All about politics, policy, society and how those things relate to culture and art.
Perhaps the biggest surprise of the 2012 cinema year was that two completely different films were the biggest crowd-pleasers. First, the new James Bond Skyfall, of course, with almost 2 million visits. But that the number two (1.2 million) is a
Einstein on the beach: a five-hour minimalist opera with no plot, no intermission. An opera with an almost mythical status, with images that have become theatre icons, but which hardly anyone has actually seen.
With paper, you never know ('0.3% of newspaper readers read the reviews on the art page'), and with TV it's always a bit of estimating and extrapolating too, but the internet is rock hard. We know how many times you read one of our pieces, and how long you lingered at our videos. Well: we were already proud last year, now we are well over 200,000
Sat another note in the post. One of many, these weeks. About a club that had only just been set up by the government. With the accompanying millions, which because of the PVV's vindictiveness have now been dumped in the local ditch. Its creators have already found a new purpose for themselves a few months ago: to improve the well-being of Parkinson's patients. But Dance House Station South is now thus a thing of the past. We quote:
Onrust in poëzieland. Door een fout ‘onduidelijkheid’ in de website van de Nationale Turing Gedichtenwedstrijd zijn enkele honderden gedichten waarschijnlijk om verkeerde redenen uit de competitie verdwenen. Alexis de Roode, zelf al meerder malen in de prijzen gevallen, kaartte de zaak aan via facebook.
Rijksmuseum Twente can probably stay open now that culture minister Jet Bussemaker (PvdA) has promised the chamber to halve the planned 50% cut in operations. Moreover, she is going to fight hard to keep the Cultural and Artistic Formation subject in secondary education as a compulsory examination subject 'left or right',
Vijftien jaar na Peter Delpeuts Felice, Felice krijgt het International Film Festival Rotterdam weer een Nederlandse opening. De 42ste editie van dit toonaangevende evenement gaat op 23 januari van start met de wereldpremière van The resurrection of an asshole van Guido van Driel, zo maakte festivaldirecteur Rutger Wolfson vanmiddag bekend.
We are just reporting the press release in full. For your information. Every now and then, more news like this comes along. We don't post them all, because that would make the world very bleak. The world as many people knew it, and thought it was the pride of the Netherlands, is coming to a squeaking halt to make room for. Well. We will report on that in the years to come. Of what comes in its place.
Developing new models on the internet takes time. We have found that out with the Cultural Press Agency by now. With more than 7,500 followers on Twitter and 400 visitors a day to our website, we have now become a factor of importance in cultural journalism. But we are also very happy that four years after the first plans took shape and one year after the start-up subsidy from the Ministry of Education, Culture and Science ended, our first publication can be read on the sites of De Persgroep, publisher of Trouw, Volkskrant and Parool.
While the city has to make huge cuts in music schools, libraries, a few drama clubs and other nice things for the people, like public transport and healthcare, The Hague does build a new art building. Rather, the municipality is putting 181 million into demolishing and renovating the theatres on the Spui, because the architect who built the complex 20 years ago apparently did not do his job properly.
The Netherlands' greatest artist is dead. Can happen. But can I then also curse heartily? Because Jeroen Willems is irreplaceable. As a journalist, you know the drill: of actors over 60, or of otherwise fragile stature, you have a necrootje ready. If you are well-known and meet the requirements, count on your friends and acquaintances to...
Mooi natuurlijk dat Amour van Michael Haneke gisteravond op Malta bij de uitreiking van de European Film Awards niet alleen bekroond werd als beste film, maar ook de regieprijs en prijzen voor beste acteur en actrice kreeg toegeschoven. Maar een beetje saai begint die lofzang op Haneke’s nieuwste wel te worden. Genoeg dus hierover.
Dance fans can submit their nominations for the most outstanding dance performance of 2012 online from 1 December. The winner will then be able to receive the Dans Publieksprijs early next year. New this year is
Two opposites had emerged. Would the VPRO IDFA Award for best feature-length documentary go to a personally coloured auteur's film, or to a thoughtful account of a major issue? To Alan Berliner's remarkable portrait of Alzheimer's-affected poet Edwin Honig, or to Dror Moreh's fascinating insight into the Israeli secret service?
The previous Secretary of State for Culture, Halbe Zijlstra, made his draconian cuts cast in concrete. The 35-40 per cent cut in the budgets of orchestras, theatre companies and some museums has become law. The new minister of culture, PvdA star Jet Bussemaker, cannot change that at all an iota. And if she even wanted to: the architect of the cuts she has to allow sits in the chamber as the ruling party's group leader. No chance that he will allow his policies to go down the drain.
Being active on social media like Facebook or Twitter is now a must for any dance company. But broadcasting a dance performance (live) via 600 cinemas worldwide is no mean feat either. NDT (The Hague) has been chosen by Pathé theatres to join the illustrious list of The Metropolitan Opera (New York), The National Theatre (London) and the Bolshoi Ballet (Moscow) as a partner in high-level performing arts.
The music of Eefje de Visser comes in. In the silence of the theatre even more so than in clubs, where enthusiastic fans sing along to her words out loud. One spotlight and her guitar, that's all this 26-year-old singer-songwriter needs to touch the room. I see tears, gazes of love and attempts at seated dancing during the official premiere of her theatre tour in the Melkweg.
They were almost thrown away: George Tsypin's immense sets for Wagner's Der Ring des Nibelungen. Not because his staging was unsuccessful or would have become obsolete by now, but simply because the storage was too hefty a cost for the Netherlands Opera.
In John Appel's new documentary Wrong Time Wrong Place features survivors of the shooting on the Norwegian island of Utoya and the preceding bombing, which killed 77 people.
If the Netherlands consistently sticks to previously adopted PVV positions, the second chamber will say 'No' to a European investment in culture, innovation and media on 21 November 2012. However, if the current Rutte government sticks to the pro-European stance included in the coalition agreement, the Netherlands will cease its opposition to the 1.8 billion euro contribution to strengthening culture, which has now been approved by all other European member states.
Ook wij hebben het geretweet: “Duitsland verhoogt cultuursubsidie met 100 miljoen”. En we gaven zo voeding aan een halve waarheid. Die halve waarheid is, dat Duitsland een hemel is voor cultuurliefhebbers, een toevluchtsoord voor mensen die de kille bezuinigingen van de regeringen Rutte zat zijn. Duitsland lijkt misschien leuk, maar, zoals Volkskrant-correspondent Merlijn Schoonenboom in maart van dit jaar al opmerkte, er wordt daar minstens even hard bezuinigd als hier.
The experimental hip-hop / noise band Death Grips plays frothy twang noise. But very exciting, interesting branch noise with paranoid, surreal lyrics. Live, it was a breath of fresh air. In their concert in Bittersweet (presented by Paradiso), vocalist MC Ride (Stefan Burnett) and drummer Zach Hill unleash a 20-minute hurricane of breathtaking fury.
Classical music on television always has something boring about it. Often a short introduction by a neat gentleman or lady, followed by the concert itself. Close-ups of the conductor and soloist, a longshot of the entire orchestra and applause afterwards. As if the medium is trying to emulate concert hall etiquette as scrupulously as possible. Even the webstreams that more and more large orchestras are increasingly turning to barely deviate from this formula.
Dance and music belong together. Yet there is always something new to discover in this combination. The Amsterdam Cello Biennale invited dance group LeineRoebana to create a dance and music performance with cellist Jakob Koranyi and CvA Percussion to music by composer Tan Dun: 'Snow in June'. In recent years, LeineRoebana has shown like no other group how enriching unconventional combinations between dance and music can be.
There it is: the coalition agreement of the new cabinet of the man who previously managed to associate the terms 'subisidy slave' and 'empty halls' with the fine arts. The tone is different now, and we owe that to the input of the PvdA, just as earlier we apparently owed the sneering tone to Martin Bosma's PVV.
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