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ACTUAL

All about politics, policy, society and how those things relate to culture and art.

'A lot of art is too much about pleasing'

It started with an email out of the blue. Artist Joncquil had Googled my website and was struck by the name. I myself had almost forgotten how I had ever come up with the name, Joy of Irony: a song by the legendary, highly underrated English noise/metal band Fudge Tunnel. Joncquil came to my site because of his expo at the time, Himmel und Joy. He had read some of my pieces and introduced himself. Maybe one day we could have coffee to talk a bit about art.

Thus it happened.

Only in final scene does Guillaume Tell bathe in golden sunlight

After more than four hours, it happens: emotion. Free Switzerland is bathed in golden sunlight and the choir swells over the most beautiful orchestral sounds Rossini composed. Unworldly sounds, which have little to do with the best-known sounds from Guillaume Tell - The canter from the overture.

Blogging vs demons #wu13

"We don't use social media because it's cool," says Tunisian internet activist Sami Ben Gharbia. "But in a dictatorship, it is the only way to inform people about what is really going on. To fight the demons in society. I am not a techny Became because it's fun. I just needed useful knowledge about internet codes, to improve my civic activism possible."

Hassnae Bouazza's Thousand Shades of Arabia on #wu13

John de Mol is doing good business in the Arab world. He acts rather dismissively about this, according to Hassnae Bouazza. According to her, the television producer talks publicly mainly about the many restrictions on his formats because of Islam and the sentimentalism of TV in the Middle East in general. That De Mol's success number The Voice of Arabia during the final in

'For me, only the text exists' - Alberto Manguel & Hans Goedkoop on black pages #wu13

Met een bomvol programma zoals Writers Unlimited 2013 wil het wel eens gebeuren dat je, ook als professioneel journalist, ondanks alles toch ergens té laat komt binnenvallen, en dan nog net een glimp opvangt van iets heel moois. In dit geval, na de krachttoer van Amos Oz en Adriaan van Dis, was dat het spoken word optreden van de Keniaanse Ngwatilo Mawiyoo. Mea culpa daarvoor.

Does it luckily still involve sex on #wu13

How many male genitals Yasmine Allas had weighed in her hand. For a while, that was the question during Writers Unlimited's most shameless programme to date. This latenight talk show addressed the question of how shameless writers actually dare to be these days. Kristien Hemmerechts, always good for a few firm statements, met her peers in

A lot of Oz & a little Van Dis on impossible dreams and ideals #wu13

Tijdens de aftrap van Winternacht 1 bracht publicist Bas Heijne de twee literaire giganten Amos Oz en Adriaan van Dis nader tot elkaar. Wat is er van hun vroegere idealisme overgebleven? Oz’ spervuur van prachtige oneliners bleek lastig te temmen en zorgde voor een hilarisch, maar beetje onevenwichtig gesprek.

Heartfelt plea against Arab shame culture #wu13

De Libanese schrijfster Hanaan as-Sjaikh (Beiroet, Libanon, 1945) opende donderdag 17 januari Wrtiters Unlimited met een vlammend betoog tegen de Arabische schaamtecultuur. Deze is volgens de schrijfster wier boeken Het verhaal van Zahra, Vrouwen tussen hemel en zand, Beiroet blues and Alleen in Londen in het Nederlands zijn vertaald, zo diep in

'Readers need to be approached in a different way'

Writers Unlimited Special – Een van de belangrijke gasten op Writers Unlimited is Roland Colastica. Deze Curaçaose schrijver debuteerde in 2012 met het jeugdboek ‘Vuurwerk in mijn hoofd’. Het boek is enthousiast ontvangen, en groeit inmiddels uit tot een bescheiden bestseller. Grote kracht van het verhaal is de kleurrijke en ritmische stijl, maar minstens zo belangrijk is

Rotterdam Theatre: more music, more visitors

Everywhere, arts attendance is falling dramatically, except, for now, in Rotterdam. There, the Rotterdamnse Schouwburg managed to keep the number of paying visitors the same, or even increase slightly to over 147,500, in its first real cultural disaster year 2012. In its own press release, the management (currently in the hands of Jan Zoet) attributes this to sharper programming and revivals of successful productions, and an increase in the number of concerts:

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