For the 50th time, tenor berserkers, subversive audio agitators, electro nerds, angry poets, offbeat instant composers, breathtaking virtuosos and the legends of tomorrow descend on a small village on the tranquil Lower Rhine: it's Whitsun, it's moers festival!
A world event of the unpredictable, a festival of the sharp senses - some people looked at the world a little differently afterwards and came back the next year even more curious.
Once a child of the 68ers, founded in the year of Mark Spitz's 7 gold medals, the festival has experienced and survived many things. Hardly anyone involved in the first German New Jazz Festival would have believed in 1972 that it would be the start of a festival history that has lasted 50 years so far. That this meeting point of the avant-garde would survive political shoals, brutal austerity measures, changes of artistic directors, generations and venues, and even defy a worldwide pandemic with creativity and imagination.
We are in the midst of a battle for the future - the future of art, of culture, of social issues, of education. All things that cannot be quantified in purely economic terms. The moers festival is making a clear statement here. The 50-year-old idea of Moers, with its subversive power, its ability to reinvent itself again and again, its visions and rule-breaking, the realization of improvisation as a social idea, takes up the fight for a new future of art, education and culture.