It was an exceptional challenge to organise the 74th edition of the Holland Festival. After putting together an online programme in 2020 because the live edition was cancelled due to the pandemic, we were determined to once again present a live international festival in June this year. After all, this is what the Holland Festival is about: live, international performing arts with a broad perspective on the world. This collective, physical experience was of major importance, especially now, after being inside for months.
We had to piece together a complex puzzle in order to accomplish this during a pandemic, and with a relatively small team. The biggest challenges we faced involved getting artists to the Netherlands and taking into account the conditions for allowing audiences to gather. In order to maximise its chance of proceeding, the festival was organised flexibly with the possibility to scale up or down the number of visitors. We also researched the options for staging pieces at alternative (outdoor) locations. All the persisting uncertainties meant the festival had to consider different scenarios until right before the start. This was possible only through close collaboration with the artists and various external parties, from (government) agencies to locations and suppliers.
This required a lot of flexibility from everyone, with some inevitable disappointments. Restrictions, cancellations and the large cuts in Education, Culture and Science subsidies implemented in 2021 meant the programme was smaller than in normal years, for example. But our optimism and resilience were rewarded in the end. We were able to present a live programme that was equally coherent and diverse, albeit for a limited audience, in part thanks to the inspiring collaboration with this year’s associate artists, composer Ryuichi Sakamoto and director Gisèle Vienne. Within the overarching theme ‘man made’, there was room for both lighter and heavier subjects relevant to these times – from deforestation and natural disasters to the search for identity and the art of truly listening.
Some twenty-three companies in total performed a hundred and eleven pieces over the course of twenty-five days. The festival presented seven world premieres and co-produced twelve international productions. In addition, there were six streams (partially live) that were seen in forty different countries. Surrounding the pieces and concerts was an extensive context program, partially online, that reflected on the festival’s current themes and that gave an inside look into what was on the minds of the makers.
Despite these difficult circumstances, the festival turned out a success thanks to the subsidy providers, the various partners, private friends and funds, and the tremendously resilient and professional Holland Festival team. The Holland Festival supervisory board was of vital importance in this.
We are tremendously grateful to the artists and visitors for their trust and willingness to be present. This allowed us to bring those magic moments between artists and audiences we all wanted and dearly missed back to the theatres and concert venues.
The Japanese composer Ryuichi Sakamoto and the Franco-Austrian theatre maker Gisèle Vienne played an important role in this year’s programme. As associate artists, they were closely involved with the realisation of the Holland Festival in 2021. Besides work of their own, the festival featured work from makers that the two feel closely related to as well as pieces that have a thematic connection with the associate artists. Both artists have a strikingly wide range of interests, as demonstrated by their collaborations with Hollywood directors, techno artists, visual artists and rock bands. This was clearly reflected in the festival. Not only were they highly motivated to present their own work, they were also closely involved with and interested in other makers and their work, both preceding and during the festival.
Productions from the associate artists
Despite the difficult circumstances, we managed to have both associate artists present important new work during the festival. The festival co-produced the new piece TIME by Sakamoto and director Shiro Takatani, in which dancer Min Tanaka and sho player Mayumi Miyata depict humankind and nature, inspired by traditional Japanese Noh theatre. The piece had its live world premiere during the festival and was widely praised. The stream of Frank Scheffer’s recording was seen throughout the world.
Vienne presented her latest work L’Étang, a co-production with the Holland Festival as well, in which she explored complex family relationships using a text by Robert Walser. All the parts were played in an exceptionally impressive way by two actresses: Adèle Haenel and Ruth Vega Fernandez.
Existing work from both artists was featured as well. For example, Vienne presented a new version of Kindertotenlieder (2007) with a new young cast. Additionally, in Short Circuit she presented a solo from the piece Crowd in a special adaptation for the Holland Festival. Sakamoto’s async at the Park Avenue Armory, filmed by Stephen Nomura Shible (2018), was streamed online. And Sakamoto’s installation Sensing Streams, in collaboration with media artist Daito Manabe, rendered omnipresent electromagnetic fields visible with hypnotic digital images and sounds in Hermitage Amsterdam.
The influence of the associate artists could be felt in a number of pieces. For example in Short Circuit, where favourite bands and performers of the two associate artists followed each other in succession. In De School, this turned into a three and a half hour journey through extremes in sound, speed and experience. In the Muziekgebouw, the young Swiss-Georgian producer and composer Alexandre Kordzaia paid an extraordinary homage to Sakamoto’s early work with Kordz x Sakamoto.
An overarching question permeating the work of the associate artists, as well as that of other artists, was: Man made?. The artists approached the interplay between the circumstances confronting a human and that which is made by human hands from various different angles. Much of the focus was on concepts like: time and the experience of time, identity formation and the role humankind plays in nature. Apart from making impressive pieces, these subjects proved to be food for thought and great conversation.
Presence and meetings
Even though Sakamoto was unable to come to the Netherlands during the festival due to health issues, he was able to closely follow the festival from Japan. But Gisèle Vienne was present and, when she was not rehearsing, played an active role in the festival. She visited several performances by both Dutch and international makers. She also visited the exhibition The Art of Escapism, which was inspired by her own oeuvre. Apart from this, there was time to meet makers, members of the HF Young Circle and master’s students of DAS Choreography and the master Composition of the Royal Conservatoire the Hague. It was her presence during the festival that allowed for a vital exchange of ideas in a relaxed environment.
This year, the Holland Festival once again featured an extensive context programme for those wanting a more in-depth exploration of the festival’s themes and more information about the makers. This programme took place online for the most part, except for several live programmes on location at regular partners Eye and Melkweg Expo.
Sakamoto’s grand oeuvre formed the basis for a programme in collaboration with Eye. Eye screened four films Sakamoto composed the music for. Sakamoto’s influence on current-day film composers like Hildur Guðnadóttir and Daniel Lopatin (alias Oneohtrix Point Never) was touched on as well, and a film with music of theirs was shown. The programme concluded with an evening dedicated to Sakamoto’s work, which included live music.
Melkweg Expo invited young artists to make new work, inspired by Gisèle Vienne’s work. In the exhibition The Art of Escapism, Thomas Bunt, Liza Houben, Jan Janssenwillen, Fabian Landewee, Mary Ponomareva, George Voronov and Lukasz Wierzbowski explored the limits of time, space and the human body. Gisèle Vienne was present at the exhibition opening, which will continue until 18 July.
In 2020 and 2021, the possibilities for presenting the context programme in digital form were researched and developed. This digital form gives the audience more freedom to personally choose the time and place it wishes to receive information about the pieces and makers.
Podcast introductions were developed in collaboration with De Groene Amsterdammer. In sixteen unique podcasts of thirty minutes each, presenters Roos van der Lint, Stephan Sanders, Joost de Vries and Christiaan Weijts talked with makers, dramaturges, aficionados and specialists. The inspiring conversations, supplemented with relevant text and music fragments, were heard by many and will be continued in future editions of the festival.
Besides these introductions, the context programme featured a series of Conversations in the form of video interviews with artists like Garin Nugroho, Gisèle Vienne and Dorothée Munyaneza. For the series Backstage, programme maker Ravian van den Hil went backstage with a film crew. They captured the atmosphere and portrayed performing musicians, dancers and theatre makers.
The introductions, Conversations and Backstage registrations will remain on the website as reference material. This will result in a lively and accessible archive that gives a look inside the makers’ way of thinking and their artistic process.
Each year, the festival screens films in the run-up to the festival. This year, we continued this tradition online with a new partner, Cinetree. Two weeks before the festival, audiences could use the Cinetree website for free to watch seven films relating to the programme that were selected in consultation with the associate artists. These included Seven Weeks by filmmaker Nobuhiko Obayashi, a work never before screened in the Netherlands and an emotionally riveting film about Japan’s troubled past. Dutch actors and film experts gave short introductions to these films.
Immerse@HF took place once again during this year’s Holland Festival. Ordinarily, a number of (inter)national performing artists are invited to attend a programme to get to know each other and the Holland Festival better, as well as to expand their international network. Because traveling and gathering a group of international makers in these times was rather complex, this year’s edition of Immerse was organised with master’s students (already in the Netherlands) from DAS Choreography and the Royal Conservatoire The Hague. Participants included: Amparo González Sola (Argentina), Forough Fami (Iran), Flavia Pinheiro (Brazil), Sóley Sigurjónsdóttir (Iceland), Pedro Latas (Portugal) and Eric So (Hong Kong). Over the course of five days, the participants visited performances at the festival and met with festival artists and the festival organisation.
Together with the Art Education Master’s Programme from the Amsterdam School of the Arts, the festival developed the Red Carpet Club: an educational project for youths from ten to twelve years old. Participants were exposed to work from various festival artists through digital meetings, and they did assignments relating to the associate artists’ work. For example, they made a composition with everyday sounds they recorded themselves, inspired by Sakamoto. The project ended with a visit to Sensing Streams in the Hermitage, where postcards they had made themselves were shared with the participating children’s parents. This year, the participants were from Amsterdam Nieuw-West. The Red Carpet Club plans on working together with youths from a different Amsterdam neighbourhood each time for future editions of the festival.
IMC Weekend School
This year, the IMC Weekend School started a project for students interested in the production profession. The Holland Festival made an assignment for them that had them develop and present a fictional project. They were encouraged to develop the assignment for a target group, draw up budgets and make schedules.
A selection of video's of the live and online programme that took place from 3 till 27 June.
A dreamlike opera, freed from time, inspired by traditional Japanese No-theater.
Layered and understated family drama based on a story by Robert Walser.
A purgative lament based on a Papuan folk myth, set against the backdrop of a natural disaster.
Arnold Schönberg's lunatic clown in an exciting new staging.
Filmic recording of an atmospheric live performance of the acclaimed solo album async (stream).
An ode to, and a farewell to ancestors, full of picturesque compositions and bursting with energy.
A modern fable about the desire for change starring a sheep. This performance was also streamed live.
Five performances form a kaleidoscopic exploration of extremes in sound, speed and experience.
Monologue about standing still, about putting yourself in someone else's shoes, about the impatience and longing that comes with waiting.
A stage for stories of six strong, socially engaged women.
Digital image and sound artwork at the Hermitage that makes ubiquitous electromagnetism visible.
Young artists inspired by the work of Gisèle Vienne explore the boundaries of time, space and their own bodies. Exhibition at Melkweg Expo / de Brakke Grond.
An evening of live interviews, film clips and live music focusing on Ryuichi Sakamoto's oeuvre and influence on other film composers.
Special evening centered around two music films by Frank Scheffer and live music by Chinese musician Wu Wei.
Installation and sleep ceremony for a ritual exploration of the subconscious.
Powerful, poetic performance about the constructions of man, from homes to political and social structures.
A contemporary podcast version of Wagner's Die Walküre with an atypical cast and unexpected sound effects.
New adventures with the upbeat synth-pop of Ryuichi Sakamoto's early years.
An uncanny dream reality full of references to eerily beautiful fairy tales and traditions.
Classical music and "serious games" to sharpen the ears in a radical listening labyrinth.
Experimental Japanese rock band exploring musical abysses (+ live stream).
Opera about deforestation in Kalimantan, based on an eastern and a western classic. The performance was also available as a live stream and stream, both in the Netherlands and in Indonesia.
A dark, grand and universal tale of revenge, based on the Trojan War and the royal Atrides family.
Opera about the primal conflict in the first family in Biblical history (Adahm and Chawa and their sons Kajin and Chabel).
In addition to the ballet Grosse Fuge by Hans van Manen, the world premiere of a new, joint choreography by Wubkje Kuindersma, Remi Wörtmeyer and Ernst Meisner: Prometheus.
Choreographers David Dawson and Christopher Wheeldon gave a whole new interpretation to classical ballet technique.
Nighttime forest walk (without flashlight) through the Smithuyser forest, for a physical and sensory experience.
A visual feast about desire, memories and fantasy.
In this coming-of-age film, director Sciamma follows three fifteen-year-old girls during a sweltering summer in a Paris suburb.
Young Marie (Rosalie Thomass) decides to escape her troubles and go to work as a clown in the stricken area of Fukushima.
In Poesía sin fin, the filmmaker walks through his own life filled with colorful characters and absurdist scenes.
Obayashi depicts complex family ties that symbolize the relationship Japan has with its past.
Billed as the Soviet counterpart to Stanley Kubrick's 2001: A Space Odyssey, Solaris was released in 1972, bringing the battle for space to the movie screen for a while.
Iggy Pop reads from Michel Houellebecq's To Stay Alive, the high-profile essay on madness, survival and art.
Sakamoto is an admirer of the younger Lopatin who wrote the film score for Good Time and with whom he later even collaborated.
A film about the attraction between men in a milieu where there is seemingly less room for it.
Quirky, nowhere coquettish and unusually Spartan arranged score, with which Guðnadóttir singlehandedly elevates the film to a higher plane.
The film with which Ryuichi Sakamoto made his debut as a film composer and actor.
Together with De Groene Amsterdammer, a series of podcasts was made as an introduction to the performances.
Laurie Anderson and Alexandre Kordzaia on their experiences with Ryuichi Sakamoto.
Gisèle Vienne talks about the creation and backgrounds of her works that were performed during the festival.
Director Munyaneza and several participating artists explain the performance Mailles.
Journalist Step Vaessen interviews Garin Nugroho about his production The Planet – A Lament.
The creators of Fremdkörper discuss their performance/installation at Het HEM.
In this video, composer Hamel elaborates on the concept behind Luistermutant 2021.
Composer Guðnadóttir talks about her work, the film Joker and her ties to Ryuichi Sakamoto.
Artists in the festival share their favourite playlist on Spotify.
Backstage video encounters with various artists from the festival.
HF Young, the platform for everyone under forty with a wide range of cultural interests can take part in, organises various activities each year. HF Young’s aim is to lower barriers for entry to the Holland Festival and to expose younger, often new audiences to the festival’s themes and makers in a way that appeals to them.
Once again this year, HF Young offered special on- and offline meetings relating to the festival programme and discounts on a selection of performances. This selection, the HF Young Favourites, was made by the HF Young Circle – twelve culture loving volunteers between 23 and 39 years old. The five pieces they initially selected were: Fremdkörper by Boogaerdt/VanderSchoot, L’Étang by Gisele Vienne, Short Circuit by various artists, TIME by Ryuichi Sakamoto and Shiro Takatani and Dans la forêt by Massimo Furlan and Claire de Ribaupierre. In the run-up to the festival, HF Young set up an audio walk, the HF Young Kick – Off(line), in which the Holland Festival team took the HF Young members to see these five HF Young Favourites. Because these performances all sold out in little to no time, five more pieces were added during the festival: Mailles by Dorothée Munyaneza, Maison Mère by Phia Ménard, Kindertotenlieder by Gisele Vienne, The Planet – A Lament by Garin Nugroho and Pierrot lunaire by Marlene Monteiro Freitas.
Heroes, Books and TALKS
In HF Young HEROES, Martha Visser, a member of HF Young Circle, talked with actress Adèle Haenel, star from Gisele Vienne’s L’Étang. She talked about her roles in the piece and the collaboration with Vienne. In the HF Young BOOK CLUB, they discussed books relating to the programme, including: Robert Walser’s The Walk , Natsume Soseki’s Ten Nights of Dreams and Mieko Kawakami’s Breasts and Eggs. And during HF Young TALKS, there were conversations about themes closely related to the festival programme. In a series of short conversations on Instagram Live, members of HF Young Circle talked with Holland Festival staff members. All HF Young activities can be followed on Instagram, Facebook and LinkedIn.
Such a beautiful, beautiful, beautiful performance. We’ve watched it together with our 15 year old son David, who is totally smitten by Sakamoto. Thank you.
– Rick Di Lorenzo
It was wonderful 😊 wow – such beautiful voices, melodramatic, really impressive lamentation, with impressive dance and a moving heartbreaking story. And also a cheerful note and moment of hope 👏 Fantastic that you could realise this.
– Maaike Boots
Beauty with meaning.
– Gonnie Scheurs
Age of Rage, an extraordinary compilation of various Greek tragedies about Agamemnon’s family line by Ivo van Hove, is this festival’s exhilarating high point because of its moving stories, the superb acting and also especially because of the dance protest (...) A fascinating mammoth of a Greek play.
Max Arian, De Groene Amsterdammer
The hushed piece TIME is a monument to composer Ryuichi Sakamoto and all his fellow mortals. (...) The piece evokes unforgettable images. You do not need to be an expert in Japanese poetry or spirituality to glean a deeper meaning. (...) The music accompanying the scenes, strung together like short meditations, has a serene beauty: Sakamoto has synthesizer blips pierce the silence, like big drops falling on water. You can hear how the Japanese composer has captured his own finitude in sound.
Robert van Gijssel, de Volkskrant ★★★★
Repressed lust, strong emotions within the family, existential issues, sex and murder: Die ersten Menschen has all the ingredients for getting deep under your skin and letting you experience opera.
Mischa Spel, NRC Handelsblad ★★★★
Responding to the great need for (at least the feeling of) being together, the theatre makers draw heavily on hypnotic effects (...), which is kind of relaxing.
Hanny Alkema, Trouw
Ine Aya is a wonderful piece that strikes a serious note. It is a musical and theatrical journey that sends you home with the message: do better.
Marco Dreijer, De Cultuurvlogger
Uncanny and intriguing (...) KTL, the band of Peter Rehberg and Stephen O’Malley, takes inspiration from black metal and was formed especially for the Kindertotenlieder series. KTL plays a noisy, abstract score, a loud but intriguing soundscape that sets the mood for the piece. It is a nightmarish fairy tale.
Helen Westerik, Cultuurpers
Seeing and hearing Asko|Schönberg in a role you are not used to from this ensemble. They are visibly swinging, shaking off the dust from months, and drag us along from one sonic explosion to the next, taking down musical and cultural barriers without qualms. Add to this the beautiful stage setting, a tree cut into pieces crossing the ceiling from the stage to the back of the venue, the appealing light show, and the party is complete. After months of lockdown, this made for a highly successful opening party.
Ben Taffijn, Nieuwe Noten
I sat watching and listening with a big, happy smile on my face. These three continue where Kraftwerk, Yellow Magic Orchestra, King Crimson and Radiohead - to name just a few comparable acts - left off.
Wijbrand Schaap, Cultuurpers
The beautiful piece is effective in its theatrical composition, especially because it is carried out by a group of talented artists.
Lucia Fernandez Santoro, Movement Exposed
The homogeneous sound mix has no pianissimi, no extreme dynamics, and so the story and the music can be easily followed even on rattling rails or when jogging. Optimised for headphones, under real podcast conditions.
The story is told exceedingly simply and is extremely powerful as a result. With childlike simplicity, Nugroho makes a statement about increasing natural disasters and the environmental destruction that is in part to blame. The beautiful design supports the message.
Alexander Hiskemuller, Trouw ★★★★★
Inner Landscape is for the aficionado or layperson who enjoys submerging herself in new sound worlds (...). Behind-the-scenes scenes alternate with a wrangling Sichuan opera company and atmospheric images of the big city and countryside, making the music’s socio-historic context and inner landscape tangible. A film for enthusiasts, certainly, as well as for laypersons who wish to submerge themselves in new sound worlds without being taken by the hand.
Kevin Toma, de Volkskrant ★★★★
Transverse Orientation by Dimitris Papaioannou is a real feast! In carefully composed scenes, he creates layered images that linger for a long time, put your associative capacities to work and inspire emotional affect, laughter or recognition.
Francine van der Wiel, NRC ★★★★
(live)streams: 3.172 from more than forty countries
6 backstage movies
8 HF Young TALKS
1 audio walk
16 introductions by De Groene Amsterdammer
4 episodes of Soft Valkyrie
from: Argentinia, Australia, Austria, Belgium, Brazil, Bulgaria, Canada, Cape Verde, China, Colombia, Czech Republic, Denmark, Ethiopia, Finland, France, Georgia, Germany, Ghana, Greece, Haiti, Hungary, Iceland, Indonesia, Italy, Japan, Netherlands, Philippines, Poland, Russia, Rwanda, Slovakia, Somalia, South Africa, South Korea, Spain, Syria, Sweden, Switserland, Thailand, Ukraine, United Kingdom, United States of America
Age of rage
Kordz x Sakamoto
The Planet – A Lament
The Sheep Song
Age of rage
Prometheus in: Beethoven
Asia TOPA | Arts Center Melbourne, Amsterdams University of the Arts, Asko|Schönberg, Biennale de la danse de Lyon 2021, BIT Teatergarasjen – Bergen, Black Box teater – Oslo, CCN2–Centre chorégraphique national de Grenoble, Centre Culturel André Malraux – Scène nationale de Vandœuvre-lès-Nancy, Cinetree, CND Centre National de Danse Parijs, Comédie de Genève, Dance Umbrella / Sadler’s Wells Theatre, deSingel, Dutch National Ballet, Dutch National Opera, EYE Filmmuseum, FC Bergman, Festival d’Automne à Paris, Festival d’Avignon, Fondazione Campania dei Festival – Napoli Teatro Festival Italia, Fonds Transfabrik – Fonds franco-allemand pour le spectacle vivant, Garin workshop, Grec Festival de Barcelona, HKU University of the Arts Utrecht, International Summer Festival Kampnagel Hamburg, IMC Weekend school, ITA-Ensemble, Jeugdtheaterschool Zuidoost (Youth theater school South East) Kaserne Basel, La Filature – Scène nationale de Mulhouse, Le Manège/scène nationale – Reims, Luminato (Toronto), Les Théatres de la Ville de Luxembourg, Maillon | Théâtre de Strasbourg – Scène européenne, Manchester International Festival, MC2: Grenoble, MC93 – Paris, Melkweg Expo, Nanterre-Amandiers CDN, Onassis Stegi, Piccolo Teatro di Milano – Teatro d’Europa, P.O.R.K. Lissabon, RASL, Ruhrfestspiele Recklinghausen, Ruhrtriennale, Saitama Arts Theatre / ROHM Theatre Kyoto, South Netherlands Philharmonic, Staatsoper Hannover, Stanford Live / Stanford University, TANDEM Scène nationale, Theater der Welt, Theater Rotterdam, Théâtre de la Ville – Paris, Théatre du Châtelet, théâtre Garonne | scène européenne – Toulouse, Théâtre National de Bretagne, Teatro Municipal do Porto, TO Live | New Vision Arts Festival – Hong Kong, Toneelhuis, TU Delft, UCLA’s Center for the Art of Performance, Wiener Festwochen, World Opera Lab
Dutch National Opera & Ballet
Internationaal Theater Amsterdam
Zuiveringshal West, Westergas
HF Young Facebook: 4.259
HF Young Instagram: 761
Even though it was unclear for a long time if the festival could proceed, the festival prepared a complete campaign that was fitting to the atmosphere of the 74th edition. For the press presentation that took place via Zoom, we made a film (see above) in which we explained the programme and also the context in which it was created.
The design studio Thonik made a campaign based on the festival theme: ‘Man made’ with the notion of ‘constructed time’ as a common thread. This resulted in a recognisable visual element of an endlessly spinning spiral. In combination with the festival’s special font and quirky range of colours, this connected all communications online, offline and on-site. To celebrate having a live festival once again, the city was decorated with new flags that added lively colours to Amsterdam’s city streets.
The Holland Festival wishes to thank all subsidy providers, funds, business partners and various private donors for contributing. These generous subsidies and donations allowed us to stage a colourful, international and predominantly live festival. Due to the difficult circumstances, it was anything but a given that we would pull this off successfully, so this year’s support was especially important. Special thanks go out to Ammodo and Fonds 21.
These generous contributions allow us to present an artistically outstanding programme with a broad and accessible context programme each year. The festival continues to be a leading player in the international festival world thanks to the international co-productions and contributions that make this festival possible, as well as the compositions the festival commissions. But above all, audiences are able to enjoy performances and concerts that would not be staged in the Netherlands otherwise.
Apart from Fond 21 and Ammodo, we are grateful for the contributions of all funds and governments to specific productions and projects. Our thanks go out to the VSBfonds, Prins Bernhard Cultuurfonds, Zadelhoff Cultuurfonds, Stichting Zabawas, the Dutch Performing Arts Fund, the Brook Foundation, Stichting Betrokkenen Stedelijke Vernieuwing, Stichting Marinus Plantema, Institut Français des Pays-Bas, Pro Helvetia, the Flemish government, Goethe Institut, M.A.O.C. Gravin van Bylandt Stichting and the Indonesian Embassy. Special thanks to our business partners: Hotel Casa Amsterdam, Lloyd Hotel, Westcord Art Hotel Amsterdam, Doubletree by Hilton Hotel, Van Vloten Car Company, Beams Systems, Hellingman en Zoon, Stageco Nederland BV, Ampco Flashlight, Peak Audio, Loyens & Loeff N.V. and De Nederlandsche Bank for supporting us financially and materially.
The generous contributions from the large group of private donors: Governors, Hartsvrienden, Beschermers, Begunstiger, Jonge Begunstigers and Liefhebber are an important source of income that directly benefit the programme. We are deeply indebted to all for this, as well as for the emotional support everyone provided in the run-up to and during the festival. This motivates us and keeps us sharp.
The Holland Festival will be celebrating its fifty-seventh edition in 2022. Would you like to experience the anniversary from up close? Then become a Friend, like so many have already. Your support will help us make the festival even greater. You can find more information on our website.
Ronald Bax and Frank Lunenburg, G.J. van den Bergh and C. van den Bergh-Raat, Rob Defares, Jéhan van Dijk, Arent Fock, H.J. ten Have and G.C. de Rooij, J. Kat en B. Johnson, Françoise van Rappard-Wanninkhof, M. Sanders, Tom de Swaan, Elise Wessels-van Houdt
Governors who wish to stay anonymous.
Kommer and Josien Damen, Astrid Helstone and Diederik Burgersdijk, Bernard and Ineke Dijkhuizen, Nienke van den Hoek and Alexander Ribbink, Isaäc and Francien Kalisvaart, Kristine Kohlstrand, Joost and Marcelle Kuiper, Emma Moloney, Robert Jan and Mélanie van Ogtrop-Quintus, Jeroen Ouwehand, Anthony and Melanie Ruys, Rob van Schaik and Wijnanda Rutten, Coen Teulings and Salomé Bentinck, Patty Voorsmit, Hans Wolfert and Marijke Brinkman
Hartsvrienden who wish to stay anonymous.
M. Appeldoorn, Lodewijk Baljon and Ineke Hellingman, R.F. van den Bergh, Maarten Biermans and Helena Verhagen, S. Brada, Frans and Dorry Cladder-van Haersolte, Sabine van Delft-Vroom, J. Docter and E. van Luijk, Huub A. Doek, L. Dommering-van Rongen, E. Granpré Moliere, M. Grotenhuis, V. Halberstadt, W. and J. Jansen-Straver, Luuk H. Karsten, R. Katwijk, R. Kupers and H. van Eeghen, Monique Laenen and Titus Darley, Ton and Jannie Liefaard-van Dijk, A. van der Linden-Taverne, Sijbolt Noorda and Mieke van der Weij, Ben Noteboom, G. van Oenen, H. Pinkster, Pim and Antoinette Polak, H. Sauerwein, Lisette Schuitemaker and Jos van Merendonk, C.W.M. Schunck, Ingeborg Snelleman and Arie Vreugdenhil, A.N. Stoop and S. Hazelhoff, Wolbert and Barbara Vroom, P. Wakkie, Martine Willekens, O.L.O. and Tineke de Witt Wijnen-Jansen Schoonhoven
Beschermers who wish to stay anonymous.
B. Amesz, Ilonka van den Bercken, Ellen Birnie, Co Bleeker*, Femke Blokhuis, Jasper Bode, K. Bodon, Jan Bouws, E. Bracht, W.L.J. Bröcker, D. de Bruijn, G. van Capelleveen, Marie Hélène Cornips, M. Daamen, Prof. Cees Dam, J. Dekker, M. Doorman, Sylvia Dornseiffer, Chr. van Eeghen*, Ruud Emous, Ch. Engeler*, E.L. Eshuis*, Monica Galer, Caroline van Gelderen, Susan Gloudemans, E. de Graaff-Van Meeteren, F. Grimmelikhuizen, D. Grobbe, Bureau Groen – Nicole Groen, S. Haringa*, Ann van der Haven, Annelies Heidstra and Renze Hasper, Hagar Heijmans, B. Heijse and A.M. Heijse-Verbeek, Servaas Hensen, J. Hennephof, G. van Heteren, L. van Heteren, S. Hodes, J. Hopman*, J. Houtman, E. Hummelen, Wendy van Ierschot, P. Jochems, Jan de Kater, Ytha Kempkes, J. Keukens, E. Kocken, Aron Kovacs, Casper van der Kruk, A. Ladan, Cees Lafeber, Hilde Laffeber-Nicolaï, M. Le Poole, M. Leenaers, K. Leering, M. Levenbach, A. Ligeon, T. Lodder, R. Mackenzie, D. van der Meer, E. van der Meer-Blok, A. de Meijere, Christa Meindersma, E. Merkx, H. Nagtegaal, Martijn van Nieuwenhuyzen, La Nube, Kay Bing Oen*, E. Overkamp and A. Verhoog, Jill Pisters, P. Price, F. Racké, H. Ramaker, J. Rammeloo, Wessel Reinink, Richard van Remmen, M. Roozen, Peter Ruys, Inge Schmitt, A. Schneider, H. Schnitzler, G. Scholten, Joanne Schouten, Ronald Siemers – in remembrance -, P. Smit, G. Smits, A. Sonnen, W. Sorgdrager en F. Lekkerkerker*, K. Spanjer, Reinout Steenhuizen, Farid Tabarki, C.P.-M.H.-L. Tegelaar, C. Teulings, H. Tjeenk Willink, A. Tjoa, M. Tjoe-Nij, Y. Tomberg, David van Traa, Tamara Trotman, Kurt Tschenett and Sasha Brunsmann, Frank Uffen, M. Verhoeff-Neef, Truus Visser, A. van Vliet, M.M. de Vos van Steenwijk, A. Wertheim, M. Witter, M. van Wulfften Palthe, M. Yazdanbakhsh, M.J. Zomer, P. van Zwieten and N. Aarnink
* extra contribution
Begunstigers who whish to stay anonymous.
Helene Bakker, Aram Balian, Quirijn Bongaerts, Jonne ter Braak, Joost Gorter, Brendon Humble, Judith Lekkerkerker, Nicole Mooij, Pieter Nooitgedagt, Guus Schaepman, Eerke Steller, Rosanne Thesing & Melle Kromhout, Bart Truijens, Esther van der Veldt, Frank Verschoor, Tristen Vreugdenhil, Lonneke van der Waa
Jonge Begunstigers who wish to stay anonymous.
All 645 Liefhebbers.
This past spring, the Holland Festival said goodbye to Martijn Sanders, who served as chairman of the executive board since 2009 and was chairman of the supervisory board since 2014. The Holland Festival thanks Sanders for his tremendous efforts. His love for the performing arts, combined with his expertise with respect to sponsoring, donations and fund raising allowed the Holland Festival to grow tremendously these past twelve years by connecting funds and private individuals to the festival.
Sanders said goodbye with the following words: ‘The twelve years it was my honour to serve at the Holland Festival flew right by. I assume it was not without reason that we enjoyed support from so many private individuals, funds and businesses, in addition to the subsidies from the government and the Amsterdam municipality. I think we made something wonderful, building on previous generations. We have a coalition that supports us and that can serve as a foundation for decades of artistic successes to come. We should never forget that the artists always come first for us.’
On 1 April, the Holland Festival appointed Carolien Gehrels as the new chair of the supervisory board. Gehrels is no stranger to the Holland Festival because of her regular visits to pieces and concerts and also because of her role as Amsterdam’s city councillor responsible for art and culture from 2006 to 2014.
Martijn Sanders (chairman until end of February), Carolien Gehrels (chairman), Gert-Jan van den Bergh, Jet de Ranitz, Tom de Swaan, Astrid Helstone, Clarice Gargard
Emily Ansenk (director)
Annemieke Keurentjes (programming director dance & theatre), Jochem Valkenburg (programming director music & music theatre), Ravian van den Hil (programmer)
Pieter Haex (head), Joke van der Helm, Rianne Meehan, Marian van Wijngaarden, Ellen Bijsterbosch
communication & marketing
Norbert Bode (head), Evelien Lindeboom, Gertjan Pruim, An De Ridder, Runa Stam, Erna Theys, Zuwena Venhuis, archive volunteers : Sigi Giesler, Henny Knap-Go, Titus Laeven, Marja Molewijk, Monica van Steen
Mathilde Smit (head), Berbe Maltha, Liza Meulenbroek, Manon Schreurs, Harsono Sokromo
Han van Poucke (hoofd), Hidde Bisschop, Ad van der Koog
Peter Romkema (technical coordinator), Tiedo Wilschut
Marijn Arbouw, Monique ten Berge, Erik Borgman, Tessa Bosma, Anke Croonen, Janneke den Engelsen, David Frerichs, Floortje Halters, Rosa Hendriks, Djoere de Jong, Angela van Kalsbeek, Amanda Kool, Tom van de Loo, Linda Matthijsen, Levar Matroos, Romy Rigter, Peter Poel, Minke Voorn, Jacqueline Nugteren, Tim Pasma, Wannes van der Veer
communications: Zoë Aronds, Anna Boonstra, Evy Hommel, Marijn Rikkerink
development: Dana van Iterson
production: Paul Moncayo, Sam Schwab, Ritse Waaijenberg, Femke Wennink
temporary employees during the festival
Ahmad Almouhmad, Noa Appelman, Marlon Berkhout, Claud Biemans, Jeroen Bijman, Nuno Blijboom, Pippi Braam, Marsha Bruinen, Floor Dommershuijzen, Naomi Dorothea, Marcel Duiverman, Bodi van Dullemen, Jens Eijkelenkamp, Joey Fraiquin, Wouter Frantsen, Mickey Gantz, Harry van Gemert, Noortje de Gier, Thomas de Graaff, Mico Gude, Marianka Halters, Kristel Hegeman, Rosan van Hoeve, Pia Hofstede, Rick Houtkamp, Sem Jager, Sanne Kamp, Sathy Kiambe, Leonie Kuipers, Andrea Lewis, Lea Links, Jet Linssen, Liesbeth van Loon, Frank Lunenburg, Femke Meijer, Sara Meijer, Marie Meyran, Juliette Mout, Isira Mustamu, Giorgio Niederstatter, Tanja Nielen, Frederique Nijman, Marianne Noorlander, Maria Onnink, Sem Oosterhof, Bas van Oostrum, Jelle Oudhof, Daan Post, Sara Postma, Jimme Quax, Yvonne Rienks, Nikki Riethoff, Kevin Rijbroek, Kiki Roodzant, Saul Roosendaal, Ellis Scheer, Anne Scheltens, Daniël Steneker, Dennis Stroucken, Damian Swart, Kevin van der Veen, Simone Verbeek, Anneloes van der Vinne, Laura de Vroom, Rob Vugs, Justin Wolff, Daphne de Zeeuw, Angelo Zwaaneveld, Stijn Zweedijk
HF Young Circle
Alexis Blake, Steven van den Haak, Arnoud Haverlag, Omar de Jong, Andrea Kristić, Naomi van der Linden, Roberto Luís Martins, Toni Pape, Martha Visser, Sheila Verdegaal, Norman Vladimir, Esther Zijtregtop
Leslie Artamonow, Luc Beaujault, Karen Paulina Biswell, Mark Bolk, Maurice Boyer, Luca Chiaudano, Janiek Dam, Mathilde Darel, Kurt Van der Elst, Hans Gerritsen, Nichon Glerum, Yannick van de Graaf, Bart Grietens, Thomas Grootoonk, Estelle Hanania, Mayami Hosokura, Gregory Lorenzutti, Julian Mommert, Ada Nieuwendijk, nss (zakkubalan), Pierre Nydegger, Sanne Peper, Frank Scheffer, Annelies Verhelst, Jan Versweyveld, Nurith Wagner-Strauss
subject to changes
Holland Festival has attempted to locate all rightholders. Those who are still entitled are requested to contact us.
© Holland Festival, 2021
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