamen met het rituele verhaal van familie en (haar) voorouders (India, Suriname) en gebruikt zij alternatieve foto technieken met kurkuma als lichtgevoelige stof. Tijdens haar werkperiode maakte zij connectie met medicinale planten uit het Amstelpark en ging zij in dialoog met bezoekers die kurkuma gebruiken. Op de ramen van de gallery maakte zij notities. Farah werkt hierin als ethnobotanist die spirituele medicinale rituele gebruiken en cultuur rondom planten bestudeerd.

In Curcuma Longa Characters verbindt Farah Rahman de heilige kleur geel van kurkuma planten die vanuit de koloniale geschiedenis in het Westen terechtkwamen met het rituele verhaal van familie en (haar) voorouders (India, Suriname) en gebruikt zij alternatieve foto technieken met kurkuma als lichtgevoelige stof. Tijdens haar werkperiode maakte zij connectie met medicinale planten uit het Amstelpark en ging zij in dialoog met bezoekers die kurkuma gebruiken. Op de ramen van de gallery maakte zij notities. Farah werkt hierin als ethnobotanist die spirituele medicinale rituele gebruiken en cultuur rondom planten bestudeerd.

In Curcuma Longa Characters verbindt Farah Rahman de heilige kleur geel van kurkuma planten die vanuit de koloniale geschiedenis in het Westen terechtkwamen met het rituele verhaal van familie en (haar) voorouders (India, Suriname) en gebruikt zij alternatieve foto technieken met kurkuma als lichtgevoelige stof. Tijdens haar werkperiode maakte zij connectie met medicinale planten uit het Amstelpark en ging zij in dialoog met bezoekers die kurkuma gebruiken. Op de ramen van de gallery maakte zij notities. Farah werkt hierin als ethnobotanist die spirituele medicinale rituele gebruiken en cultuur rondom planten bestudeerd.

In Curcuma Longa Characters verbindt Farah Rahman de heilige kleur geel van kurkuma planten die vanuit de koloniale geschiedenis in het Westen terechtkwamen met het rituele verhaal van familie en (haar) voorouders (India, Suriname) en gebruikt zij alternatieve foto technieken met kurkuma als lichtgevoelige stof. Tijdens haar werkperiode maakte zij connectie met medicinale planten uit het Amstelpark en ging zij in dialoog met bezoekers die kurkuma gebruiken. Op de ramen van de gallery maakte zij notities. Farah werkt hierin als ethnobotanist die spirituele medicinale rituele gebruiken en cultuur rondom planten bestudeerd.

Nederlands Fotomuseum

Nederlands Fotomuseum

Nederlands Fotomuseum. Fragment waarin hij beschrijft hoe hij op een zeker moment malaria opliep op de Surinaamse plantage waar hij werkte als opzichter. Hij nam een plantenmedicijn in, dat sterk naar djiera (=komijn) rook en waar de kwasibita-plant (bitterhout) in was verwerkt. Na drie weken was hij genezen.

Nederlands Fotomuseum. Fragment waarin hij beschrijft hoe hij op een zeker moment malaria opliep op de Surinaamse plantage waar hij werkte als opzichter. Hij nam een plantenmedicijn in, dat sterk naar djiera (=komijn) rook en waar de kwasibita-plant (bitterhout) in was verwerkt. Na drie weken was hij genezen.

Nederlands Fotomuseum. Biochemisch proces tussen vers plantenmateriaal en andere organische ingrediënten. Hieruit ontstaat een organische foto ontwikkelaar voor analoge fotografie. De planten worden op fotopapier belicht d.m.v. zonlicht.

Nederlands Fotomuseum. Biochemisch proces tussen vers plantenmateriaal en andere organische ingrediënten. Hieruit ontstaat een organische foto ontwikkelaar voor analoge fotografie. De planten worden op fotopapier belicht d.m.v. zonlicht.

Archief foto van overgrootvader Munshi Rahman Khan

Biochemisch proces tussen vers plantenmateriaal en andere organische ingrediënten. Hieruit ontstaat een organische foto ontwikkelaar voor analoge fotografie. De planten worden op fotopapier belicht d.m.v. zonlicht.

Biochemisch proces tussen vers plantenmateriaal en andere organische ingrediënten. Hieruit ontstaat een organische foto ontwikkelaar voor analoge fotografie. De planten worden op fotopapier belicht d.m.v. zonlicht.

Nederlands Fotomuseum. Biochemisch proces tussen vers plantenmateriaal en andere organische ingrediënten. Hieruit ontstaat een organische foto ontwikkelaar voor analoge fotografie. De planten worden op fotopapier belicht d.m.v. zonlicht.

Nederlands Fotomuseum. Biochemisch proces tussen vers plantenmateriaal en andere organische ingrediënten. Hieruit ontstaat een organische foto ontwikkelaar voor analoge fotografie. De planten worden op fotopapier belicht d.m.v. zonlicht.

This work is part of an ongoing artistic research, making sensorial exercises on how to sense a thinking forest.

Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

MA Art Science Graduation work nominated for the Waag Society Technology Award. Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

MA Art Science Graduation work nominated for the Waag Society Technology Award. Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

MA Art Science Graduation work nominated for the Waag Society Technology Award. Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

MA Art Science Graduation work nominated for the Waag Society Technology Award. Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

LUMC Leiden University Gallery

Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

Imagining sensorial experience of other species and coming in physical contact. Subtle gestures, coming closer, relating, paying attention to sound, scent composition and texture of the tree as the other.

Moving from the center to the edge of the city, this slow walk will be accompanied by multimedia artist Farah Rahman, who will guide us through the wild plants and herbs we’ll encounter along the way. The route, approximately 8.8km long, will pass through the parks and ‘green spaces’ of Amsterdam. The walk is meant to be a space to learn collectively and share knowledge about the spaces we are walking through and the plants we encounter. Once we reach the Four Sisters, we’ll learn more about the garden and Muge’s experiences, and we’ll watch the sunset and eat together near the fire (with the little addition of our foraged herbs).

Moving from the center to the edge of the city, this slow walk will be accompanied by multimedia artist Farah Rahman, who will guide us through the wild plants and herbs we’ll encounter along the way. The route, approximately 8.8km long, will pass through the parks and ‘green spaces’ of Amsterdam. The walk is meant to be a space to learn collectively and share knowledge about the spaces we are walking through and the plants we encounter. Once we reach the Four Sisters, we’ll learn more about the garden and Muge’s experiences, and we’ll watch the sunset and eat together near the fire (with the little addition of our foraged herbs).

Moving from the center to the edge of the city, this slow walk will be accompanied by multimedia artist Farah Rahman, who will guide us through the wild plants and herbs we’ll encounter along the way. The route, approximately 8.8km long, will pass through the parks and ‘green spaces’ of Amsterdam. The walk is meant to be a space to learn collectively and share knowledge about the spaces we are walking through and the plants we encounter. Once we reach the Four Sisters, we’ll learn more about the garden and Muge’s experiences, and we’ll watch the sunset and eat together near the fire (with the little addition of our foraged herbs).

Moving from the center to the edge of the city, this slow walk will be accompanied by multimedia artist Farah Rahman, who will guide us through the wild plants and herbs we’ll encounter along the way. The route, approximately 8.8km long, will pass through the parks and ‘green spaces’ of Amsterdam. The walk is meant to be a space to learn collectively and share knowledge about the spaces we are walking through and the plants we encounter. Once we reach the Four Sisters, we’ll learn more about the garden and Muge’s experiences, and we’ll watch the sunset and eat together near the fire (with the little addition of our foraged herbs).

Moving from the center to the edge of the city, this slow walk will be accompanied by multimedia artist Farah Rahman, who will guide us through the wild plants and herbs we’ll encounter along the way. The route, approximately 8.8km long, will pass through the parks and ‘green spaces’ of Amsterdam. The walk is meant to be a space to learn collectively and share knowledge about the spaces we are walking through and the plants we encounter. Once we reach the Four Sisters, we’ll learn more about the garden and Muge’s experiences, and we’ll watch the sunset and eat together near the fire (with the little addition of our foraged herbs).

Moving from the center to the edge of the city, this slow walk will be accompanied by multimedia artist Farah Rahman, who will guide us through the wild plants and herbs we’ll encounter along the way. The route, approximately 8.8km long, will pass through the parks and ‘green spaces’ of Amsterdam. The walk is meant to be a space to learn collectively and share knowledge about the spaces we are walking through and the plants we encounter. Once we reach the Four Sisters, we’ll learn more about the garden and Muge’s experiences, and we’ll watch the sunset and eat together near the fire (with the little addition of our foraged herbs).

Moving from the center to the edge of the city, this slow walk will be accompanied by multimedia artist Farah Rahman, who will guide us through the wild plants and herbs we’ll encounter along the way. The route, approximately 8.8km long, will pass through the parks and ‘green spaces’ of Amsterdam. The walk is meant to be a space to learn collectively and share knowledge about the spaces we are walking through and the plants we encounter. Once we reach the Four Sisters, we’ll learn more about the garden and Muge’s experiences, and we’ll watch the sunset and eat together near the fire (with the little addition of our foraged herbs).

The tactility, scents and soundscapes sent through the wooden logs start working when the visitor’s ears are pressed against the wooden logs.

Anushtaan a decolonising ritual. In samenwerking met Fazle Shairmahomad.

16mm analog film projector's are used as a research instrument to examine form, structure and patterns in cuttings from tropical plants. A first version was shown as installation during the Analog Film and Sound festival at WORM Filmwerkplaats Rotterdam.

Performed at HOOGTIJ, Holaa Festival Den Haag, Roodkapje Winterwolven Festival. Sarkaragraphy, an exploration of specific states of sugar' is a interdisciplinary research project observing the interaction/reflection between audiences and the art work. How does the audience's emotion interwind with smell, temperature, concentration and disorientation? Wen Chin Fu and Farah Rahman will be making glass sugar slides on the spot. Melting the sugar and combining mixtures of sugar in specific state, inks and oils poured onto the glass slides. The glass slides will be projected through an old analog slide projector. The heat of the projector lamp plays a big role, it transforms the sugar emulsion, it melts. This process can be seen by magnified projections on a big white backdrop.

How does the media portray immigrants? Performed at Framer Framed Gallery Ams, Biennale van Venetië preview days Realise - the resilience of art in liquid crises, EYE Film Institute, European Cultural Foundation Amsterdam, Creative Commons Festival at Museu D’Art Contemporani De Barcelona & Madrid at La Casa Encendida

Vertoond in Europe by People, Muziekgebouw aan het IJ, Compagnie Theater. ‘And now I am here’ is ontwikkeld i.s.m. Creative Court. Het is een reflectieve video-installatie die vanuit verschillende perspectieven gevoelens van ontheemding bevraagt. Interviewfragmenten en filosofische citaten vermengen zich met beelden van videokunstenaar Farah Rahman, die ‘found footage’ deconstrueert en laadt met nieuwe associaties. Migratie is een terugkerend thema in haar werk.

De basis van ‘Het geluk daar is niet zoals hier’ is een grote hoeveelheid audiomateriaal uit het interviewproject Ongekend Bijzonder. Circa 50 tot 60 interviewfragmenten zijn gemixt met eigen film opnames. In samenwerking met tentoonstellingsvormgever Mark Ridder, GRNDPA film productie, Ongekend Bijzonder Festival en Museon Den Haag. Bezoekers kunnen de ‘samples’ zelf afwisselen op verschillende schermen. Zo ontstaat een dynamisch beeld dat steeds verandert door de keuzes van de bezoekers.

Mediakunstenaar Farah Rahman duikt in audiovisueel materiaal van privépersonen van Hindostaanse afkomst - persoonlijke registraties in film, video en foto. Zij verwerkt deze tot een unieke live cinema performance vol indringende beelden en live muziek, gespeeld door een bijzonder gezelschap van musici, die zijn oorsprong vindt in de geluiden van de oude landen India en Suriname. De Hindoestaanse gemeenschap neemt een belangrijke plaats in binnen de Haagse gemeenschap. Haar wortels strekken zich uit over drie continenten: India, Suriname en Nederland. De ‘Lalla Rookh’ (letterlijk: Roze Wang) is het zeilschip waarmee op 5 juni 1873 de eerste Brits-Indische immigranten voet aan wal zetten in Suriname. Farah Rahman - regie, beeld scenario, montage Andro Biswane - gitaar Klaas Hekman - fluit Satyakam Mohkamsing - Indiase viool Sandhya Sanjana - zang Wieland Eggermont - muzikale leiding

Performed at British Film Institute, Mapping Festival Geneve, DokuFest Kosovo, Imagining Europe De Balie Amsterdam, ZEMOS98 Festival in Sevilla, Hondakin Festival in Bilbao, S8 Festival in La Coruña. Research, de-constructie van archief materialen uit Internationale archieven o.a.Het Nationaal Archief, Instituut voor Beeld en Geluid (NL), British Filminstitute (BFI). Een zoektocht naar nieuwe narratieven.