Rule of Three is a piece for three dancers: Steven Michel, Julien Josse and Courtney May Robertson. NAH makes the music live, the lighting is by Jan Fedinger and there are some lyrics by Lydia Davis. Rule of Three was released last month at De Singel in Antwerp, and its Dutch premiere is today at the Stadsschouwburg in Amsterdam....
[This post was already online under the title 'Save us from the Transition Office', but has been updated in a few details] While you are preparing for a well-deserved holiday, people in the arts sector are working on a new model. That new model is needed because the old model is no longer adequate. That old model, and we are of course talking about our...
Giving the viewer a voice in the twists and turns a film story takes. It's a dream that has proved difficult to realise. But now there is the interactive cinema film Late Shift. A film or a game?
Rito de Primavera, on show at the Holland Festival early this week, is a group choreography for fifty young dancers. Choreographer José Vidal has loosely based himself on Sacre du printemps, Stravinsky and Nijinsky's 1913 piece for the Ballet Russes. Fragments of Stravinsky's music have been turned into 4-quarter beetz by DJ Jim Hast, while Vidal has minimised the ritual aspect of the sacrifice, essential to the many versions made throughout the 20th century (besides Nijinsky's primal version, Massine, Béjart and Bausch, among others).
What remains is an overwhelming visual experience of a gigantic mass of dancers looming out of the darkness. The coordination of the group, at times dancing wildly through each other, at other times circling the stage in long parade, is impressive. It produces a fascinating, eye-opening aesthetic, but the group dance in no way challenges the audience. You could call it a pile of kitsch, or opium for the people. Either way, it is a form of spectacle that I consider unworthy of the Holland Festival.
The performance begins like a school trip. Near the box office, spectators are prepared in groups for what is to come. They are kindly requested to take off their shoes upon entering the theatre, and then to walk barefoot, hand in hand with fellow spectators, through the dark. Regularly, someone calls loudly for silence, as the performance has already started. There is also something uncomfortable about the nervous manner in which the audience, which is supposed to line up in rows after the instructions, is marched away to the performance space two buildings away.
The initiation of the visitors continues in the Purification Hall, when they pass through the pitch darkness hand in hand with the cool sand at their feet. It provides one of the few ambiguous moments during Rito de Primavera. Where is this going? What fairy tale are we being led into here? From which tourist boat have we fallen off, to now attend the rituals of which people again?
At first, the total experience that so many contemporary theme parks are looking for really takes shape. For half an hour, I stare at a stage in the dark. I see and feel a lot of people there, I think naked because sometimes there is a clever flash of soft light, but the dominant darkness prevents me from getting a grip on it. Ethereal singing composed by Andrés Abarzúa - a single chord sounds gurgling from many throats - accompanies the entrance of all the other spectators for half an hour.
The bleachers surround the playing surface. It is only the red and white bicycle lights of the guides of the many groups of spectators that give you some orientation in the space. It has something of Tintin in Takatukaland. An audience paying to be at a miraculous, never-before-seen, spring nymphing ritual.
The artificiality of the setting gives a certain tension. In the darkness, as a spectator, you can imagine all sorts of things about what is to come. But at some point, the bicycle lights go out, a sign that all spectators are seated, and the dancers all put on trousers. The light increases and the first beetz cum stravinsky supplants the singing. When, after the uncertain introitus, the actual spectacle begins, its logic becomes all too clear. A perfectly organised group choreography takes over.
In what follows, nothing is left to chance. And that is no luxury with so many dancers in semi-darkness, especially as half of them are also new to the work, because from the Modern Theatre Dance Department of the Amsterdam University of Applied Sciences. The group makes pulsating movements, dialogues with a neighbour, runs in groups, starts singing again, postures and occasionally lifts a single person in the air.
But just as the darkness gets used, so does the group. They are all very young people, fairly relaxed dancing together. The uninhibited attitude with which the complicated group choreographies are performed is touching. A naive kind of surrender or faith speaks from it.
But gradually the effects, of the group choreography, of the light that creates the photographic vistas, the repetitive singing and beetz get boring. The repetition of moves is effect-laden, rhetorical, self-affirming. Nowhere a moment of debacle, of faltering. No one who has a question, can't keep up, is wrong
Boris Charmatz has been a guest at many editions of the Holland Festival with impressive, provocative, socially engaged, finely composed and conceptually strong dance performances: Aatt enen tionon and Con forts fleuve (both in 2001); 50 years of dance (2010), Enfant (2011) and Manger (2015). His latest choreography, danse de nuit, premiered in Geneva last September. During the Holland Festival...
For new music, the primal performance is often also immediately the last time a piece is played. The scores await the archive or dusty drawer; recordings are nowhere to be found. David Dramm searches for these gems of stilted notes. He presents them at the Holland Festival Orphanage: three evenings of forgotten compositions from the rich...
Something is changing considerably in the world of literature. Libraries are closing or turning into flex spaces for poor freelancers. The sold circulation of an average successful novel remains in four figures. Young people no longer watch TV or listen to the radio, but make their own well-watched and generously paid films on YouTube. Or they sit the...
Having already won several awards for his short work, Daan Bakker now presents his wonderfully original first feature-length film Quality Time.
Interview with Martijn Maria Smits about his new film Waldstille, which he shot in his native village in Brabant. A drama full of subcutaneous menace from a Dutch filmmaker with a signature of his own.
Joop Oonk (27) creates dance performances with the Misiconi Dance Company, but not of a standard kind. She also calls it inclusion dance. Dancing with wheelchairs, for example, and then doing it in public spaces. Time for a chat with this extraordinary choreographer. Fortunately, you don't have to be an art barbarian not to know the word inclusion dance. Joop Oonk choreographer, artistic director...
While Jan Martens' latest work, The Common People (2016), was at Amsterdam's Stadschouwburg last weekend, Utrecht's Theater Kikker is showing two older hits this week: Sweat Baby Sweat (2011) and The dog days are over (2014). Sweat and Dogdays are blockbusters and have already toured the world. At Kikker, they can now be seen as part of a...
Barry Jenkins, the fast-up director of the Oscar-nominated discovery Moonlight gave a master class in Rotterdam. On finding your voice and an intuitive way of filmmaking.
'Many people find contemporary dance difficult. Especially performances by young makers who experiment and seek new ways. At the Moving Futures festival, everyone can discover how dance can touch you. We do this not only by showing good performances by young makers. We also offer activities around it, context programmes. By doing so, we give the audience tools to make a connection with...
Gerard de Kleijn is leaving on 1 February after six years as director at Museum Gouda. The flamboyant, eloquent and erudite director leaves behind a financially and artistically healthy Museum for his successor Marc de Beyer. De Kleijn made the museum more accessible to Gouda residents and art lovers from outside the historic city. In 2016, the museum attracted around 40,000...
It is easier than ever to produce and distribute your own videos. Every minute, more than 300 hours of videos are uploaded to YouTube. Is this gigantic amount still manageable? No. The video platform has become too big to continue to exist smoothly. By Nuno Blijboom There is no better source for cat videos, bullying vloggers and gaming youngsters
On 20 December, the general membership meeting of Coöperatief Cultureel Persbureau unanimously decided to accept a cooperation offer from The Co-operative/House of Journalism and Reporters Online. This is an important step in the development of independent cultural journalism. Culture Press, as the Cooperative Cultural Press Agency is known on the internet and social media, is growing significantly as a result. The...
Each month, in the (Un)heard series, I present extraordinary sound that does not go unnoticed and unsung. In this December edition: Brume, Cinema Perdu, Emanuele de Raymondi, Mark Fell, Zeno van den Broek and James O'Callaghan. Like a vise around the neck Brume - Mother Blast (LP, Grautag) Nicolas Moulin's Grautag label guarantees dystopian soundscapes. Those landscapes the label presents...
Until 31 December, classical music lovers can browse the unprecedented amount of sheet music, CDs and music books at Broekmans & van Poppel. The iconic shop, stately located next to Brasserie Keyzer and the Concertgebouw on the Van Baerlestraat in Amsterdam, will close its doors after 102 years. The family-run business will continue in Badhoevedorp, where the central warehouse is already...
IDFA's tenth DocLab shows the state of the art in interactive documentaries, virtual reality and other media art. Juggle the artist's body or experience what it is like to be (colour) blind.
'It took me 18 years to make a new recording,' Croatian pianist Ivo Pogorelich (1958) says with a modest smile. 'Just as much time as it takes a baby to come of age.' It is Wednesday, November 2. A special moment, because on that day Pogorelich's CD-less new recording of Beethoven's Piano Sonatas No 22 and No 24 will go on...
From 19 to 23 October, more than two thousand music professionals gathered in Santiago de Compostella for the 22nd World Music Expo (WOMEX). I was there and came back with mixed feelings. My first music fair experience was the WOMEX in Rotterdam. In 2001, the Maas city was the cultural capital of Europe and thus had extra resources at its disposal. The Berlin organiser of...
Book adaptations set the tone at the Netherlands Film Festival 2016. The Hero after Jessica Durlacher's novel opened the Utrecht film festival.
At the Magazine Media Café at the Amsterdam debating centre De Balie, journalists, publishers and freelancers discussed the phenomenon of distributed content. What is it and what can you do with it? Distributed content: a new online phenomenon Distributed content is actually reverse publishing. You offer content (stories, photos, video) where the reader is, instead of the reader...
Choreographer Jan Martens' new performance, The Common People, is on show in Utrecht this weekend during Spring. Dozens of volunteer performers have a blind date on the stage of the Stadsschouwburg's main auditorium. The audience can walk in and out between performances, drink a beer for the duration of one or more duets or browse on the back stage and...
At Transatlantic The Dutch National Ballet dances works by four choreographers during the Holland Festival. They are male. They are white. They make classical ballet. Why this choice?
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