The Poetry International Festival in Rotterdam: A ‘Middle ground’ of Ideological Values During the Long 1990s?

This study examines how international political developments during the long 1990s (1989–2001) influenced the Poetry International Festival, focusing on both its programming and public image. It asks whether changing geopolitical conditions affected the selection of poets and the themes addressed in festival discussions. To analyse the festival’s image, the study employs Jérôme Meizoz’s concept of posture, adapting it so it encompasses a set of auto- and hetero-representations of a collective actor. The analysis is based on five festival editions (1989, 1990, 1994, 2001, and 2002). The findings show that changes in the festival’s auto- and hetero-representations were complex and uneven. In the early 1990s, Poetry International presented itself as a strongly politicized and activist festival, offering a ‘safe haven’ for dissident poets in a divided world. The fall of the Berlin Wall did not prevent Western intellectuals from reproducing Cold War–style divisions between Western Europe and other regions, particularly Central and Eastern Europe, even though non-Western voices sometimes challenged this view. In the early 2000s, the festival gradually shifted towards a more globalized and less explicitly politicized profile, reflecting broader post–Cold War trends in world poetry.