Sesten Sese: A Curated Evening of Shared Voices This evening brings together three musical practices connected through voice, community, and collective memory. Opening with the intimate songwriting of Anllel Maria and Doğa Ak, followed by the mother–child musical practice of Dilden Dile, and concluding with the collective polyphony of Queer Choir Amsterdam, the programme moves between queer community, Anatolian folk traditions, diasporic memory, couragous worlds and intergenerational exchange. Together, these performances invite audiences to experience singing as a living practice of gathering, listening, and carrying stories forward. Doğa and Allel Doğa Ak and Anllel Maria are a kuir duo of songwriters and singers from Turkey and Ecuador, currently based in the Netherlands. Blending their voices through vulnerable songwriting, they compose in English, Spanish, and Turkish. Their songs explore intimacy, brave other worlds, and shared futures, inviting audiences to tune in, to themselves, to one another, and to the worlds that can be imagined together. Opening the evening, their performance offers a gentle invitation into the programme. Queer Choir Amsterdam Queer Choir Amsterdam is an artistic initiative and a safer space where various queer and trans identities and voices are celebrated and heard. The choir performs original compositions, written by its members and arranged by conductor Vera Morais, in which soundscapes, improvisation and audience participation often play an important role. The choir’s songs are rooted in both politics and introspection and allow for authentic forms of self-expression. During rehearsals and performances, choir members give voice to stories they want to share and to ideas about the futures they wish to imagine together. By bringing together many different voices, the choir not only creates new harmonies, but also celebrates the diversity and expressive potential of the human voice. For this evening, Queer Choir Amsterdam will perform a selection of original repertoire, moving between playful, joyful songs and works rooted in solidarity, resistance, care, and collective imagination. Dilden Dile Dilden Dile is a mother–child musical practice rooted in singing, listening, and making music together. It explores inheritance, memory, language, belonging, and the ways traditions continue to transform through the people who carry them. Meli Snoek is a non-binary Turkish-Dutch interdisciplinary artist and choreographer working across performance, voice, sound, and movement. Their practice often explores how personal and collective histories live within the body, the voice, and shared artistic practices. Through performance and sound, Meli researches how inherited traditions can be reimagined through contemporary performance, diasporic experience, and queer embodiment. In Dilden Dile, Meli performs vocals accompanied by their mother’s bağlama (saz). Born in Çorum, Turkey, Mürşet Yavuz is a self-taught bağlama player who began learning the instrument at the age of thirty. What began as a personal dream gradually evolved into a shared musical language between mother and child. In recent years, she has expanded her practice through performances, leading a women’s Turkish folk choir, and sharing music within Alevi community houses and along the banks of the Waal River in Nijmegen. Over three years of singing and playing together, Meli and Mürşet have come to understand music as a language beyond words. Rooted in Anatolian folk traditions, particularly those of the Alevi tradition, while embracing the rich legacy of politically engaged songwriting from Turkey and Kurdistan, Dilden Dile moves through the musical worlds of artists including Kazım Koyuncu, Selda Bağcan, Âşık Mahzuni Şerif, Âşık Veysel, and Ahmet Kaya, with a particular affinity for the musical landscapes of the Black Sea (Karadeniz). At its heart, Dilden Dile is an invitation to gather around songs that have travelled across generations. Turkish-speaking audiences are especially invited to sing along, remember, and recognize melodies that may already live within them. In this shared act of listening and singing, the songs return to what they have always been: living traditions, shared, transformed, and passed from voice to voice. Dilden Dile Sesten Sese Dilden Dile, anne ve çocuk arasında gelişen bir müzik pratiğidir. Mirası, hafızayı, dili, aidiyeti ve geleneklerin onları taşıyan insanlar aracılığıyla nasıl dönüştüğünü araştırır. Meli Snoek, performans, ses ve hareket alanlarında çalışan Türkiyeli-Hollandalı non-binary disiplinlerarası bir sanatçı ve koreograftır. Pratiği, kişisel ve kolektif tarihlerin beden, ses ve ortak sanatsal pratikler içinde nasıl yaşamaya devam ettiğini araştırır. Performans ve ses aracılığıyla, aktarılan geleneklerin çağdaş performans, diasporik deneyim ve queer varoluş içinde nasıl yeniden şekillenebileceğini araştırır. Dilden Dile performansında Meli, annesinin çaldığı bağlamanın eşliğinde vokal performans sunar. Türkiye’nin Çorum şehrinde doğan Mürşet Yavuz, bağlamayı kendi kendine öğrenmiş, müziğe tutkuyla bağlı ve keşfetmeye devam eden bir sanatçıdır. Otuz yaşında bağlama çalmaya başlamıştır. Kişisel bir hayal olarak başlayan bu yolculuk, zamanla anne ve çocuk arasında paylaşılan bir müzik diline dönüşmüştür. Son yıllarda pratiğini performanslar gerçekleştirerek, kadınlardan oluşan bir Türk halk müziği korosunu yöneterek ve Alevi cemevlerinde ile Nijmegen’deki Waal Nehri kıyısında müzik paylaşarak geliştirmiştir. Üç yıldır birlikte söyleyip çalan Meli ve Mürşet, müziği kelimelerin ötesinde bir dil olarak araştırır. Anadolu halk müziği geleneklerine, özellikle Alevi müzik geleneğine kök salan; Türkiye ve Kürdistan’ın politik söz geleneğini de kucaklayan Dilden Dile, özellikle Karadeniz bölgesinin müzikal coğrafyasına yakınlık duyar ve Kazım Koyuncu, Selda Bağcan, Âşık Mahzuni Şerif, Âşık Veysel ve Ahmet Kaya gibi sanatçıların müzikal dünyaları arasında dolaşır. Özünde Dilden Dile, kuşaklar boyunca yolculuk etmiş türküler etrafında bir araya gelmeye yönelik bir davettir. Türkçe konuşan izleyiciler bu buluşmaya, birlikte söylemeye ve belki de zaten içlerinde yaşayan ezgileri yeniden hatırlamaya özellikle davet edilir. Bu ortak dinleme ve söyleme pratiği içinde türküler yeniden ortak bir biçimde yaşar: paylaşılan, dönüşen ve sesten sese aktarılan yaşayan gelenekler olarak.