So I checked with two members to find out which section of the record store they would like their music to be found.
Flautist Jana Arns (photo, front), who also spends a lot of time taking care of the administrative rigmarole that comes with self-managing a band: “No idea. We escape classification.”
According to double bass player Joris Vanvinckenroye (photo, second from left), who writes all the music, that’s “a disadvantage when it comes to promoting and marketing the band.”
This sixth edition will once again bring some of the world’s finest contemporary dance companies and choreographers to twist, crawl and spin across the city’s stages in Flanders’ largest festival dedicated to dance. A joint initiative between CC Brugge and the Concertgebouw, December Dance 12 takes place in four venues over 10 days.
De Sterck has researched rites of passage and the stories that accompany them for more than 25 years. Her 2010 book Bloei (Flower) is a collection of 60 tales from five continents focusing on the development of femininity as a girl transitions into womanhood. “The stories in Bloei are also reminiscent of fairytales because they also incorporate important lessons and themes,” says de Sterck.
It’s rather the stuff of fiction: When Flemish artist Jan Yoors was a teenager in the 1930s, he joined a group of gypsies passing through Antwerp. In the years to come, he travelled with them and became a gypsy by adoption, all with the approval of his father, Eugeen, a painter and stained-glass artist, and his mother, Magda Peeters, a poet.
This experience of the gypsy culture and the ideas about art and society cherished by his deeply religious yet cosmopolitan parents would have a lasting influence on Yoors’ career.
But Schoenaerts helped him out, and in the end, wrote the lyrics for three of his albums.
At that point, Schoenaerts had mainly worked as an actress – like her famous grandfather, the late Julien Schoenaerts, and her uncle, the now famous Matthias Schoenaerts. She also had a project with Marianne Loots, a combination of comedy and music.
The days when the 18-year-old Sanne Putseys made her first stage appearance in Leuven’s Het Depot are long gone. Now known as Selah Sue, her star has risen quickly in the six years since.
Since releasing her eponymous first album nearly two years ago, she has spent studio time with internationally acclaimed soul artists such as Cee-Lo Green and Meshell Ndegeocello, opened for Prince, sold a massive 600,000 albums in Europe and signed a major US record deal, with accompanying tour.
Housed in a striking modern building in Brussels’ Sint-Katelijne district since 2009, Bronks is no shrine to nostalgia or escapism: It has its mind to the future and its eyes to the world, as symbolised by the building’s glass facade, which overlooks the busy Varkensmarkt and floods the place with natural daylight.
It also stands out in its refusal to talk down to its young audiences – productions are profound and stimulating, socially relevant and frequently unsettling, even if they are told in a style and a language simple enough to be understood by all.
Bozar’s retrospective of Flemish expressionist Constant Permeke may feel immense, but the 130 works on display are just the tip of the iceberg. “In 1930, in this building, he mounted an exhibition with around 600 pieces,” says Willy Van den Bussche, curator of the retrospective. At this point, Permeke still had more than 20 years of active life ahead of him, during which he continued to paint and draw at a terrific rate, while developing a new interest in sculpture.
Forget the classics – contemporary art is by nature a cosmopolitan aff air. Two of Brussels’ premier purveyors of contemporary creation – Flemish venues Kaaitheater and KVS – have even put together special programmes for expats like us.
Now he’s back, with something very different: a new art book created with his friend Ben Goovaerts and published by Lannoo. And he’s still only 17. Flanders Today caught up with the wonderkind from Kapellen, Antwerp province.