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the head &the load

hollandfestival

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this performance has been made possible by

co-commissioners

with support from

this performance is part of the HF Young selection

YOUNG

Y

patronproduction partner

the head & the loadWilliam Kentridge, Philip Miller, Thuthuka Sibisi, Gregory Maqoma

thanks to

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content

Info & context 4

Credits 5

About the work 9

Historical context 12

Profile Kentridge 15

About the artists 19

Friends 21

Holland Festival 2019 22

Join us 26

Colophon 29

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info context

date & timeWed 29 May 2019, 8.30 pmThu 30 May 2019, 3 pmThu 30 May 2019, 8.30 pmFri 31 May 2019, 8.30 pm

venueTheater Amsterdam

running time1 hour 25 minutesno interval

languageSotho, Zulu, Mandinka, Swahili, French, German, Italian, Englishno surtitles

introductionby Margriet van der WaalThu 30 May, 2.15 pm, 7.45 pmFri 31 May, 7.45 pm

meet the artistwith William KentridgeThu 30 May, after the performancemoderator Margriet van der Waal

Johannesburg: City of 1000 FacesFri 31 June, 3 pm

William Kentridge & Faustin LinyekulaSun 2 June, 3.30 pm

The Welcome Table – NégritudeMon 3 June, 9 pm

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credits

concept and directorWilliam Kentridge

composerPhilip Miller

co-composer, music directorThuthuka Sibisi

projection designCatherine Meyburgh

choreographyGregory Maqoma

costume designGreta Goiris

set designSabine Theunissen

lighting designUrs Schönebaum, Georg Veit

sound designMark Grey

video editing and compositingJanus Fouché, Žana Marović, Catherine Meyburgh

associate directorLuc De Wit

studio technical directorChris Waldo de Wet

video orchestratorKim Gunning

created and performed by actorsMncedisi Shabangu, Hamilton Dlamini, Nhlanhla Mahlangu, Luc De Wit

featured vocalists and performersJoanna Dudley, Nhlanhla Mahlangu, Ann Masina, Bham Ntabeni, Sipho Seroto, N`Faly Kouyate (kora), Mario Gotoh (viola, The Knights), Tlale Makhene (percussion), Vincenzo Pasquariello (piano)

dancersGregory Maqoma, Julia Zenzie Burnham, Thulani Chauke, Xolani Dlamini, Nhlanhla Mahlangu

ensemble vocalistsMhlaba Buthelezi, Ayanda Eleki, Grace Magubane, Ncokwane Lydia Manyama, Tshegofatso Moeng, Mapule Moloi, Lindokuhle Thabede, Motho Oa Batho, Bulelani Madondile, Lubabalo Velebayi, Eddie Mofokeng

musiciansWaldo Alexander (violin), Sam Budish* (percussion), Shawn Conley* (bass), Samuel Ewens* (trumpet), Deepa Goonetilleke (French horn), Will Holshouser (accordi-on), Nicolas Jones* (trombone), Andrew Kershaw* (tuba), Eilidh Martin (cello), Myles Roberts (flute), Benny Vernon* (trombone) *member of The Knights chamber or-chestra (New York)

cinematographyDuško Marović

orchestrationMichael Atkinson, Philip Miller

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additional orchestrationNathan Koci Gregory Maqoma’s understudy Sunnyboy Motau

co-commissioned by14-18 NOW: WW1 Centenary Commissions, Park Avenue Armory, Ruhrtriennale, Yale Schwarzman Center, MASS MoCA

with additional support fromHolland Festival

with the kind assistance ofMarian Goodman Gallery, Goodman Gallery, Lia Rumma Gallery

lead support for the development has been provided byBrenda R. Potter, Daniel R. Lewis,the W.L.S. Spencer Foundation, Jennifer & Jonathan Allan Soros

with further support fromAlessia Bulgari, Agnes Gund,Wendy Fisher

additional support has been provided bythe JKW Foundation, The Andrew W. Mellon Foundation, Simeon Bruner, John Burt, Robert Gold, Sarah McNair, Randal Fippinger, John and Cynthia Reed, Andres Schroeder, Bill & Sako Fisher, Quaternaire and donors who wish to remain anony-mous.

created in residence atMASS MoCA, North Adams, 2018, and Kentridge Studios, Johannesburg 2017-2018

developed in collaboration withchamber orchestra The Knights, based in New York

produced byTHE OFFICE performing arts + film:Rachel Chanoff, Laurie Cearley, Lynn Koek, Catherine DeGennaro, Noah Bashevkin, Olli Chanoff, Diane Eber, Gabrielle Davenport, Chloe Golding

in association withQuaternaire | Sarah Ford

production managerBrendon Boyd

technical directorMike Edelman

sound engineerMichele Greco

stage managerRyan Gohsman

assistant stage managerLissy Barnes-Flint

company managerCarol Blanco

costume supervisorJudith Stokart

head costume fabricatorEmmanuelle Erhart

costume fabricatorBert Menzel, Claudine Grinwis

set assistant Marine Fleury

studio assistant Jacques van Staden photography Stella Oliver

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scenic painter Anaïs Thomas

interns Sigi Koerner, Luke Gibson, Stephanie Barker William Kentridge StudioAnne McIlleron, Linda Leibowitz

artistic director The KnightsColin Jacobsen, Eric Jacobsen

world premiere11 juli 2018, Tate Modern, London

special thanks toNatalie Denbo, Homi Bhabha, Sue Killam, Meghan Labhee, Liza Essers, Joy Lowden, Dr Anna Maguire, David Olusoga, Roger Tatley, Anne Stanwix, Joe Thompson, Lautarchiv Humboldt University, Berlin and all the musicians and singers who partic-ipated in the first Maboneng Workshop, September 2017

music published / licensed by© Schott Music, Mainz/Albersen Verhuur B.V., The Hague

websiteThe Head & The Load

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aBoUt the WorK

‘The Head & the Load is about Africa and Africans in the First World War. That is to say about all the contradictions and para-doxes of colonialism that were heated and compressed by the cir-cumstances of the war. It is about historical incomprehension (and inaudibility and invisibility). The colonial logic towards the black participants could be summed up: “Lest their actions merit recog-nition, their deeds must not be recorded.” The Head & the Load aims to recognise and record.’

— William Kentridge  

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William Kentridge  Every project has to be a coming together of two things: an in-triguing thematic idea, and a material form through which to think about it. In this case, our thinking is embodied in projections on a screen, the words of performers, music that is played, the movement of bodies.  

The test is really to find an approach that is not an analytic dis-section of a historical moment, but which doesn’t avoid the ques-tions of history. Can one find the truth in the fragmented and in-complete? Can one think about history as collage, rather than as narrative?  

We are aided in the history itself. If you’re thinking of the war in Europe, you’re thinking about high modernism. The Dada move-ment of 1916 is an essential part of the project. One of the striking aspects of colonialism is Europe’s incomprehension of Africa – not being able to hear the very clear language that was being spoken by Africa to Europe. There is the sense of language breaking down into nonsense, which is what Dadaism was very much about. 

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Carrying through the idea of history as collage,  the libretto of The Head & the Load is largely constructed from texts and phrases from a range of writers and sources, cut-up, interleaved and ex-panded. Frantz Fanon translated into siSwati; Tristan Tzara in isi-Zulu; Wilfred Owen in French and dog-barking; the conference of Berlin, which divided up Africa, rendered as sections from Kurt Schwitters’s Ursonate; phrases from a handbook of military drills; Setswana proverbs from Sol Plaatje’s 1920 collection; some lines from Aimé Césaire.  

Likewise, the original music by Philip Miller and Thuthuka Sibisi in-cludes transformed traditional African songs as well as quotations from European composers from the time of the war like Maurice Ravel, Erik Satie, Paul Hindemith and Arnold Schoenberg.  Philip Miller & Thuthuka SibisiDuring the First World War, the English Committee for the Welfare of Africans sent hymn books, harmonicas, gramophones and ban-jos to the African battalions so that they could entertain them-selves. What songs of war, love and longing might have been made by these African men in the trenches on the Western Front or in the camps of East Africa?  

In the early twentieth century, composers such as Hindemith, Schoenberg and Ravel sounded the siren for the end of Romanticism and the beginning of a new modernism. From this arose a musical shift toward atonality and serialism. Is it possible that the Swahili phrase books and dictionaries published for the colonial commanders were as absurdist to the ear of a Kenyan soldier as the nonsense poetry of Kurt Schwitters?  

The sounds of war are violent and unpredictable. This was the son-ic reality of every soldier, porter and civilian caught up in the war, in Europe and Africa. Using collage as a tool we move from a cab-aret song by Schoenberg, intercut with percussive slaps on hymn books, to a Viennese waltz by Fritz Kreisler. Amidst this tension and instability, Africa talks back to Europe through rhythmic war songs and chants, deliberately resisting the raucous musical soundscapes of the European avant-garde. 

What did the Great War sound like to the African soldiers and car-riers who fought in it? Their experiences were not considered sig-nificant enough to be recorded or archived. We can only imagine the noises they heard or the music they made, through the multi-tude of voices and sounds we have created in The Head & the Load. 

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historical context

by David Olusoga

On 12 August 1914 the first shot by a member of the British forces in the First World War was fired. The soldier who levelled his rifle and took that historic shot was an African, a man who was fighting on his own continent against an enemy force largely made up of oth-er Africans. His name was Alhaji Grunshi, a Regimental Sergeant Major in the British West African Frontier Force, part of an Anglo-French force invading the German colony Togoland, present day Togo. The aim of the invasion was to seize the colony and destroy a radio transmitting station that lay inland, near the settlement of Kamina. Days later, transmitters on the coasts of Germany’s other African colonies – today the nations of Tanzania, Cameroon and Namibia – were battered to rubble by Royal Navy warships or captured by African troops led by British, Belgian or French of-ficers.

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The First World War was felt in Africa before the Western Front had formed and before a shot had been fired by the British Expeditionary Force in France. Shots continued to be fired on African soil for the next four years. Indeed the last German as-sault took place in what is now Zambia on 13 November 1918, two days after the Armistice, as German forces in Africa were unaware that the guns had been silenced on the Western Front.

Although few people in 1914 envisaged or described the conflict as a ‘world war’, African involvement was inevitable. By 1914 European powers effectively owned Africa, ruling over 90% of the continent. Only two states, Ethiopia and Liberia, remained inde-pendent, while the rest of Africa was divided between France, Britain, Portugal, Belgium, Germany, Italy and Spain.

Britain and her allies did not go to war in order to capture Germany’s colonial empire. However, once the conflict had be-gun, they happily did so and the First World War became, in ef-fect, the final stage in the Scramble for Africa, with the German colonies being distributed to the victorious nations in 1919.

Three of Germany’s four African colonies – Togo, Cameroon and Namibia – were rapidly conquered. The invasion of the fourth,

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Tanzania, resulted in military disaster for the British and Indian forces. After repelling the initial British invasion the Germans launched an insurgency that dragged on until 1918, costing the lives of hundreds of thousands of Africans.

The number of Africans drawn into the First World War is unknown and unknowable. Almost 200,000 Africans fought in the French Army. Meanwhile across the continent the conscription of man-power resulted in famines, which likely caused the deaths of hun-dreds of thousands of people. It was, however, the campaigns fought by the western allies against the German forces in East Africa that consumed the labour and the lives of Africans in vast numbers. The majority of Africans involved served not as soldiers but porters – often referred to as carriers. They marched by foot, following the combat units over vast distances. Across British-ruled Africa, the recruitment of African men was compulsory.

Chiefs who resisted the levees were threatened with fines or im-prisonment. In the latter stages of the war the increasingly des-perate German forces openly abducted men from their villages. As no army kept comprehensive records, the death toll among the Africans who served as carriers cannot be determined. Around a million Africans are thought to have served under the British forces and perhaps 350,000 served the Germans. One estimate suggested that the number who died under German command was between 100,000 and 120,000. Other sources suggest that at least 100,000 African carriers died while attached to the British forces.

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Profile KentridGe

For William Kentrdige, absurdism is an important source of inspi-ration, in particular, the absurdism of art movements like Dadaism. Or as the South African artist puts it: ‘One needs some-times to show the power of the irrational world as a demonstration of the limits of the rational world.’

Dadaism was a reaction to the horrors of the First World War, an outright attack on the hypocritical values of the supposedly civi-lized world, absurdism is a way of depicting the paradoxes and contradictions of post-apartheid South African society for Kentridge. He likes to quote the Franco-Romanian Dadaist and poet Tristan Tzara (1896-1963): ‘Let us try for once not to be right.’ Like Tzara, Kentridge celebrates contradictions and opacities – the absurd – in his work.

Raised in a family of anti-apartheid lawyers, Kentridge was aware of his country’s disunity from a young age. Instead of becoming a

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lawyer, Kentridge became an artist. He started making prints and drawings and studied theatre. At the end of the 1980s he started to make films out of these drawings. He refined his technique over the years. First, he films a drawing, then draws or erases some-thing and finally refilms it. This process is repeated until he has a film with his customary charcoal strokes as well as other imperfec-tions and ‘mistakes’, which is exactly his intention. Several of these films can be seen at the Holland Festival in William Kentridge – Ten Drawings for Projection at the Eye Film Museum, a sequel to the successful exhibition If We Ever Get to Heaven in 2015.

The city of Johannesburg is never far in Kentridge’s work. ‘I have never been able to escape Johannesburg’, he often says in inter-views. Consequently, his work is permeated by South Africa’s so-cial and political reality, without moralising. Recurring characters in his films are Soho Eckstein, a capitalist real estate agent in Johannesburg, and Felix Teitlebaum, a dreamer who happens to bear a great resemblance to Kentridge. In the course of the films the two characters grow closer to each other.

In 1992, Kentridge made his theatre debut with Woyzeck on the Highveld, made with the South African Handspring Puppet Company. He has been a regular at the Holland Festival: with Telegrams from the Nose in 2010, Refuse the Hour in 2012 and his Winterreise in 2014.

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Kentridge is one of the Holland Festival’s two associate artists this year. The programme includes work by him as well as by artists who inspire him, such as the Colombian Heidi and Rolf Abderhalden (Mapa Teatro). Rolf Abderhalden and William Kentridge simultaneously studied with the legendary mime artist and teacher Jacques Lecoq in Paris. Kentridge is an all-round artist.He moves seamlessly between drawing, animation, theatre and visual art. But the basis of all his work are his drawings. Sometimes they remain drawings; sometimes they become film; sometimes the film is used in theatre; sometimes they are also sung and danced. Paper Music from 2013 is a good example of this kind of multidisciplinary work. Kentridge calls it a ‘ciné-concert’. He made it together with fellow South African Philip Miller, a composer with whom he had already made the film Felix in Exile in 1993. Paper Music is an associative, often surrealistic song and film cycle, an exploration of the relationship between image and sound, and at the same time a work in which every scene, according to Kentridge, is linked to historic political events. Kentridge’s char-coal animations return, and singers Ann Masina and Joanna Dudley demonstrate their prowess as vocal artists. Paper Music can be seen at the Muziekgebouw.

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In his latest music theatre work, The Head & The Load, Kentridge focuses on the idea that history is a patchwork – not a finished story but a collage. He says: ‘One of the striking aspects of coloni-alism is Europe’s incomprehension of Africa – not being able or willing to hear the clear language that was being spoken by Africa to Europe. There is the sense of language breaking down into non-sense, which is what Dadaism was very much about.’ The Head & The Load is Kentridge’s biggest and most ambitious work to date. An international cast of dancers, actors, musicians and singers, as well as objects, shadow play and animated drawings file in a long procession over the fifty-metre-wide stage. The British newspaper The Independent called the performance ‘an electrifying collage of images and ideas.’

One of Kentridge’s main reasons for being an associate artist at this year’s Holland Festival was the opportunity to show work by the experienced and less experienced local talent he presents at The Centre for the Less Good Idea. ‘Work that really should be seen wider than Johannesburg.’ The Centre is an initiative associ-ated with his studio in Johannesburg, with which he offers talent-ed South Africans the space, opportunity and inspiration to exper-iment and work together on new material, in a country with very limited art infrastructure. He is bringing several of these artists to Frascati theatre in Amsterdam. They include South African chore-ographer and dancer Gregory Maqoma and multitalented Nhlanhla Mahlangu, as well as a completely virtual exhibition of work by various visual artists from Johannesburg: The Invisible Exhibition. The presentation at Frascati is the first time that work from The Centre for the Less Good Idea is being staged outside Johannesburg.

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aBoUt the artists

William Kentridge (South Africa, 1955) is in-ternationally acclaimed for his drawings, films, theatre and opera productions. His practice is born out of a cross-fertilisation between mediums and genres. His work responds to the legacies of colonialism and apartheid, within the context of South Africa’s socio-political landscape. His aes-thetics are drawn from the medium of film’s own history, from stop-motion ani-

mation to early special effects. Kentridge’s drawing, specifically the dynamism of an erased and redrawn mark, is an integral part of his expanded animation and film-making practice, in which the meanings of his films are developed during the process of their making. His practice also incorpo-rates his theatre training. Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including Documenta in Kassel, the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen and the Reina Sofia Museum in Madrid. William Kentridge featured at the Holland Festival in 2010 with Telegrams from the Nose, in 2012 with Refuse the Hour and in 2014 with Winterreise. In 2015, he staged Alban Berg’s Lulu with Dutch National Opera (Amsterdam). Kentridge is one of the Holland Festival’s two associate artists this year.

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 Philip Miller (b. 1964) is a South African composer based in Johannesburg. He first practiced law before establishing a career in music. His work is often developed from collaborative projects in theatre, film and video. One of his most significant collabo-rators is the internationally acclaimed art-ist William Kentridge. His music to Kentridge’s animated films and multimedia installations has been heard in museums and galleries all over the world, including MoMA, SFMOMA, the Guggenheim muse-ums (both New York and Berlin), the Teatro La Fenice in Venice and the Tate Modern in London. Out of this collaboration, the live concert series Nine Drawings for Projection and Sounds from the Black Box has evolved, touring Australia, Great Britain, Germany, Italy, Belgium, France and the United States. In 2007, Miller con-ceived and composed Rewind, a Cantata for Voice, Tape and Testimony, an award-winning choral work based on the testimonies of the Truth and Reconciliation Commission in South Africa. The cantata had its international debut in New York at the Celebrate Brooklyn Festival. Other re-cent commissions include the sound instal-lation BikoHausen: Steve Biko and Karlheinz Stockhausen in Johannesburg (2016) at Darmstadt Summer Music Festival, and his most re-

cent collaboration with Thuthuka Sibisi, the sound installation The African Choir of 1891 Re-imagined, at Autograph ABP in London, the Apartheid Museum and the Iziko South African National Gallery (South Africa). He regularly composes film scores which have garnered him many awards, including an Emmy nomination for HBO’s The Girl (2012). 

Thuthuka Sibisi began his musical educa-tion at the world-renowned Drakensberg Boy’s Choir School where his passion for performance was born. He went on to graduate with a Bachelor of Music at Stellenbosch University, completed his studies in Physical Theatre and Movement and is a graduate of the MA program at Goldsmiths in London. Thuthuka has toured extensively, performing throughout South Africa as well as Asia, South America and in Europe. Visual collaborations in-clude work with Johannesburg-based pho-tographer and sculptor, Jake Singer, pre-sented at Sustainable Empires in Venice and in Los Angeles Centre for Digital Art. Other exhibition works were presented at The Cape Town City Hall and the Wits Art Museum. As Musical Director he collabo-rated with Philip Miller in Between A Rock and A Hard Place, in The African Choir 1891 Re-imagined, in Pulling Numbers and in Notes Toward a Model Opera by William

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Kentridge. He is a recipient of the Mail & Guardian 200 Young South Africans 2017 award and 2018 Ampersand Foundation Fellow.

South African dancer, choreographer and teacher Gregory Vuyani Maqoma (1973) is regarded as one of the most talented cre-ative artists of his generation. He grew up in Soweto, and first started dancing in the late 1980s, as a way of escaping the grow-ing political tensions of his birth-place. He started his formal dance training in 1990, with Moving into Dance Mophatong, and in 1994 won the FNM Vita Pick of the Fringe prize for his first choreographic creation for this company. In 1999 he was awarded a scholarship for further studies at P.A.R.T.S. with Anne Teresa de Keersmaeker. In the same year he also founded his own dance company, the Vuyani Dance Theatre. His career really took off after this and many prizes and awards followed, including in 1999, 2001 and 2002 the FNB Vita Choreographer of the Year award, and in 2006 and 2007 the Gauteng MEC Award for Beautiful Us and Beautiful Me. In 2012 he received the Tunkie Award for Leadership in Dance and in 2014 the New York City Bessie Award for Dance. In 2017 he was the recipient of the prestigious French title of Chevalier of the Ordre des

Arts et des Lettres. Maqoma enjoys colla-borating with other artists, and has fre-quently done so, for example with Akram Khan and the London Sinfonietta, singer-songwriter Simphiwe Dana, and the theat-rical creator Brett Bailey. Maqoma was an associate artistic director of Moving Into Dance Mophatong and the Dance Umbrella festival, and from 2004 to 2010 was responsible for the Dutch Afrovibes festival. Gregory Maqoma is performing at the Holland Festival 2019 in his own chore-ographic pieces Beautiful Me, Requiem Request and Cion: A Requiem of Ravel’s Bolero.

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friendsEvery year the Holland Festival brings world class international performing arts to Amsterdam. The festival is staged at theatres, concerts halls and unexpected venues throughout the city. Visitors meet in a welcoming and festive atmosphere and always have something to talk about: the artist’ high-profile and innova-tive work and the irresistible magic of theatre and music.

The Holland Festival cannot be made without the support of pri-vate donors. Friends are the heart of the festival and their gener-ous support helps the festival to create an exciting programme each year. We are delighted to be able to present this perfor-mance with support from the Friends of the Holland Festival.

Annet Lekkerkerker,general director Holland Festival

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governmental support

production partner

funds, sponsors and institutions

patron

holland festival 2019general directorAnnet Lekkerkerker

supervisory boardMartijn Sanders, chairman Gert-Jan van den Bergh Mavis CarrilhoAstrid HelstoneJet de RanitzTom de Swaan

The Holland Festival cannot be made without the support of funding in-stitutions, private funds, corporate sponsors and individuals.

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HF Business

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board of governorsThe generous, multi-year support of the Governors not only con-sists of a financial component. With their expertise, active involve-ment and network they contribute significantly to the success of the Holland Festival.

Ronald Bax and Frank Lunenburg, G.J. van den Bergh and C. van den Bergh-Raat, Leni Boeren, Jéhan van Dijk, Bernard and Ineke Dijkhuizen, Jeroen Fleming, A. Fock, H.J. ten Have and G.C. de Rooij, J. Kat and B. Johnson, Ton and Maya Meijer-Bergmans, Françoise van Rappard-Wanninkhof, M. Sanders, Tom de Swaan, Elise Wessels-van Houdt

Governors who wish to remain anonymous.

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begunstigersB. Amesz, A. van de Beek en S. van Basten Batenburg, Ellen Birnie, Co Bleeker*, Jasper Bode, K. Bodon, Jan Bouws, E. Bracht, W.L.J. Bröcker, F. van den Broek, G. Bromberger, D. de Bruijn, G. van Capelleveen, P.M. Op de Coul, M. Daamen, J. Dekker, M. Doorman, Sylvia Dornseiffer, Chr. van Eeghen*, Ch. Engeler*, E.L. Eshuis*, Sandra Geisler, Susan Gloudemans, E. de Graaff Van Meeteren,F. Grimmelikhuizen D. Grobbe, Annelies Heidstra and Renze Hasper J. Hennephof, G. van Heteren, L. van Heteren, S. Hodes, J. Hopman*, J. Houtman, E. Hummelen, Wendy van Ierschot, Yolanda Jansen, P. Jochems, Jan de Kater, Ytha Kempkes,J. Keukens, E. Kocken, Bas Köhler, A. Ladan, M. Le Poole,M. Leenaers, K. Leering, M. Levenbach, T. Liefaard, A. Ligeon,T. Lodder, R. Mackenzie, D. van der Meer, E. van der Meer-Blok,A. de Meijere, E. Merkx, Jaap Mulders, H. Nagtegaal, La Nube, Kay Bing Oen*, E. Overkamp and A. Verhoog, P. Price, F. Racké,H. Ramaker, J. Rammeloo, Wessel Reinink, M. Roozen,A. Schneider, H. Schnitzler, G. Scholten, Joanne Schouten,E. Schreve-Brinkman, R.W. Siemers and I. Janssen, P. Smit,G. Smits, A. Sonnen, W. Sorgdrager and F. Lekkerkerker, K. Spanjer, Reinout Steenhuizen, Farid Tabarki, P.-M. H.-L. Tegelaar,C. Teulings, H. Tjeenk Willink, A. Tjoa, M. Tjoe-Nij, Y. Tomberg, Kurt Tschenett en Sasha Brunsmann, H. van der Veen, M.T.F. Vencken, A. van Vliet, R. Vogelenzang, M.M. de Vos van Steenwijk,A. Wertheim, M. Witter, M. van Wulfften Palthe, M. Yazdanbakhsh, P. van der Zant, M.J. Zomer, P. van Zwieten and N. Aarnink

Begunstigers who wish to remain anonymous.

* extra contribution

jonge begunstigersHelene Bakker, Aram Balian, Ilonka van den Bercken, Femke Blokhuis, Quirijn Bongaerts, Jonne ter Braak, Dirk Dekker, Matthijs Geneste, Hagar Heijmans, Ric van Holthe tot Echten, Brendon Humble, Jort van Jaarsveld, Aron Kovacs, Judith Lekkerkerker, Gustavo López, Pieter van der Meché, Frans Muller, Boris van Overbeeke, Jill Pisters, Menzo Reinders, Peter Ruys, Guus Schaepman, Eerke Steller, David van Traa, Rosanne Thesing en Melle Kromhout, Frank Uffen, Frank Verschoor, Tristen Vreugdenhil, Lonneke van der Waa.

Jonge Begunstigers who wish to remain anonymous.

liefhebbersAll 629 Liefhebbers.

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Beschermer - from € 1.500 annually (or € 125 per month)As thanks for your considerable contribution to the Holland Festival’s international programming, you receive an invitation to the opening performance and exclusive gatherings in addition to free tickets and other privileges.

Hartsvriend - from € 5.000 annually We invite Holland Festival Hartsvrienden to become more closely acquainted with the makers of the Festival and meet like-minded people and guests.

Donations to the festival are tax-deductibleSince January 2012 a special tax law is in effect which makes it more advantageous to make charitable donations. Called the ‘Geefwet’, this law allows you to claim your deductions to cultural organizations with ANBI status with an additional 25% for tax ben-efits (a total of 125%). The Holland Festival has such an ANBI status. The fiscal advantage applies to donations that total a maximum of € 5.000 annually. If you donate more than € 5.000 to regis-tered charities, you can deduct the remaining amount for the reg-ular percentage (100%). The advantages of the Geefwet apply to all taxpayers (private parties and businesses) and are applicable to both individual and periodical gifts.

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Advantages of a periodical gift Restrictions apply to deductions for individual gifts. Individual gifts are tax-deductible when the total amount of gifts given in one year surpasses 1% of your income, with a minimum of € 60. The amount given above the minimum threshold is tax-deducti-ble. The maximum deductible amount is 10% of your threshold in-come. There are fiscal benefits for periodical gifts with an annuity construction for five years and upwards. If you choose to support the Holland Festival for a minimum of five years, your gift will be fully tax-deductible.

If you would like to join us, go to our website hollandfestival.nl (Support HF) for more information or call Liza Meulenbroek for an informal talk without obligations: +31(0)20 – 788 21 20.

Leave a legacy or a bequest The Holland Festival believes that live, performing art can contrib-ute to a better world. Art expands the viewer’s horizon. It requires effort from the audience: sitting still, turning off phones and sur-rendering to the artwork. This investment and concentration of-fers a different perspective – a look at other people’s lives and their choices – which can be surprising, shocking or moving the viewer.

For over 71 years the festival has been playing a leading role in the introduction of new names to a large audience. It invests in artis-tic venture capital, which produces unforgettable eye-opening and exciting experiences.

Remembering the Holland Festival by leaving a gift in your will, no matter what size, allows the festival to build and develop its work for future generations. We are happy to discuss the possibilities with you. For more information, please contact Liza Meulenbroek on +31(0)20 – 788 21 20 or liza.meulenbroek@hollandfestival.nl.

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Holland FestivalPiet Heinkade 51019 BR Amsterdamtel. +31 (0)20 – 788 21 00info@hollandfestival.nlwww.hollandfestival.nl

textWilliam KentridgePhilip MillerThuthuka SibisiDavid OlusogaVincent Kouters

text editorKaren Welling

design thonik

lay-out Mark Drillich, Erna Theys

photography© Stella Oliverportret William Kentridge © Marc Shoulportret Philip Miller © Elen Elmendorp

© Holland Festival, 2019 No part of this publication may be reproduced and/or published by any means whatsoever without the prior written permission of the Holland Festival.

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