Wijbrand Schaap: 'Next hot issue. Copyright is mentioned in a few passages of the Cultural Exploration. I am also affected by that in various ways. There is, of course, that new author's contract law, which is going to be discussed in the chamber one day, maybe. Nice about that is that the creator's position in that law has been strengthened.' Joop Daalmeijer: 'Rightly so.' Wijbrand Schaap: 'But.
Wijbrand Schaap: 'There has been much talk about the change in Council attitudes under your leadership. After the confrontation course under your predecessor Els Swaab, you seemed appointed by Halbe Zijlstra to act as a kind of applause machine.' Joop Daalmeijer: 'I was not hired by Halbe Zijlstra, I was appointed by the queen. Isn't that nice?...
Wijbrand Schaap: 'When it comes to talent development and embedding in society, it is also very much about the absolute basics. It also touches on the minister's two functions: education and culture. Arts education in primary schools does not really help embedding. No attention has been paid to art in the pedagogical academies for years....
Joop Daalmeijer: 'I never authorise. I find that such nonsense. A journalist should just do his job properly.' Wijbrand Schaap: 'We agree on that then. We write up everything in full, but because conversations about everything tend to be endless, I want to hang it on the Culture Exploration. That's the most concrete piece and the most topical, and it...
Update: Meanwhile, the Culture Council has picked up the gauntlet. Melle Daamen posted his pieces on Culture Press, and Joop Daalmeijer has agreed to give a comprehensive interview. More news soon, then. 'Melle is a member of the Supervisory Board. You have nothing to do with that. So that's why NRC anyway?' Dixit Joop Daalmeijer, the man who since he became chairman there...
He is the greatest director in the Netherlands. But also the least honourable theatre-maker we know: Johan Simons. The man whose star has been rising since the 1980s is now in Munich. But he is not staying there. After putting the local company Kammerspiele even more firmly on the map internationally, he is looking for new challenges. Den Bosch earlier reported...
Reviled and adulated. In perhaps the best episode in years, it revealed why Zomergasten is such a good TV programme. Thanks to guest Reinbert de Leeuw and host Wilfried de Jong. 5 quotes we need to show why.
"You know ma'am, that big red painting? Turn right before that". A young attendant shows us the way. At first glance, it's nothing. A man in semi-uniform, black trousers, white shirt, slowly turns on his axis. Sol Lewitt's mural, number 1084 from 2003, lends him the necessary decorum. Around the corner hang Barnett Newman and Andy Warhol. Would the man care? In this 'hall of fame' of conceptual art, the man's spinning stands out a little timidly. Some visitors remain standing, leaning against white walls or sinking down on the polished wooden floor. Those who take their time watch the spinning of the man and his fellow dervishes slowly take possession of the Stedelijk.
The dance course at The Hague Conservatory of Music has exploded. Sort of. Nancy Euverink, director of dance education is in fact stepping down from the Royal Conservatoire (KC). And not only that. Deputy director Tom Bosma is not staying on either. Who will take over after the final performances and in the new season is still unclear. An international vacancy has been posted.
The Valley of Astonishment. Titles don't come much prettier than that of 'The Valley of Astonishment'. Theatre legend Peter Brook's tentative last play is coming to Amsterdam. The Holland Festival gave me and two journalists from Parool and NRC, respectively, the opportunity to talk to the already legendary director when he was alive. Pretty special, because the man who enchanted an entire generation of theatre-makers and audiences with performances such as the nine-hour Mahabharata in Avignon, is considered a deity among theatre connoisseurs and enthusiasts.
I am going to talk to Peter Brook in Paris on 7 May 2014. For people who have studied theatre, this is something very special. The man once wrote a very clear and manageable booklet that is on the shelf of all theatre people: The Empty Space. But he was also the director of performances where more people attended than there were ever seats. In other words.
Some art needs a story. Then a canvas on the wall with the caption 'Untitled' is not enough. The performance 'Laaroussa' (Bride) by French-Tunisian brother and sister Selma and Soufiane Ouissi falls into that category. As extraordinary as their physical presence on a dark stage is, without explanations beforehand and a Q&A afterwards, it all says precious little.
Is that bad?
It is the kind of publicity even literary agency Sebes and Van Gelderen dreams of. An argument between biographer and subject that makes it into all the national newspapers. Especially when it is not a biography of, say, an ex-soccer player who squandered his fortune, but one of wayward composer and conductor Reinbert de Leeuw.
It was big news. One orchestra confiscates the instruments of another. Only it doesn't add up. Just as much does not appear to be right in conductor Jan Willem de Vriend's letter in last Thursday's Volkskrant.
Today, Leporello Publishers in Amstelveen published my long-awaited biography Reinbert de Leeuw: man or melody, on which I worked for more than seven years. The book is on sale at several bookstores in Amsterdam and can be ordered through any bookstore in the Netherlands. When I attended a concert conducted by Reinbert de Leeuw in early 2005, I discussed with a number of...
Tonight, Feb 14 honours the North Netherlands Orchestra at the Oosterpoort in Groningen Simeon ten Holt, who died in 2012, with the world premiere of his orchestral work Centri-fuga, which he completed in 1979. It has never been performed to this day and will be christened tonight by conductor David Porcelijn. After the interval, Ten Holt's magnum opus will also be heard Canto ostinato for four pianos, performed by Sandra and Jeroen van Veen, Fred Oldenburg and Irene Russo. Earlier this week, other pianists also performed it at the Amsterdam Concertgebouw.
Regional newspapers hardly do any real cultural journalism anymore. We know this, because it was the reason why we Culture Press once founded have. How bad things are now, five years later, with art in the region and the way the newspaper handles it, was evident this month in Tilburg.
Reinbert de Leeuw turned seventy-five last September, but already in May the VPRO honoured him with three full-length broadcasts on Radio 4. Together with Aad van Nieuwkerk, I made a selection from his best recordings of Kagel, Ustvolskaya and Louis Andriessen, among others, about which I also let him speak. This was followed in September by a real Reinbert festival and his own magazine. The magazine not only highlighted him...
Young choreographers Cecilia Moisio, Giulio d'Anna and Melissa Ellberger have been nominated for the Prize of the Netherlands Dance Days Maastricht 2013.
Multidisciplinary jack-of-all-trades Chris Marclay has broken through with his film project The Clock: every second of the day represented with found footage. It took him five years to make the 24-hour work. That says something about the way he makes his art. The incredible precision with which he edits makes his work so convincing that the viewer almost falls into a trance.
The Holland Festival presented three of his works at EYE, the new film museum, in which he collaborated with MAZE, a descendant of the Maarten Altena Ensemble.
'The Pyre', the latest show from internationally rising star Gisèle Vienne, initially seems less disturbing than her previous work. Pieces like 'Jerk' (2008), based on the true story of a young serial killer, and 'This is how you will disappear' (2010), starring a dark forest, were only seen in a few places in the Netherlands. Hopefully, this performance at the Holland Festival will change that. Gisèle Vienne once studied harp, then philosophy and eventually trained as a puppeteer. But Vienne sees herself primarily as a visual artist working with time, on a stage, where different rhythms, motifs and figures come together.
Men and women together on the dance floor, it is still forbidden in large parts of the Muslim world. Two years ago, the dance performance 'Nya' was at the Holland Festival, a piece written on the skin of nine Algerian dancers, mostly B-Boyz from the streets, but also the son of a ballet teacher from Algiers participated. This year, French choreographer Abou Lagraa, his wife Nawal Ait Benalla and much of the Algerian cast returned to the Holland Festival with a piece in which women also dance.
Forget all the fuss about the first ever 3D film opera, forget all the fuss in British newspapers. Michel van der Aa himself sighed in interview that, on reflection, he would have loved to have made the second 3D film opera. And perhaps he had
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