RECALL/RECALIBRATE

Recall/Recalibrate investigates the so-called ‘Ethical Policy’ at the turn of the twentieth century in Dutch-occupied Indonesia. How can we understand the ‘ethical direction’ in relation to the brutal expansion of empire, and how did this materialise through arts and crafts and education? On this platform, you will find essays, images and resources that aim to ‘recall’ and ‘recalibrate’ this historical period as unfinished and unfolding in the present. 
Wicker baskets, Java, ca. 1936. Leiden University Libraries, KITLV 804549.














Europeans enjoying a meal in a restaurant, with an Indonesian waiter in the background. Date somewhere between 1930 and 1950, location unknown. Leiden University Libraries, KITLV 826902.


‘The idea was that, by financially supporting those with European ancestry, and teaching them practical skills such as carpentry, Indo-Europeans could be turned into a useful middle class. In order to become ‘fully Dutch’, they were forced to abandon their maternal indigenous culture, language, and religion, and embrace Dutch colonial (Christian) culture instead.’ Marjolein van Pagee


Dangerous Competitors: The ‘Dutch Ethical Policy’ (1901) and the Establishment of Craft Schools in East Java

Marjolein van Pagee
Two Europeans in spotless white suits overlooking the processing of sugar cane, place unknown, ca. 1915. Leiden University Libraries, KITLV 81443.










Missionary Indigenous craft school, Batak, Sumatra, ca. 1920. Leiden University Libraries, KITLV 81443.




Book cover of Door Duisternis tot Licht: Gedachten van Raden Adjeng Kartini, 1911.




‘Kartini’s feminism is an example of what is called colonial or imperialist feminism, an ideology that uses feminist rhetoric to justify European imperialism.’ Saut Situmorang



The making of plaster molds from Indonesian temples (including Candi Sari and the Borobodur) in ‘de Vormerij’, Museum Kunstnijverheid Haarlem, 1899, in: Simon Thomas, 1996.
Decolonising the Myth of Kartini

Saut Situmorang


Book cover of Door Duisternis tot Licht: Gedachten van Raden Adjeng Kartini, 1911.





Europeans at a champagne bar during a ‘fancy fair’ fundraiser for the Institution for the Blind, Bandung, 1933. Collectie Wereldmuseum TM-ALB-0715-5.


Image from: J.A. Loebèr, Bamboe-ornament in Nieuw-Guinea, 1919-1929, in: M. Simon Thomas, De Leer van het Ornament: Versieren volgens voorschrift ~1850-1930, Amsterdam, 1996.


General van Heutsz with his staff at Batè Ilië right after the storming, Aceh, 3 February 1901. Collectie Wereldmuseum, TM-10018875.







Hair comb (petat), obtained during the conquest of Klungkung, Bali, 1908. Collectie Wereldmuseum, RV-1684-20.
 



Enforced planting of sugar cane due to the Cultivation System, on the Malang plain, Krebet area, 1870. Leiden University Libraries, KITLV 2572.

Carel Lion Cachet, Chair covered with batik parchment in a red, white and black diamond pattern, the Netherlands, 1910. Rijksmuseum, BK1974-52.


‘Yes, but...’
Occupation as requirement for ‘development’

Rosa te Velde


[By the turn of the century, the Dutch] ‘aimed at acquiring de facto political control of the entire Indonesian archipelago and the development of both country and people under Dutch leadership and after western example’. Elsbeth Locher-Scholten, 1981
Catching up on History
Ethical Imperialism & Crafts Education in the ‘Dutch East Indies’ after 1900  
Rosa te Velde



‘[...] a dominant way in which the Dutch think of themselves, as being a small, but just, ethical nation; color-blind, thus free of racism; as being inherently on the moral and ethical high ground, thus a guiding light to other folks and nations.’ Gloria Wekker, 2016




Boh Doma (collar button) from Aceh, donated by Van Daalen, 1904.
Collectie Wereldmuseum, RV-1429-116.



       
Mas Pirngadi, pattern of a chair mat from Aceh, 1912. Jasper & Pirngadi, De inlandsche kunstnijverheid in Nederlandsch Indië: Het Vlechtwerk (I), 1912, p. 353.




Dewi Sartika’s Craft(wo)manship: Navigating Colonial Emancipation

by Raistiwar PratamaA Firm Nudge
Politics of ‘Ethical’ Reform through ‘Native Arts and Crafts’  

Rosa te Velde

Staged photo of children braiding hats, Tangerang, 1910.








‘Ieuh barudak, ari jadi awewe kudu sagala bisa, ambeh bisa hirup!’ (Listen girls, to be a woman you have to know how to do everything, so you are prepared for life’), Dewi Sartika, 1904




‘The ‘technical artistic’ study by Jasper ‘renders legible’ a field of crafts supposedly in need of saving and development. Through organising exhibitions, firmly nudging and promoting the use of ‘old’ motifs, or encouraging artisans through awarding honorary diplomas, his research becomes a self-fulfilling success story.’ Rosa te Velde












Women making lace, probably at the Amai Setia School in Kota Gedang, 1915.  Leiden University Libraries, KITLV 5557.





J.E. Jasper, and Mas Pirngadi, De Inlandsche Kunstnijverheid in Nederlandsch IndiÎ, Deel 4. De Goud-, en Zilversmeedkunst, 1927, p. 196.




Indigenous girls’ school Kaoetamaan Istri, Bandung, 1920. Leiden University Libraries, KITLV A34.

COLOPHON

AUTHORS
Marjolein van Asdonck
Raistiwar Pratama
Saut Situmorang
Marjolein van Pagee
Rosa te Velde

READERS
Fitria Jelyta
Lisa Baumgarten
Mark Oomen

EDITING/PROOFREADING
Harriet Foyster
Iris Pissaride
Marjolein van Pagee

IMAGE RESEARCH
Rosa te Velde

GRAPHIC DESIGN
Zuzana KostelanskáCC BY-NC-ND

This project is published under CC BY-NC-ND license, which enables reusers to copy and distribute the material in any medium or format in unadapted form only, for noncommercial purposes only, and only so long as attribution is given to the creator. 

Some of the texts were published before by the Wereldmuseum (02 ‘Yes, but...’; 03 A Firm Nudge & 06 A Rejuvenation Cure?).

Questions/corrections/suggestions? Contact us at
recallrecalibrate (at) gmail.com 2025

This project was funded by Het Stimuleringsfonds voor de Creatieve Industrie.




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