Tea Cups, Cameras and Family Life: Picturing Domesticity in Elite European and Javanese Family Photographs from the Netherlands Indies, ca. 1900–42

Protschky, Susanne

doi:10.1080/03087298.2012.636503

Cited by 10 publications

(7 citation statements)

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“…Foto semacam ini juga kuat menggambarkan relasi antara budaya barat dan timur. Pada saat yang sama produk budaya fotografi juga telah dipercaya I Wayan Suyadnya, Sanggar Kanto, I Nyoman Darma Putra, Desi Dwi Prianti / Jejak Citra Kuno Orang Tenganan dalam Foto Masa Kolonial 1920Kolonial -1940 memiliki kekuatan membentuk citra atau kesan terhadap realitas sosial (Harris, 2012;Protschky, 2012). Keberadaannya juga diidentifikasi merekam 'tumbuh kembangnya' dunia (Berger, 2013).…”

Section: Pendahuluanunclassified

Jejak Citra Kuno Orang Tenganan dalam Foto Masa Kolonial 1920-1940

Suyadnya,

Kanto,

Putra

et al. 2023

J. Ilmu Sos. Human.

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Artikel ini mengungkapkan pesan khas dari gambar fotografi pada masa kolonial tentang primitivisme melalui Tenganan Pegringsingan masa kolonial sebagai studi kasus. Beberapa foto terbatas tentang Tenganan yang diperkirakan diambil pada tahun 1920-1940 menggambarkan orang dan kehidupan masyarakat masa itu. Tiga kategori utama dari gambar dianalisis, yaitu lanskap dan arsitektur pemukiman, manusia Tenganan, dan aktivitas dan budaya material. Ketiga kategori menampilkan diri dengan gambaran kesan publik mengenai konsep kuno atau primitif. Penelitian ini memanfaatkan data visual (fotografi) melalui analisis citra fotografi. Hasil penelitian mengungkapkan bahwa gambar fotografi kolonial memberikan ide pembekuan citra dan kesan primitif pada orang Tenganan. Gagasan yang hadir melalui gambar fotografi itu adalah cara-cara mereka dibedakan dengan orang luar, misalnya melalui pakaian dan cara kontak mata dengan orang luar (Belanda). Ide tentang lingkungan ideal dan figuratif bagi orang Tenganan dan publik umum, berupa autentik, kuno, dan seragam, dihadirkan sebagai lanskap yang harus dipertahankan secara kokoh. Pada akhirnya proyeksi kolonial tentang Tenganan melalui fotografi berintegrasi dengan dunia imajinasi lokal orang Tenganan.

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Section: Pendahuluanunclassified

Jejak Citra Kuno Orang Tenganan dalam Foto Masa Kolonial 1920-1940

Suyadnya,

Kanto,

Putra

et al. 2023

J. Ilmu Sos. Human.

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“…Photographs made in the nineteenth and early twentieth centuries by amateur and professional photographers as well as by photographic societies and survey movements from these same geographies have been as significant to the identification and conceptualization of valuable places, traditions and cultural creations. While members of lower social classes had not necessarily been in a position to afford regular photographic production, their more privileged counterparts commonly photographed lands, parks, buildings and estates, alongside their own possessions and themselves, as well as the artworks, architecture and monuments that they encountered when travelling (see, for example, Carter 2010;Edwards 2012;Protschky 2012;Yablon 2014). They often organized the photographs in albums, diaries, scrapbooks or to form more official institutional collections, sometimes alongside related contextualizing notes, drawings and ephemera.…”

Section: Photography and "The Heritage Phenomenon"mentioning

confidence: 99%

Photographic Digital Heritage in Cultural Conflicts: A Critical Introduction

Pasternak¹

2021

Photography and Culture

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This introduction to the special issue "Photographic Digital Heritage in Cultural Conflicts" calls for the development of research into the various local and global political circumstances that have influenced the absorption of historical photographs into the realm of digital heritage, alongside the study of the digital photographic heritagization practices triggered by this very process. Opening with an exploration of the emergence of "the heritage phenomenon", it analyses how photography, heritage, and the political arena have become interlocked. The discussion then considers how historical photographs, digital heritage and cultural conflicts have subsequently also become entangled since the post-Cold War rising prevalence of digital technology, global interconnectedness and liberal democracy. These related conditions, it is suggested, have informed the growing digital heritagization of historical photographs and the methods used for their digitization, safeguarding and dissemination. Before introducing the individual contributions to the issue, the text therefore argues that the confluence of historical photographs and digital heritage must not be understood as a mere response to technological progress but as an articulation of politically-charged aspirations to capitalize on the common association of photographs with the past, to administer approaches to differing cultural values in a time of imposing liberal-democratic politics of consensus.

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“…Soldiers devoted an inordinate amount of space in their photographic collections to life in the billet or the barracks-a domestic sphere of sorts, albeit an overwhelmingly homosocial one, punctuated by the presence of a few young Indonesian women who provided housekeeping services.49 At first glance, these women represent a continuation of colonial-era household structures. Families of all classes and ethnic groups routinely employed local domestic servants in the late nineteenth and early twentieth centuries, and photographs featuring these workers are a strong feature of colonial family albums (Saptari 2011;Westerkamp 2012:112-5;Protschky 2012). As Annegriet Wietsma and Stef Scagliola (2013:8) have shown, during the war female Indonesian servants provided additional services to Dutch soldiers, including companionship and sex, which resulted in thousands of children who were abandoned when the soldiers returned to the Netherlands (see also Wietsma 2010).…”

Section: A Postcolonial Archive: Atrocity Through the Eyes Of Dutch Smentioning

confidence: 99%

“…Beneath the photographs of the execution in Jacobus R's album unspools a stream of unremarkable images of soldiers eating together and posing for group portraits. Based on my own recent research in three photographic war-time archives,28 as well as my work on amateur photography in the Netherlands East Indies (Protschky 2012(Protschky , 2014(Protschky , 2019, soldiers' albums frequently conform to the peacetime 'family album' genre, which favours scenes from everyday life and themes that emphasize social connections and domestic harmony (Hirsch 1981:12-3, 32, 111;Hirsch 1999:xi-xxv; Rose 2010).…”

mentioning

confidence: 99%

Burdens of Proof

Protschky

2020

Bijdr. taal-, land- volkenkd.

Self Cite

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There is but a limited scholarship on photographic sources from the Dutch military actions during the Revolusi Nasional Indonesia (Indonesian National Revolution) (1945–1949), and what exists almost entirely neglects perhaps the largest component of the archives: Dutch soldiers’ amateur photographs. Yet this category of photographs has simultaneously attracted much public and media controversy. This article contends that a narrow range of soldiers’ amateur photographs have thus far borne an anomalously weighty burden of proof to substantiate the nature and limits of extreme violence during the National Revolution, one that is brittle and difficult to sustain unless historians begin to broaden the focus of investigations into photographic archives. This article also investigates what it may mean for present-day Indonesians to see their ancestors as perpetrators as well as victims of violence and, importantly, as occupants of the ambiguous categories between both ends of this spectrum. What are the ethics of looking at and reproducing these photographs, and to whom do they belong?

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Tea Cups, Cameras and Family Life: Picturing Domesticity in Elite European and Javanese Family Photographs from the Netherlands Indies, ca. 1900–42

Cited by 10 publications

References 0 publications

Jejak Citra Kuno Orang Tenganan dalam Foto Masa Kolonial 1920-1940

Jejak Citra Kuno Orang Tenganan dalam Foto Masa Kolonial 1920-1940

Photographic Digital Heritage in Cultural Conflicts: A Critical Introduction

Burdens of Proof

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