Stamping Ground – Love and Music (1971)

Directed by: George Sluizer, Hans Jürgen Pohland | 83 minutes | documentary, music

The documentary – if you can call it that – ‘Stamping Ground’ is a co-production of George Sluizer and the German director Hans Jürgen Pohland. It is actually a registration of the Holland Pop Festival that was held in 1970 in the Kralingse Bos in Rotterdam. This ‘Dutch answer to Woodstock’ was the first major pop festival on the European continent and – if we are to believe the marketing – about one hundred and fifty thousand visitors (probably between eighty and one hundred thousand). It’s a beautiful time capsule, with uplifting music, enthusiastic people and the atmosphere of love and peace that greets you almost every second.

Although some artists are interviewed, it doesn’t go much further than the message of tolerance and a few comments here and there about creative freedom. The documentary mainly gives a general impression of the artists and of course the spectators, who have come in impressive numbers and – regularly partly or completely naked – jumping around, cheering, dancing and occasionally taking a dip in the nearby lake.

It’s interesting to see the flower power culture up close, and as a Dutch person it fills you with pride to see such a big festival and such great artists settle in our little country and hear compliments. And, depending on your musical preference, you can get quite immersed in the performances. It is not difficult to imagine that as a spectator you would have fallen into a complete trance, especially if you were in a slightly intoxicated or intoxicated state. The songs often go on for a long time, with hypnotic sounds and screeching guitars.

Quite a few big names came to the Holland Pop Festival, including The Byrds, Jefferson Airplane and Pink Floyd. Surprisingly – although perhaps not for the real connoisseur – Santana is one of the bands that leave the biggest impression. Best known to the general public for quiet backing tracks like ‘Oye Como Va’ or ‘Black Magic Woman’, the band lifts the crowd with long solos by ecstatic drummers, percussionists and guitarists, inspired by the cameramen (including Theo van de Sande and one Jan de Bont). With close-up shots showing every drop of sweat and grimace of the artists, the darkness and colored lights make the images almost abstract.

The images of the enthusiastic (and licentious) audience often have a dreamy character. Such as when couples quietly smoke a cigarette (or joint) by the water in the morning, or when transparent inflatable pyramids – with people in them – are launched into the water in the evening. Visitors also do the latter during the day and often naked. The fact that several spectators strip naked is a fact that the filmmakers may have emphasized just a little too long. There is of course nothing against bare breasts or bodies, but it does come off slightly voyeuristic here and there.

Although you get quite a good impression of what it must have been like as a spectator at the Holland Pop Festival, as a viewer you never really feel part of the audience. The spectators are actually mainly watched and filmed as a curiosity. It could have helped with this if not only the artists but also the audience had been interviewed. For a more intimate, more ‘inclusive’ atmosphere.

As a concert registration ‘Stamping Ground’ is more than adequate. Also as a time frame. So if you like these bands and music style(s), you will enjoy this documentary. But for a more substantive impression of the context of the festival – the idea, the reactions, the organization – and the type of visitors that have come to it, you have to look up a book, Wiki page or other videos. (There are plenty.)