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Bridging Humanities

Platform for Alternatives Methodologies

Edited by Mirjam de Bruijn

Bridging Humanities – Platform for Alternatives Methodologies is a peer reviewed, interdisciplinary and multi-area online publication. The scope of Bridging Humanities is to publish original projects that include visuals and other kinds of digital sources as an integral part of the publication. Bridging Humanities includes original research from the humanities intended as an open field that is connected with other disciplines. Each publication is an interactive online space in which text and visuals are used as sources to produce and present knowledge from their field. Using this new format, Bridging Humanities encourages researchers to experiment with new methodologies for publication in which the importance of the digital is recognized as an integral part of the publication and research process. The website publishes at least one new project per year and is hosted externally:

Mirjam de Bruijn

both the researcher and the subject of the research had initially expected. Using an innovative format, the story of this anthropological journey is presented here in an attempt not to hide but rather to highlight the unpredictability that marked the whole process

Maartje Janse and Anne-Lot Hoek

This publication emerges from a process of co-creation in which historian Maartje Janse and research journalist Anne-Lot Hoek challenge the dominant national narrative about the colonial experience in the Dutch East Indies (present-day Indonesia). In combining journalistic and academic writing with musical performance by musician Ernst Jansz they amplify the critical voices that have spoken out against colonial injustice and that have long been ignored in public and academic debate. Even though it is often suggested that the mindset of people in the past prevented them from seeing what was wrong with things we now find highly problematic, they argue that there was indeed a tradition of colonial criticism in the Netherlands, one that included the voices of many ‘forgotten critics’ whose lives and criticism are the subject of this publication. The voices however were for a long time overlooked by Dutch historians. The publication is organized around the biographies of several critics (whose lives Janse and Hoek have published on before), the historical debate afterwards and includes reflective videos and texts on the process of co-creation.

Maartje Janse started the process by tracing the life history of an outspoken nineteenth-century critic of the colonial system in the Dutch East Indies, Willem Bosch. The authors argue that it was not self-evident how criticism of colonial injustices should be voiced and that Bosch experimented with different methods, including organizing one of the first Dutch pressure groups.

The story of Willem Bosch inspired Ernst Jansz, a Dutch musician with Indo roots, to compose a song (‘De ballade van Sarina en Kromo’). It is an interpretation of an old Malaysian ‘krontjong’ song, that Jansz transformed into a protest song that reminds its listeners of protest songs of the 1960s and 1970s. Jansz, in his lyrics, adds an indigenous perspective to this project. He performed the song during the Voice4Thought festival in 2016, a gathering that aimed to reflect upon migration and mobility in current times. Filmmaker Sjoerd Sijsma made a video ‘pamplet’ in which the performance of Ernst Jansz, an interview with Maartje Janse, and historical images from the colonial period have been combined.

Anne-Lot Hoek connected Willem Bosch to a series of twentieth-century anti-colonial critics such as Dutch Indies civil servant Siebe Lijftogt, Indonesian nationalists Sutan Sjahrir, Rachmad Koesoemobroto, Dutch writer Rudy Kousbroek and Indonesian activist Jeffry Pondaag. She argues that dissenting voices have been underrepresented in the post-war debates on colonialism and its legacy for decades, and that one of the main reasons is that the notion of the objective historian was not effectively problematized for a long time.

Sabelo J. Ndlovu-Gatsheni

in the first place. The third section examines the trajectories of the unfolding of the ‘Bandung spirit of decolonization’ (the resistances and struggles) going as far back as the Haitian Revolution of 1791 to 1804, which is presented as the paradigmatic heroic precursor and indeed genealogy of the

Carolyn Ureña

to Bandung, Global History, and International Law (2017), the “Spirit of Bandung” “represents a position of hope against insurmountable stakes. [The conference] was not only about asserting independence against an imperial past and present; it was also about facing an uncertain future.” (Eslava

Nelson Maldonado-Torres, Mireille Fanon Mendès France, Jeong Eun Annabel We and Zandisiwe Radebe

Foundation. One major consideration in organizing the Rencontres was that a serious engagement with the legacy of Fanon’s insurgent practical-theoretical and aesthetic work or with the Bandung Spirit must foster the links between knowledge creation, artistic expression, and social change that are present in

Jun Pan

these political activities are now presented on media platforms in forms of texts, videos, audio recordings, etc. As a result, growing attention has been paid to the study of political discourse in the media, with the view of even merging it with media discourse ( Fetzer & Lauerbach 2007 ; Fetzer 2013b

Robbie Shilliam

1 Introduction 1 The final communique of the Bandung conference presented a new spirit for world affairs. Decrying racism, colonialism, and dependency upon the great powers of the East and West, the participants endorsed equality, self-determination, and co-operation especially between Asian

Jeong Eun Annabel We

perspective of recruiting the formerly colonized countries into the folds of anti-communism ( Fitzgerald 1955 , 118–119). Other commentators saw the need to critically reassess the present through the conference’s initial outlook. For the thirty-year retrospective on the Bandung conference in 1985, one Indian