NETHERLANDS: Amsterdam Dance Event will host its 22nd edition from October 18 – 22 at several venues across the titular city, with the DeLaMar Theater taking centre stage.
After 16 years stationed in the Felix Meritis, the festival will move to the DeLaMar Theater this year to allow major renovations to take place in its old venue. The DeLaMar is situated next to the Leidseplein and De Melkweg and will also allow the event to bring previously separately-housed events such as ADE Dance & Brands under one roof.
“Having been sold out for the last seven years, plus with more delegates coming from an ever greater number of countries – especially Korea, China, Africa, India and South America – the renovation of the Felix Meritis offers us an opportunity to try a different venue,” said ADE director Richard Zijlma. “We are excited and optimistic about the new conferencing and networking possibilities that the DeLaMar Theater offers, and we’re confident that delegates will find it a spectacular and inspiring space.”
ADE has also introduced a new ticketing system this year that allows delegates to choose between day and night time activities with a five-day daytime-only pass now available. The classic five days / nights passes are also still on offer for delegates who want to embrace the range of business and entertainment possibilities that ADE offers each year.
The 2017 panel programme is coming together with Morocco under the spotlight in this year’s ADE Global View. The North African country currently hosts 15 festivals each year, including Atlas Electronic, Oasis, MOGA, Transahara, and Beyond Sahara, which are almost exclusively dedicated to electronic music. Additionally, Morocco boasts a range of large events featuring world music (Gnaoua), jazz (Jazzablanca) pop (Vertigo) and sacred music at the Fes Festival of World Sacred Music.
ADE’s conference schedule will also feature the sessions: ‘We’re Calling It Ethnotronic’, covering the growing electronic scenes in South America, Africa and parts of Asia; and ‘Who’s Stealing Our Best Songs?’, looking at the land-grab by publishers as IP rights on classic sounds from the 80s expire.
