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"Mooi Indië paintings represented the orientalist-colonial imagination of the picturesque Netherlands East Indies, with the obfuscation of the social realities on the ground and the silencing of the adverse effects of colonial capitalism. This article discusses the colonial legacy of Mooi Indië paintings on contemporary environmental policy in Indonesia, with a case study of the policy of the Citarum Harum Taskforce. This Taskforce was formed in 2018 and marked the national government’s attempt to rehabilitate the Citarum after it was declared one of the most polluted rivers in the world. It provides an analysis of several Mooi Indië paintings which depict the Citarum River and were created by European painters (such as Antoine Payen and Isaäc Groneman), before looking at the contemporary effects of the Citarum Harum’s beautification-oriented policy. The article also analyses some particular stereotypes of Netherlands East Indies natives as depicted in Mooi Indië paintings for comparison with the Taskforce’s policy implementation on the residents along the Citarum River. Ultimately, such a comparison demonstrates a form of colonial captivity at work today. The ideas of the Citarum Harum Taskforce demonstrate a captive mind, which continues to hide the socio-environmental problems which persist. This to the exploitation of the environment and people in the wake of the contemporary neoliberal system which dominates our worldview."

"This article explores cross-cultural encounters and identities discourses in selected Polish and Russian travelogues about the Netherlands East Indies. Poles and Russians could travel to the Netherlands East Indies thanks to advantages afforded Europeans by the colonial system. Their occupations (for example, a privileged tourist, colonial scientist, diplomat) often made them suitable imperial agents. They defined themselves as Europeans but, as Eastern Europeans, they occupied an ambiguous position: Russians came from a land-based, economically backward “empire of the periphery“ (Boris Kagarlitsky 2008); Poles came from a semi-peripheral European nation subjected to foreign rule and, from their common experience of subjugation, some Polish authors were able to sympathize with the colonized peoples. Hence, a comparative approach leads to various insights into representations of colonial Indonesia."

"Tulisan ini bertujuan untuk menelusuri pertimbangan pemerintah kolonial dalam membangun prasarana perhubungan untuk memfasilitasi eksploitasi ekonomi di pesisir barat Kalimantan. Untuk itu, tulisan ini menyoal pembangunan jalan sebagai satu-satunya pilihan pemerintah kolonial ketika dihadapkan pada gagasan pembangunan jalur rel kereta api yang kala itu merupakan tren terbaru perhubungan darat dan kenyataan lingkungan yang telah terbangun, yakni jalur air. Persoalan tersebut dikaji menggunakan metode sejarah melalui pendekatan studi perkotaan. Adapun hasil studi menunjukkan bahwa pembangunan jalan merupakan “jalan tengah” yang selaras dengan “ide kemajuan” yang sedang mengemuka di HindiaBelanda dalam konteks Zaman Baru (the New Colonial World). “Ide” yang meliputi ekspansi, efisiensi, dan kesejahteraan terdeteksi dari: (1) embrio jalan di pesisir telah berkembang sejak paruh kedua abad ke-19, (2) pengamanan dan pengawasan daerah-daerah pesisir yang merupakan area bekas pusat Perang Kongsi, (3) pengoptimalisasian lalu lintas ekonomi,dan (4) pengembangan jalan alternatif."

"Berisi tentang hukum dan peradilan pada zaman kolonial di Hindia Belanda (sekarang Indonesia) yang diterapkan sekitar tahun 1848 hingga tahun 1950 dan berpengaruh besar terhadap Republik Indonesia yang lahir di akhir periode tersebut."

"Masjid Cipari merupakan bangunan pada masa periode kolonial yang ada di kota Garut yang berasal dari awal abad 20 atau tepatnya tahun 1936 yang terelatak dikawasan Pesantren Cipari. Metode yang digunakan adalah membandingkan bangunan ini dengan bangunan yang memiliki arsitektur, fungsi dan masa yang sama. Berdasarkan hasil analisis dapat diketahui bahwa bangunan masjid ini memiliki berbagai macam bentuk gaya lokal dan asing yang ada pada bentuk bangunannya. Pengaruh unsur arsitektur kolonial pada bangunan ini lebih dominan dibandingkan dengan unsur lokalnya. Unsur arsitektur kolonial yang berpengaruh adalah nieuwe bouwen. Dengan demikian dari analisis diperoleh bahwa bangunan Masjid Cipari merupakan salah satu bangunan berarsitektur kolonial pada abad ke 20.

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Cipari mosque is a building during the colonial period in the city of Garut derived from the early 20th century, or rather the 1936 at Pesantren Cipari region. The method used is to compare this building with a building that has the architecture, functionality and the same period. Based on the results of the analysis can be seen that the building of this mosque has various forms of local and foreign styles that exist in the form of the building. Influenced by the colonial architecture in this building is more dominant than the local elements. Influential elements of colonial architecture is nieuwe bouwen. Thus from the analysis is that the building is a mosque Cipari buildings colonial architecture in the 20th century."

"As colonial Indonesia never was intended to be a “settler colony”, many Dutch citizens spent only a certain period of their lives there before returning to the Netherlands. However, there were also Europeans, many with Asian-European roots, who had called the colony home for generations and were forced to leave that home after 1945. All these different types of colonial migrants were displaced and maintained, built and reinforced their relations with the country (whether it was the colony or the “motherland”) they had left. This transnationalism (or, as I argue here, imperial orientation) took shape not only legally or relationally but also experientially (D. Ip, C. Inglis, and C.T. Wu 1997). In this article I show how, in both the colonial and post-colonial periods, objects helped European colonial migrants establish and maintain social relationships. Objects shaped identities and people’s status; bolstering increase migrants’ sense of “a continuous transnational self and identity”, a feeling of home, but also feelings of displacement. "

"Discussions on post-coloniality are often situated either in the centre of the colonizer or colonial metropole or the centre of the former colonized. The local perspective, especially in Indonesia, seems overlooked in existing literature, whereas it could be regarded as the cultural archive of the colonial era to post-independence Indonesia. Edward Said (1994) has said that cultural archives are a storehouse of a particular knowledge and structures of attitude and a reference to and structure of feelings. Gloria Wekker (2016) elaborates on the cultural archive; it has influenced historical cultural configurations as well as current dominant, cherished self-representations and culture. This paper examines the role of two provincial museums in Indonesia: Mpu Tantular Museum Surabaya and the Sonobudoyo Museum Yogyakarta, as cultural archives for each region. Since their foundation in the colonial era by the Europeans and local elite figures, these museums have seen many political changes. This paper delves into the archives and exhibitions of the museums to assess how they deal with their exhibition narratives as a colonial legacy, and to what extent these provincial museums have been involved in decolonization discourse. It proposes another way of looking at the post-colonial situation in Indonesian museums, not at the centre but more on the periphery."

"As the administrative and commercial capital of British India and as one of the earliest experiments in modern urbanization in the sub-continent, Calcutta proved enormously challenging to both its residents and its architects. In this imaginative study of colonial Calcutta, Anindita Ghosh charts the history of its urbanization from below, in its streets, strikes, and popular urban cultures. Claiming the City offers a close-up view of the citys underbelly by drawing in a range of non-archival sources, from illustrations and amateur photographs to street songs, local histories, and memoirs, which show that Calcutta was not just a problem to be disciplined and governed, as the colonialists would have us believe. Instead, the city emerges as a lively and crucial site for the shaping of the discourse on claims to urban spaces and resources by various marginal groups. Ghosh uses the everyday as a prism for exposing the wide spectrum of political and social imaginaries that shaped the city and shows how the once proverbial City of Palaces slowly turned into a city of endemic unrest and strife."