News about any and all events in which poetry films/videos are prominently featured, whether or not they include an open competition. Please let us know about any we might miss. And don’t forget to check out our page of links to poetry film festivals. All festivals, events and calls for work are mentioned by MovingPoems with our best efforts and in good faith. However, do check all details yourself as we cannot guarantee accuracy, and make your own judgements because we cannot verify the things that we share. Events may fail for a variety of genuine reasons, or may be a scam to elicit fees.
The 12th International Video Poetry Festival will take place in Athens at Fri. 11 and Sat. 12 April 2025. The festival attempts to create an open public space for the creative expression of all tendencies and streams of contemporary visual poetry. The IVPF has been around since 2011. It is one of the largest international platforms for video poetry. Every year, it offers poets, film directors, video artists and festival makers from all over the world a platform for creative exchange, brainstorming and meeting with a broad audience. Poetry readings, live performances, concerts, retrospectives, exhibitions, performances, workshops and lectures showcase the diversity of the genres of video poetry and spoken-word music.
The International Video Poetry Festival happens in two different zones. The first day is the Show Room Video Poetry, a unique cinema hall zone that will include video poems, visual poems, short film poems and cinematic poetry and performances by artists from all over the world (America, Asia, Europe, Africa). The second day is the Live Performance Zone with multimedia poetry readings, concerts of experimental music, workshops and spoken word lives.
Poets, filmmakers, video and digital artists, media and performance artists are called to submit creative works to the 12th Annual International Video Poetry Festival in Athens, Greece. The festival celebrates and will screen a large scope of video projects developed through the medium of poetry. The International Video Poetry Festival will also host a series of panels, guest speakers, workshops, and public dialogues regarding film and video poetry. In addition to the screenings, programmers also curate a video art exhibition.
There are no restrictions regarding when the film was produced or if the film has premiered regionally or internationally. There are no restrictions on subject matter, theme, topic, or the language of origin. The International Video Poetry Festival will accept submissions of poetry films, filmpoems, digital-poetry, poetry video, Cin(E)-Poetry, spoken word films, videopoema, visual poetry, choreopoems, poetrinca, media poetry, and all films and videos that are driven visually by text or voice.
Live performances, video mapping, installation proposals, and grand-scale video art presentations that contain strong aspects of poetry are encouraged. The IVPF also calls for experimental film and video work that explores poetry or literature whether it be oral, written, visual, or symbolic. This includes non-narrative work and the avant-garde.
The IVPF strongly considers artwork that examines and challenges traditional visual communication methods while continuing to function as a tool for exploring poetry. The International Video Poetry Festival will consider documentaries that focus on poets, poems, poetry, poetic technique, literary movements, and historical events within these realms. The documentaries must have English or Greek subtitles.
The IVPF also calls for video work that explores poetry and literature whether it be oral, written, visual, or symbolic. This includes the film essay or cinematic essay, non-narrative work, and the avant-guard. We will also strongly consider work that challenges traditional and current visual communication methods while continuing to function as a mode for exploring narrative and personal expression.
Organizer and promoter of the International Video Poetry Festival are the Institute for Experimental Arts in co-operation with Void Network.
Awards & Prizes
Every year the committee of the Institute for Experimental Arts the 10 most outstanding video poems of the annual festival. Τhe committee is composed of the official member of the nonprofit cultural society Institute for Experimental Arts.
Rules & Terms
Deadline: All submissions must be submitted, emailed, or postmarked no later than 15 February, 2025.
One project title per submission form is allowed. All languages are allowed (including English or Greek subtitles)
Artwork based on poems and not longer than 20 minutes can be submitted. All languages are allowed.
From the submissions, a program committee makes the artwork selection for the festival program. A jury made up of representatives from the fields of poetry, film and media will select the video poems. The 12th International Video Poetry Festival will not offer notes or feedback on any submitted films or projects. No revisions will be accepted once an entry has been received. Once payment has been processed, IVPF will not provide a refund. All decisions made by the committee will be final, and no refund of the submission fee will be provided.
ALL ENTRIES must be subtitled in English or in Greek. In the event that the submitted project is accepted for inclusion within the 12th International Video Poetry Festival the submitter agrees to provide each of the following rights to The 12th International Video Poetry Festival without reservations, conditions, or qualifications: (a) the right to use footage, stills, and information from or relating to the project for promotional purposes (b) the right to issue and authorize publicity concerning the filmmakers and the project and to use all associated names, likenesses and biographical information.
The IVPF will announce the 2024 program selection in April 2025. The 12th International Video Poetry Festival will take place on April 11-12.
The International Video Poetry Festival is a project of the Institute for Experimental Arts in cooperation with Void Network in Athens / Greece. If you have any questions : theinstitutecontact(at)gmail.com
Process Submission Fee
Deadline for all submissions is February 15, 2025. The submission fee is 8 euros per video or media project.
If you want to propose us a performance, lecture or any other idea, you are very welcome to send them to the following email: videopoetryfestival [@] gmail.com
Somehow we missed the opening-date announcement back in July, but poetry filmmakers still have until February 25 to submit to the 2025 festival. Here’s the call-out:
Through the Weimar Poetry Film Award the Literary Society of Thuringia and the Weimar Animation Club are looking for innovative poetry films.
The aim of the award is to improve the exchange between authors and filmmakers in Thuringia and Central Germany, to sharpen the perception of poetry in multimedia contexts, and to create more awareness for the experimental short film genre »poetry film«.
The competition is part of the Poetryfilmtage (International Poetry Film Festival of Thuringia).
Filmmakers from any nation and of any age are welcome to participate with up to three short films of up to 10:00 mins, which explore the relation between film and written poetry in an innovative, straightforward way. Films that are produced before 2022 will not be considered.
The Weimar Poetry Film Award stands for an independent and competent awarding process. The jury is international and consists of three jurors with expertise in the fields of poetry, film production or criticism, and festival organization. The competition films are nominated by a program commission. During the festival, the jury selects the winners of the Jury Prizes in the categories »Best Animation« and »Best Real Film«. Both awards are endowed with € 1,200. A €250 audience prize will also be awarded by the cinema audience.
The competition »Weimar Poetry Film Award« is financed by the State Chancellery of Thuringia, the Sparkasse Mittelthüringen, and the City of Weimar.
Once again, this August, we gathered in Drumshanbo to screen our 18 shortlisted films. It was a miserable Friday evening and we could hear the driving rain cascade off the roof and hammer down the drain pipes of The Old Mayflower Ballroom, a thousand miles away from the baking sunshine, open doors, and coffee stand days of the two previous years. Still, the people came and Willie, along with his faithful dog, worked his technical magic, setting up screen and sound so we could cozy down to two hours of entertainment and prize giving.
This year we were chuffed to have 175 entries from 21 countries worldwide, with a huge sweep of talent present from established film makers and new names. As I said at my intro I could have easily chosen a totally different 18 and they would have been just as good. However in the spirit of eclecticism and inclusiveness I chose films from a myriad of styles and practices. The result, I think, was a selection where everyone in the crowd found something to enjoy.
Still image from Bakers Son by Patrick Gamble
We had humour and slapstick comedy from Australia’s Patrick Gamble with Bakers Son. We had black humour and collage animation from the US with Michael Mitchell’s Resume (an account of Dorothy Parkers famous poem about suicide). It was very gratifying to be able to show Finn Harvor’s excellent elegy of his late father, which contained humour and pathos in equal measure. People were very taken with the rhythms and musicality of Kenneth Karthik’s Punjabi Market from Canada. The subtle message about sexuality and how different communities and cultures adapt to a changing world really struck home. Barry Hollow’s Cap-cut created-struggles of life-piece was touching, and it was wonderful to hear the Scots of his childhood. I must say it reminded me very much of Burns with his ‘many a slip twixt cup and lip’. Eileen and her crew provided half time refreshments, wine and nibbles, then we returned to more great films.
Still from Resume by Michael Mitchell
At the end we introduced the poets/filmmakers who had travelled. Mary Guckian, from just over the road (the first lady of Leitrim Poetry) spoke of how Eamon De Burca adapted her poem Night Time, a tale of childhood memories. His two daughters starred and chose their own dresses. It was a realistic interpretation, but the subtle film work and touching reminiscences made it very satisfying.
Tara Luger and Julia Galley from Vienna and Freiburg traveled specially for the event. They made their film as part of an Erasmus module assignment while studying in Belgium. The narration was in Japanese and the narrative had us thinking all sorts of things until the final twist explained everything. Houseplants has to be watched to be appreciated. They regaled us later in the pub with stories of their Irish connections.
Csilla Toldy, a well known poetry film maker and lecturer, came south and explained to us the story of Jewish Lithuanian poetess Matilda Olkinaite (My Dear Idealist). Csilla’s use of refrain, overlay, historical images and aged modern footage created a haunting space in which to relay the poignant poetry of the victim of Nazism.
Anne MacDonald spoke emotionally of her own mother, who was the subject of the short animated piece, Crows’ Books. Animated by her niece (Kate Hanlon—away in Australia) it was very much a family affair.
Ceara Carney, actor and tour guide, came from Dublin. There were fewer environmentally driven films submitted this year, I hope that is not a symptom of climate change fatigue. Ceara’s film Residents of 49 represented the cause well, her spoken-word mastery energising with rhyme the beautifully filmed (on super 8) goings on of nature in her back garden.
There were other great films, such as Olaf Boqwist’s Pained Flowers/Printed Leaves from Germany, Jane Glennie and James Kenward’s Dark, Mersolis Shone’s Repeat from Austria, Andre Chiaradi’s My Son, Diek Grobler’s – I haven’t told my garden yet, Brent Walbilligs – Ad Hominem from Canada, a film of post imperial introspection.
But there had to be winners, and Eileen O’Toole, our Chairperson, awarded, in absentia, a lovely set of handmade Drumshanbo pottery to Marcella O’Connor from Kerry, for Best Irish Poetry Film. Her film, Night Drags, touched me. It was an interpretation of a poem by Aogán O’Rathaille (the Gaelic Bard of the 17th Century). I am forever intrigued by old Ireland and this piece, filmed so beautifully around the west coast, capturing rutting stags in Killarney and keening heard of seals on a Blasket beach, seemed to reach deep into the past to that time of desolation and dispossession. Also it was nice to have an Irish language poem in the set.
Still from Blink Once by Jim Haverkamp
But our winner, this year for the first time from outside of Ireland, was Jim Haverkamp’s Blink Once. A film he made when paired with the fine American poet, Karin Gottshall as part of the Filmetry Project in Michigan. Jim gave us his acceptance speech via video, humouring us with his jibes about Jameson Whiskey while explaining how he made the film by combining the discovery of an old book about metal detecting with Karin’s poem of childhood memory. Many people asked me why I picked it. Put simply, it worked for me. It brought the magic out. The magic of the poem, the magic of the story. It’s all the little things that make it work. The old-style, low-definition camera work, the stark colours (blue, brown, white). The pacing and dramatic intent in the narrator’s voice. The lack of connection between the visual and the words, and yet paradoxically, the perfect symmetry between them. And of course the perfect words; words about gender, sexuality maybe, or just about dreaming and hope, longing. Whatever it was, it was beautiful.
REELpoetry/HoustonTX 2025 is open for submissions. The organizers say that “By popular demand, we’re extending the submission time to six months.” The festival will take place “online March 31- April 4; in person APRIL 5-6; with online workshops April 7-11.” They also note some other changes:
NEW! What could be better than videopoetry to engage coming generations of tech savvy youth. We’re delighted to support poets and filmmakers 18 and under at the festival with a new FREE “Young Creatives” program. If you’re a parent or a teacher, please encourage your kids to submit to this free program. See Rules & Terms for details specific to this program.
NEW IN 2025! We’re thinking about categories differently, and curious to see how one category where the poet and filmmaker are the same person and another where the poet and filmmaker are different plays out. Five notable international curators and presenters who have participated in our past festivals will be judging the submissions. They can’t wait to see your work!
8th Annual Cadence Video Poetry Festival, Still Image: “Adhan” (2023) by Kamyar Mohsenin
Now in its eighth year, Cadence Video Poetry Festival is open for submissions from July 1st 2024 through January 15th 2025. The hybrid festival, which features screenings, workshops and discussions on poetry film, will take place in person in Seattle from Apr 25–27 & online Apr 25 – May 4. Selected video poems receive an artist’s payment.
According to Rana San, Co-Director/Co-Curator of the festival, “Participation in Cadence is open to work that is new or old, short or epic, premiere or seasoned traveler. If it combines text and moving image, we want to see it!”
The festival’s description is worth highlighting:
“Video poetry is language as light. As an art form, video poetry is lucid and liminal—on the threshold of the literary and the moving image. It articulates the poetic image visually, rather than metaphorically—it shifts words from page to screen, from ink to light. A video poem makes meaning that would not exist if text was without image, image without text.”
Cadence also puts on a Virtual Poetry Book Fair during each festival, the most recent of which is still available online.
Cadence Submission Poster (2025)
Additionally, artists can also apply for the Cadence Artist-in-Residence program, which “provides resources and tools for the development of a new video poem to screen at the festival.” Launched in 2019 and open to Seattle-area residents, the program accepts applications from individual artists or collaborative teams. Those selected are granted access to the Northwest Film Forum’s film equipment and editing lab. The deadline for residency applications is December 15, 2024.
An online archive of selected award-winning videopoems from the festival is available on their website for those interested. However, screening the films requires ticket purchase from Northwest Film Forum’s Eventive virtual cinema. Some filmmakers recently selected for Cadence have made their work available on other platforms, such as “Only” (2023) a film by Maxine Flasher-Düzgüneş based on a Rebecca Foust poem, featured previously on Moving Poems.
The annual festival is organized by Chelsea Werner-Jatzke and Rana San and hosted at the independent film and arts nonprofit, Northwest Film Forum, founded in Seattle in 1995. Cadence has become a fixture on the video poetry festival circuit so send in your work!
A new online review of the Cadence Video Poetry Festival takes a deep dive into poetry films that incorporate dancing for SeattleDances, “an advocacy organization dedicated to supporting Seattle-area dance performance through in-depth journalism and free resources to dance artists and audiences.” Author Kari Tai took advantage of the festival’s hybrid format to engage with the films at home—an experience I’ve always likened to solitary reading, since the viewer can pause and/or re-watch as often as she likes. For example:
Each time I watch Antipodes, I glean something more of the yin and yang of relationships the poem describes. The scenes toggle between black and white and color underscoring the complementary interconnectedness the poem expresses. The choreography amplifies this tension as dancers pace facing each other across a field to the line The ebony magnetism of existence binds poles. Throughout the video, the spoken words rise and fall with the crescendo of the music and crashing of the surf as the dancers feet tattoo the earth–a demonstration of how choreography and poetry use repetition, theme and variation that stimulates empathetic waves of emotion in the viewer. The pace of the video editing between scenes acts like poetic punctuation or choreographic choices for stillness amid frenetic movement.
Another film prompts this observation:
The festival literature remarks that throughout history poets have been persecuted for not writing the party line and it strikes me that dance also has often been outlawed as a subversive form of expression. When I think about how video is instantly shareable across the world via social media and how, like dance, it offers a form of communication that transcends spoken language, it is understandable how video has become a powerful tool of modern revolt. Exiles combines all three—video, dance, and poetry—a triple threat, an amplified way to shout out to the world.
a still from Exiles (Exils), directed by Josef Khallouf
Why does dance work so well in videopoetry? Tai has some ideas:
I think one thing that is key to illuminating my empathetic response to watching Only is a principle I learned through my training as a Dance for Parkinson’s instructor. Scientists have discovered that watching someone dance pleasurably activates the brain’s movement areas. In the classes I teach, the participants feel a fuller movement experience just by watching the teacher even if they don’t express it on the outside.
Perhaps that is why when we watch dance, even about topics we have not personally experienced, we can feel aligned with the “otherness” dancers can express. This happened for me watching Fairies, a video poem about growing up queer on a farm in the Netherlands.
The film elements in 2024 includes a screening of The Book of Conrad followed by a Q&A with CAConrad, and a Best Of ZEBRA Poetry Film Festival. Over the whole event there are a total of three exhibitions, 12 events and more than 60 participating Berlin poets, musicians and artists.
An evening of film, poetry and music in New Zealand, inspired by Titirangi and its rainforest surrounds on 18th June 2024.
The programme at this live event includes live poetry readings with musicians and a dancer as well as films. The organisers say:
Ron Riddell will read selections from his recent poetry books, with translations in Spanish by Saray Torres de Riddell. He will be accompanied on Raeul Pierard on cello and Stuart Lithgow on oboe.
Gus Simonovic will present a series of his works in an improvised dialogue with the musicians and a contemporary dancer. In his own words: “For a poet, any language is just one big playground. Poetry exists somewhere in the illusive space between words and music. Trying to fit visible and invisible, shapes and figures, radiances and feelings into words is essentially an impossible task and a thrilling challenge.”
Martin Sercombe will present cine collaborations with Ron Riddell and Gus Simonovic, alongside short films inspired by the poetry of e.e. cummings.
The Museum of English Rural Life in Reading is hosting a poetry-film screening and discussion on June 12 that should be of particular interest to Moving Poems readers:
Join us for a presentation of short films created by poet Toby Martinez de las Rivas, filmmaker Jane Glennie, and sound artist Neda Milenova Mirova.
Together, they question bucolic depictions of rural life, and explore notions of the uncanny, the intangible, and the obscure in relation to landscape, agriculture, and rural social practice. The films have been developed from initial work by Toby when he was writer-in-residence at The MERL, working with images from the Eric Guy photographic archive.
For many users of the internet, The MERL is a fabled place, so I am dead chuffed to be able to claim some association with it, if only second-hand. The event is live-only, as is perhaps fitting for a museum celebrating real life at its most tangible and pungent, and dare I say most absolute. For those who are able to attend, it’ll be from 6:00-7:30 p.m. on 12 June. Here’s the link to book free tickets.
Incidentally, this is not The MERL’s first go-round with poetry film. Remember I, Sheep?
This year in person 31 May/1 June, with the online playlists available until 15 June 2024, the festival in Weimar always has a thoughtful and thorough programme of poetry film. It is all very well documented on their website and in a downloadable pdf programme: https://poetryfilmtage.de/
In this year’s prize award the organisers say they received “479 films from 51 different countries … the program commission nominated 12 films for the competition”. But do take a look at what else is on the programme beyond the competition selection.
The Lyra Festival is Bristol’s (UK) poetry festival, and 2024 is the festival’s sixth edition. The theme for this year was Poetic Futures, with a focus on technology and the future and also imaginative new worlds.
I was invited to view Cancer Alley, a poetry film created by UK poet, Lucy English, with US filmmakers Pamela Falkenberg and Jack Cochran, with digital media effects company Holotronica.
The film itself is a powerful insight into the lack of responsibility that multinational companies take (or governments enforce) for the impact of their activities on the environment. It highlights the industrial area of ‘Cancer Alley’ in Louisiana and the devastating problem of pollution created by the factories at the heart of the global petrochemical industry. It is impossible not to be deeply disturbed by the situation humanity finds itself in, and reflect on past situations that we still haven’t learnt from. A short poetry film is vastly apart from an Oscar-nominated blockbuster on so many counts (not least budget of course), but I think it is a compliment to the quality of this film that I brought to mind Erin Brockovich and felt depressed that 24 years on from the film, and 50+ years on from the Hinkley ground water contamination incident that it features, that here is another horrible situation that is, inevitably, just one of so many more around the world. I hope that the film is a tiny stepping stone to widening knowledge of Cancer Alley.
Still image from Cancer Alley
The film was presented as a continuous loop at the Watershed arts centre in Bristol. It was situated in its own darkened space, just off the main bar, and was free to enter and exit at will. The audience steps in and faces the double screen presentation, where they can watch standing or sitting.
This was a great venue because it was open all day for curious people to drop in and take a look. For me, I think the chance encounter is hugely valuable for drawing in audiences from a wider base than would choose to specifically attend a film screening of any kind of poetry or art film. The film was prominently featured in the brochure for the festival too, which I think is very encouraging for poetry film. It can be all too easy for organisers to put events that run for a duration at the back of a brochure (where they are easily overlooked), after the ‘headliner’ daily events. I hope this encouraged festival visitors to plan to drop in to the Watershed before, or after, their ticketed events, and people hanging out at the bar for a coffee or some lunch to take a look too.
The film was advertised as a poetry film hologram exhibition. I have to say, this was the most disappointing thing about the presentation. With hologram in the description, I was expecting a 3-d element to the film and felt I was mis-sold on that. I’d been hoping for something more like the ‘Apparition’ I’d seen of a Dominique Gonzales-Foerster piece in her retrospective exhibition a few years ago that was in Dusseldorf and Paris, but in the poetry film genre. I’ve since checked to see if I had misunderstood the nature of holograms, but a generally defining feature of them is the creation of a 3-dimensional effect. Cancer Alley is presented with a layered element. The film is split between footage that appears on a back wall, and images and text that is on a foreground transparent gauze screen. Together these are beautifully done. I particularly liked the integration of the type on screen, and the images of smoke and yellow rain. However, for me, these are flat layers rather than 3-dimensions, albeit with a depth to them.
Holotronica, the company that English, Falkenberg and Cochran worked with on this, does create 3-dimensional presentations, and in fact claims itself as ‘world-leaders in hologram effects’, with many amazing shows and events, including Beyoncé, on their website. They have specialist products for projection – including the specialist gauze screen. Unfortunately, though the quality of the image on the foreground gauze was just beautiful, it was extremely hard to appreciate when the projection on the back wall was on a screen that did not fill the ‘window’ in the gauze. The surroundings of the back screen are all too visible because they were not blacked out. I had to work hard to suspend disbelief that I wasn’t looking through the gauze layer into a classroom with a whiteboard (effectively I was), and that a teacher wasn’t going to appear soon to set geography homework on the effects of pollution.
Installation view: smoke and lettering on foreground translucent screen, with oil industry images on background screen.
But there were also serendipitous pluses at work too. There were points at which the projection spilled onto the ceiling and the adjacent metal pipework and surrounded the viewer, and those moments felt stunningly immersive. They brought me into a comparison with feelings I had inside the Sarah Sze and Artangel project ‘Waiting Room’ last summer in Peckham Rye, London.
Images from the films where they fell across the room and ceiling
I was fortunately able to chat to all three of the creators, Lucy, Pam, and Jack, after I watched the film. They see the result at the Watershed as their pilot project, something that they would like to build upon, leading to something better and more ambitious in the future. For this event specifically, they are fully aware of the limitations of the technical presentation of the film at the Watershed. Budget is always an issue because the technical equipment is very expensive, and it does create limitations and compromises. They would have liked to have been able to black out the area behind the gauze. Some artists are of the mindset that they would not show their work in less-than-ideal conditions. But I am very much with Pam on her views that doing something and showing work on a shoestring is better than doing nothing – it can only mean learning from the process and helping to demonstrate what is possible and what might be achieved in future. They would love to be able to bring this work to other venues, and I hope it helps them, and others, to bring poetry film installation ideas to fruition in the future.
From left to right: Pamela Falkenberg, Jack Cochran (Outlier Moving Pictures), Lucy English
It is sad that creatives are so often put in the difficult position of doing something with nothing or very little, and/or funding it themselves. The technology is paid for, the technical staff are paid for and little is left for either the details of fulfilling the true creative potential of the work that has been created, or paying the artists fairly. (I recommend anyone interested in this to check out the campaign of UK-based artist Lindsay Seers – Frank Fair Artists Pay)
It is also interesting to reflect on the differences between this and the VR experience Abandoned Library that I saw at the MIX 2023 conference at the British Library. The VR meant that the creatives were in full control of the ‘environment’ in which the viewer was placed. There were similarities in the environmental theme, and the use of smoke, mist and rain to create mood and feeling for the piece. However, VR is still so restrictive and uncomfortable to experience. I’m not sure I would readily swap the ease of stepping into a room and comfortably sitting down, for something I’ve got to wait my turn for or book a slot, then sitting awkwardly in a swivel seat while someone (at far too close quarters) adjusts the headset while I feel like I am about to have a minor medical procedure. I would rather be in a room with Cancer Alley.
Like Pam Falkenberg, I am always going to be a fan of doing something on whatever basis you can manage regardless. Poetry film is a powerful genre, but making events and opportunities where it can step up a level to become impactful through immersion is, for me, something to keep pushing for. Cancer Alley is to be celebrated as another stepping stone forward in presenting poetry film in more immersive and creative ways.
I first visited the Netherlands in the early 1990s on a field trip with my Typography & Graphic Communication degree. Over the course of two field trips we were lucky to take during the course, we also visited Belgium, Germany and Italy. We really got the feeling that the Netherlands values design and creative output perhaps more than the rest of Europe and my own UK. Over the years since, my impression hasn’t really changed.
The Nederlands Poeziefilm Festival has been running for a couple of years so far. It is Netherlands focussed and not international. I’m sure if you’re from the Netherlands you will know it already or will want to check it out. The 2024 edition will be 8-9 November this year.
But I would also encourage all curators and festival organisers to have a look at the website and programme, and infer (if you don’t speak Dutch and are relying on Google translate) what Hans Heesen, Helmie Stil and Lex Veerkamp are achieving with their festival in a small country with a niche genre.
I’m sure it is still not easy to achieve, but it’s exciting to see what the possibilities might be given a positive following wind.
