The Dukono Volcano on Halmahera

When our Coral Expeditions cruise arrived in the town of Tobelo on the northwestern arm of the island of Halmahera in October 2018, the Dukono volcano was erupting ash. This should not have been a surprise since research shows that the volcano has been erupting almost continuously  since 1978.

Dukono2

The Dukono volcano as seen from the Coral Discoverer

A rift in the earth’s mantle has caused a sea floor spreading zone between the islands of Sulawesi and Halmahere, causing subduction and related volcanic activity along the edge of both islands. There are sixteen volcanoes on the Halmahera volcanic arc, many of which are still active, and an equal number along the Sangihe volcanic arc.

MoluccaSeaGeologys

This seafloor map shows the central ridge, like the larger mid-Atlantic ridge, formed by the intrusion of oceanic magma. This intrusion causes spreading of the sea floor and the related subduction zones are shown by the seafloor trenches developed on each side of the central ridge . The water filled sediments that are subducted into the earths interior then become superheated, melt the surrounding rocks, and cause the volcanic activity.

Google Map

The related volcanoes can be best seen on this topographical map of Halmahera which shows a line of volcanoes formed along the western side of the island, including the clove islands of Ternate, Tidore, Moti and Makian which are offshore.

800px-Halmahera_Topography

The Dukono volcano is only 10 km from the town of Tobelo. While we were there it was continuously erupting ash, but fortunately the wind was blowing to the northeast and away from the town.

Ash cloud

The Dukono volcano as seen from the town of Tobelo

dukono

A closer view of the erupting Dukono volcano

 

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2013 – 2023 The top ten posts of the decade

After 10 years of blogging there have been 152502 views by thousands of followers and here are the top blogs of all time. Please go to the search button to find the blogs you may have missed.

Thanks to all those followers for your interest in Indonesia

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The Makalamau Drum is shattered in Museum fire

The largest Dong Son type drum found in Indonesia is the Makalamau Drum which was discovered on the island of Sangeang off the island of Sumbawa.

The Makalamau Drum is 122 centimetres in diameter and in the centre is a twelve-pointed star encircled by twelve concentric bands ornamented with geometric or figurative designs. The body of the drum is decorated with scenes of elephants and horses led by human figures, as well as fish, birds and boats, The outermost band is ornamented with four sculptured frogs paced equidistant around the rim. It is believed that in the cosmology of the drum makers, the star represents the sun and the frogs the rain. The sun and the rain, induced by the thunderous sound produced when beating the hollow brass drum, were necessary to yield crops and sustain life.

Photo: Ian Burnet

Central Jakarta Police Chief Komarudin told reporters that the National Museum’s Building A, which housed prehistoric artifacts, was engulfed by the fire on Saturday September 16, resulting in the destruction of at least four rooms. It is suspected that the fire was triggered by a short circuit that occurred in the museum renovation project area. He said the fire was brought under control within hours and no injuries were reported.  “Experts will provide us with an assessment of the losses, but the fire has destroyed display rooms, and the lobby, and even caused the roof to collapse. The museum contained many flammable materials,” he explained.

The National Museum Fire. Photo: Hidayat Azriel

At least 817 historical objects were impacted by a fire that broke out at the National Museum on Saturday (September 16), the National Museum’s Acting Head of Museum and Cultural Properties, Ahmad Mahendra, stated. “The affected collections and historical objects are either made of bronze, ceramics, terracotta, and wood or miniatures and replicas of prehistoric objects that were found intact or lightly to severely damaged,” Mahendra noted here on Tuesday.

Education and Culture Minister Nadiem Makarim at the National Museum on Saturday while speaking to reporters.

Unfortunately, the intensity of the fire caused the bronze base of the Makalamau Drum to seriously overheat and then shatter when the fire was flooded with water. Fortunately, the upper surface of the Makalamau Drum has remained mostly intact, and it is hoped that this historic Dong Son drum will be able to be restored.

‘In a short time we will undertake an evacuation’.

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The Glass Islands – Book Review

THE GLASS ISLANDS, by Mark Heyward

Published by Monsoon Books

Reviewed by Ian Burnet

Mark Heyward in his book ‘The Glass Islands’ tells the story of building a family home on the Indonesian island of Lombok. However, he has achieved much more than this, as through this story we learn of his Indonesian family, of his thirty years of living in Indonesia, of the people of the island of Lombok, of their different religions, of their daily life and of the seasons which affect this tropical paradise. He has structured his book around these seasons and the chapters include – The Burning Season, The Season of the Wind, The Rainy Season, The Season of the Sea and The Season of the Sun.

The island of Lombok lies immediately east and only twenty-five kilometres from the island of Bali. As Heyward explains, it was originally populated by the Malay Sasak people who follow the form of Islam first brought to Indonesia by early Arab traders in the 15th century, however, the west coast of the island where Mark lives was occupied in later centuries by the Hindu Balinese. Overlain on these two people, are communities of Chinese and Arab traders and a later layer of Western expatriates who for various reasons have decided to live on the island.

The people of Lombok live their lives like people on any other island. Babies are born, children are raised, young folk flirt and marry, old folk grow old and die. Each day the sun rises and falls. The rains come and go. The tides pull back and forth, The rice is planted, bright and green. Four months later it is harvested, fat and golden. The village folk go about their business, sweeping their yards, scolding their children and arguing with their husbands. Each day is punctuated with simple meals, temple offerings and the call to prayer. And in this way the business of life is negotiated. There is comfort in the sameness of this life, in its slowness, in its routines and familiarity. And life for me is measured in the changing of the seasons, the falling of the leaves, the coming of the rains – another Christmas and another Ramadan.

Heyward and his Indonesian wife live in a rented home, but fall in love with some land, high on a ridge, cut by a seasonal stream and surrounded by tangled banyan fig trees, that looks west across the Lombok Strait towards Bali and the peak of the Gunung Agung volcano.  Heyward lovingly describes the nature of this terrain, its trees and plants, the animal and bird life it supports, its sunset views and their dream of building a family home in this magical location.  

The site consists of two blocks, one on each side of a seasonal stream … Halfway across our block, the stream cuts through a rocky shelf and curls around the base of a huge, tangled banyan fig tree. Beneath a screen of dangling aerial roots, an ancient-looking well is cradled in the tree’s gnarled ground roots. A flat rock has been positioned above the well, a place for washing and perhaps prayer. The place smells of tradition, of mystery and hidden meanings: a little dank in the perpetual shade of the banyan tree, dim beneath the remnant forest giants that line the stream with their buttressed roots and attendant ferns.

As you would expect, land titles are not always well documented in Indonesia and negotiations are often difficult, but this allows us to meet the different landowners, of different ethnicities, and observe the skill of his Indonesian wife in navigating through these potential hazards, at the same time as her expat husband has to remain hidden from view.    

The process of house construction begins with the ‘breaking of the soil’ at the end of September and at the end of the dry season with a communal Muslim ceremony held with their new neighbours. Weeks later, the arrival of the rainy season means the reinvigoration of the land and allows for the planting of grasses and various plants to stabilise the terrain after the building of an access road and the levelling of the building site. The house itself is to be constructed from recycled teak originally used to build a traditional Javanese Joglo house, which the Heywards had acquired years earlier in Central Java. The construction takes more than a year and allows us to follow the seasons from dry to wet, and wet to dry as the winds change from east to west and then to the east again until the Heyward family can move into their dream home just before Christmas the following year.

In this book, Mark Heyward eloquently describes his love of family and his love of Indonesia, through this heart-warming story of how he and his wife build a new life and a new house on the island of Lombok. During this process he allows us to better understand the people of his adopted community, the influences of different religions on these peoples, and the seasons that govern their lives and the planting of their fields.

Some things never change. The love of a man for his wife, for his children; his need to leave a mark on this earth; to build; to plant a garden, to make a home; his urge to write, to sing songs, to tell stories; his fear of death, his love of life.

Don’t miss the opportunity to immerse yourself in this enthralling description of one family’s life on the Indonesian island of Lombok!

Ian Burnet has lived, worked, and travelled in Indonesia for over fifty years and is the author of five books about maritime history and the Indonesian archipelago, including Spice Islands, East Indies, Archipelago, Where Australia Collides with Asia and Joseph Conrad’s Eastern Voyages.

12 November, 2023

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Joseph Conrad at the Ubud Writers Festival

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Max Havelaar and the Path to Indonesian Independence

From the 19th Century, coffee grown in Java was traded across the world and was so popular that in the United States that a ‘cup of Java’ was America’s favourite beverage. In its original state, Java coffee is 100 percent arabica, which has a higher quality, a stronger flavor, and noticeable acidity. This is mostly in contrast to robusta coffee, which is milder and utilized in instant coffee blends.

By the mid-nineteenth century, the colonial control of the Dutch East Indies (present-day Indonesia ) had passed from the Dutch East India Company (VOC) to the Dutch government, due to the economic failure of the VOC. In order to increase revenue, the Dutch colonial government implemented a series of policies termed the  Cultivation System (Dutch: cultuurstelsel), which mandated Indonesian farmers to grow a quota of commercial crops such as  sugar and coffee, instead of growing staple foods such as rice.

At the same time, the colonial government also implemented a tax collection system in which the collecting agents were paid by commission. The combination of these two strategies caused widespread abuse of colonial power, especially on the islands of Java and Sumatra, resulting in abject poverty and widespread starvation of the farmers. 

For more than twenty years Eduard Douwes Dekker held a series of posts in the colonial government of the Dutch East Indies. In 1857, he was appointed Assistant Resident of Lebak, in the Banten province of Java. By this time, however, he had begun to openly protest the abuses of the Dutch colonial system and was threatened with dismissal. Instead, he resigned his appointment and returned to the Netherlands. Determined to expose the scandals he had witnessed during his years in the Dutch East Indies, he began to write newspaper articles and pamphlets. Little notice was taken of these early publications until, in 1860, when he published his satirical anti-colonialist novel Max Havelaar: The Coffee Auctions of the Dutch Trading Company under the pseudonym Multatuli.

Eduard Dowe Dekker (Multatuli)

In the novel, the story of Max Havelaar, a Dutch colonial administrator, is told by two diametrically opposed characters: the hypocritical coffee merchant Batavus Droogstoppel, who intends to use Havelaar’s manuscripts to write about the coffee trade, and the romantic German apprentice Stern, who takes over when Droogstoppel loses interest in the story. The opening chapter of the book nicely sets the tone of the satirical nature of what is to follow, with Droogstoppel articulating his pompous and mercenary world-view at length. At the very end of the novel Multatuli himself takes the pen and the book culminates in a denunciation of Dutch colonial policies and a plea to king William III of the Netherlands to intervene on behalf of his Indonesian subjects.

There is no mention of the Dutch Trading Company or its auctions anywhere in the book. Multatuli intentionally chose the misleading subtitle, so as to deceive anyone interested in the coffee trade into buying and reading the book. Multatuli’s intent was, after all, for his message to be heard, so he wanted the book to be read by as many people as possible. One reader fell for this and then wrote an open letter in which he complained that the book wasn’t actually about coffee auctions.

The original French translation of Max Havelaar

The book caused enormous controversy in the Netherlands. Apologists for colonialism accused Multatuli of exaggeration, he was unsuccessfully pressured to withdraw the inflammatory book and then forced to leave Holland and live in exile in Germany. Critics claimed it lacked literary merit; nonetheless, Max Havelaar was read all over Europe. The book raised the awareness of the Dutch public that the wealth they enjoyed was the result of the suffering of their colonial subjects. Multatuli’s main goal, in writing Max Havelaar, was to put the suffering of the common man in the Dutch East Indies on the agenda in the Netherlands. Although at first few people paid attention to this aspect of the book, he certainly succeeded in the long run as by 1900, the Dutch government had adopted the Ethical Policy which stated that it was the responsibility of the colonial government to educate their subjects rather than simply exploit them. By which the Dutch colonial government attempted to ‘repay’ their debt to their colonial subjects by providing education to some classes of Indonesians, generally those members of the elite loyal to the colonial government.

In 1908 those educated Indonesian students in the Netherlands founded the Perhimpoenan Indonesia (The Indonesian Association). This was important because it was one of the first organisation to campaign for full independence for Indonesia from the Netherlands (and to use the term Indonesia). Many of the Perhimpoenan Indonesia students, such as Mohammed Hatta, would later acquire prominent political positions in the independent Indonesia.

The founders of Perhimpoenan Indonesia – G.Mangoenkoewoermo, Mohammed Hatta, Koesuma Soemantri, Sastro Moeijono and R.M.Sartono

The Indonesian novelist Pramoedya Ananta Toer has argued that by triggering these educational reforms, Max Havelaar was responsible for the nationalist movement that ended Dutch colonialism in Indonesia. Thus, according to Pramoedya, Max Havelaar is ‘the book that killed colonialism’. In June 2002, the Society of Dutch Literature proclaimed Multatuli (Eduard Douwes Dekker) the most important Dutch writer of all time.

The Multatuli Museum is located in Amsterdam at Korsjespoortsteeg 20 where Eduard Douwes Dekker was born.

Another Multatuli Museum was opened on 11 February 2018 in  Rangkasbitung, Lebak Regency, where Eduard Dowes Dekker was formerly the Assistant Resident.

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The Makalamau Drum of Sangeang Island

The Đông Sơn drum is a type of ancient  bronze drum created by the Đông Sơn culture that existed in north Vietnam. The drums were produced from about 600 BCE or earlier until the third century; they are one of the culture’s most astounding examples of ancient metalworking. The drums, cast in bronze using the lost-wax method are up to a meter in height and weigh up to 100 kilograms (220 lbs). Đông Sơn drums were apparently both musical instruments and objects of worship.

Dongson drum from Vietnam

They are decorated with geometric patterns, scenes of daily life, agriculture, war, animals and birds, and boats. The latter alludes to the importance of trade to the culture in which they were made, and the drums themselves became objects of trade and heirloom items

Surface design of a Ngoc Lu bronze drum from Vietnam

The Dongson drums are characterised by the starburst in the middle which is then surrounded by birds, animals and people in a characteristic style. More than 200 have been found, across an area from Malaysia to Indonesia to Southern China. The discovery of Đông Sơn drums in New Guinea, is seen as proof of trade connections – spanning at least the past thousand years – between this region and the societies of Java, Vietnam and China.

Distribution of the Dongson Drums

The largest Dong Son type drum found in Indonesia is the Makalamau Drum which was discovered on the island of Sangeang off the island of Sumbawa.

The island of Sangeang
The Makalamau Drum in the Jakarta Museum

The Makalamau Drum is 122 centimetres in diameter and in the centre is a twelve-pointed star encircled by twelve concentric bands ornamented with geometric or figurative designs. The body of the drum is decorated with scenes of elephants and horses led by human figures, as well as fish, birds and boats, The outermost band is ornamented with four sculptured frogs paced equidistant around the rim. It is believed that in the cosmology of the drum makers, the star represents the sun and the frogs the rain. The sun and the rain, induced by the thunderous sound produced when beating the hollow brass drum, were necessary to yield crops and sustain life.

Surface decoration from the Dongson drum in the Museum Volkenkunde, Leiden

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Minyak Kayu Putih, Cajuput Oil, Tea-Tree Oil

Minyak Kayu Putih is found in every household in Indonesia in the form of ointments and liniments for all sorts of aches and pains. It is also used as a fragrance and freshening agent in soaps, cosmetics, detergents and perfumes.

Minyak Kayu Putih

 

It is produced by steaming and distilling the oil from the leaves of Melaleuca cajuputi. Here is a view of a traditional ‘factory’ distilling minyak kayu putih that I visited on Manipa Island in Maluku. The crushed leaves are boiled in a huge vat over an open fire and the vapour is distilled into the oil, which is used all over Indonesia as a cure for bodily aches and pains.

Image

Melaleuca is almost entirely Australian in its distribution yet the first of its species to be formally described, was based on material from Ambon in Indonesia. Georgius Everhardus Rumphius, a merchant with the Dutch East Indies Company, compiled a detailed account of many of the plants growing in the Malesian (Wallacea) biogeographical region including what he named Arbor Alba which was published in 1741 in his Herbarium Amboinense. This important work has recently been translated into English and published with annotations (Rumphius 2011). His publication predated the accepted starting point for the scientific botanical nomenclature of flowering plants and the formal description of the species occurred in 1767 when the Swedish botanist Carolus Linnaeus gave it the name Melaleuca leucadendra, after taking his descriptive data from Rumphius’ work. Called cajuputi oil by the Dutch it was exported to Europe from the Maluku islands in the first part of the eighteenth century because of its reputation as a panacea in the treatment of all kinds of diseases.

Tea tree oil, also known as melaleuca oil, is an essential oil that comes from steaming the leaves of the Australian tea tree. When used topically, tea tree oil is believed to be antibacterial. Tea tree oil is commonly used to treat acne, athlete’s foot, lice, nail fungus and insect bites.

In Australia Melaleuca is the third most diverse plant genus with up to 300 species as shown on this map of its distribution.

Thanks to the collision of Australia with Asia, the Melaleuca plants were rafted into the Indonesian archipelago on pieces of continent Australia that were sliced off. Along with cloves these are another product of Australia that Indonesia has been able to call their own.

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The Mystery of Pulau Cendana, Sandal Bosch Eyland, Sandalwood Island or Pulau Sumba.

Sandalwood is heavy, yellow, and fine-grained, and, unlike many other aromatic woods retains its fragrance for decades. Both the wood and the oil produce a distinctive fragrance that has been highly valued for centuries and it is often cited as one of the most expensive woods in the world.

Lord Ganesha carved from sandalwood

Sandalwood is indigenous to the tropical belt of peninsular India, the Malay Archipelago and northern Australia. In Indonesian the main distribution was on the islands of Solor, Sumba and Timor. Sandalwood is mentioned in one the oldest pieces of Indian literature, the epic Ramayana story, dating from the fourth century BC. However, Indian foresters question whether sandalwood is native to India and suggest that because of its distribution it was probably introduced from Indonesia many centuries ago.

Santalum album (Sandalwood)

Many Indian Hindu families will keep a block of sandalwood in their home which when rubbed produces a white paste and is then applied as a dot to the forehead to promote concentration during prayer and meditation. The Chinese ritually burn ‘Joss Sticks’ made of sandalwood to venerate their ancestors, which they value as being the finest incense.

Because the oil is in the heartwood including the roots, then the complete tree is harvested and in the past was not replanted as it takes more than thirty years for a sandalwood tree to reach maturity under natural conditions. Which has resulted in what appears to be almost the complete deforestation of the island of Sumba. All sandalwood trees in India are government-owned and their harvest is controlled, however many trees are illegally cut down. Most of the world’s sandalwood now comes from North West Australia where it is commercially grown and harvested.

Sumba Landscape

On this early Dutch map of the eastern archipelago, the island of Sumba is named as Poelo Tjsindana or Sandal Bosch Eyland. There are no records that the Portuguese or the Dutch ever harvested sandalwood trees on Sumba and the island has been almost totally deforested, with some sandalwood trees only recently being replanted.

So where did these sandalwood trees from Sandalwood Island go? The burning of incense to honour the Gods and honour the ancestors go back centuries as is depicted in this image from the Borobodur Temple, a Buddhist monument that was built in the 8th century. It can only be assumed that all the sandalwood from Sandalwood Island was collected and sent to Java and then possibly to India and China, centuries before the Portuguese or the Dutch even arrived in the Indonesian archipelago.

An Image of burning incense carved into the walls of the Borobodur Monument

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Searching for Sultan Sayfoedin of Tidore

When I was researching the book Spice Islands I came across an arresting image used in a pamphlet to advertise an exhibition at the Rijksmuseum. After more research I found it was from a painting of Sultan Sayfoedin of Tidore who ruled from 1657 to 1687.

A painting which was probably by a Dutch artist and so I expected it would be in the Rijksmuseum. However I could not find it there and eventually I found it was in the Czartoryski Museum in Kracow. I have no idea who was the artist or how the painting got to Kracow but it is lucky that it survived all the revolutions and invasions of Poland.

After the November 1830 uprising and the confiscation of the Czartoryski properties the collection was moved to a safe place in Paris and then moved back to Kracow in 1876. In 1914 and the First World War the collection was moved to Dresden in Germany before moving back to the family museum in 1920. In 1939 after the German invasion of Poland the collection was looted and many objects were taken to Germany. In 1945 the Polish representative at the Allies Commission for the Retrieval of Works of Art claimed the stolen artifacts on behalf of the Czartoryski Museum. However, 843 artifacts were missing from the collection whose whereabouts remain unknown to this day.

I absolutely had to have a high resolution image of the painting for the title page of Spice Islands. But the rights were held by the Bridgeman Art Library and it was going to cost a fortune to have the image included in the book. However I had to have it and there was no other choice but to pay up.

I also included in Spice Islands this photo of the late sister of the Sultan Ternate with her son. taken at the Sultan’s Palace in Ternate.

Although separated by 350 years I can see an uncanny similarity between these two men.

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King Willem III of the Netherlands – Abandoned and Forgotten in Pulau Banda

Willem was the son of King Willem II and Anna Paylovna of Russia and on the death of his father in 1849, he succeeded as king of the Netherlands where ruled until his death in 1890.

William III was a man of immense stature with a boisterous voice, standing at 6’5″ (196 cm) he was an exceptionally large and strong man. Known to be a philanderer he had several dozen illegitimate children from various mistresses. He could be gentle and kind, then suddenly he could become intimidating and even violent. He was inclined to terrorize and humiliate his courtiers and servants. His ministers were afraid of him and most people around him agreed that he was, to some degree, insane.

He married his first cousin, Sophie, daughter of King William I of Württemberg and Grand Duchess Catherine Pavlovna of Russia on 18 June 1839. This marriage was unhappy and was characterized by struggles about their children. Sophie was a liberal intellectual, hating everything leaning toward dictatorship, such as the army. Whereas William was simpler, more conservative, and loved the military. His extramarital enthusiasms, however, led the  New York Times to call him “the greatest debaucher of the age”. Another cause of marital tension (and later political tension) was his capriciousness as he could rage against someone one day and be extremely polite the next.

Queen Sophie

After years of turmoil, Sophie and Willem mutually wished to have a divorce, but a divorce was seen as an impossible scandal because of their position. By the mediation of Prince Frederick of the Netherlands, a formal separation without divorce was finalized in 1855, and it was decided that the couple was to remain formally married in public, but allowed to live separate lives in practice. Willem was to be given full right to decide about the upbringing of their eldest son, who would become King, while Sophie was given full custody of their youngest. Sophie was to fulfill her representational duties as Queen in public, but allowed to live her private life as she wished.

Sophie was an unusual queen with her left leaning political opinions and scientific interests, and her non-dogmatic views on religion, her support for progressive development and her disdain for etiquette gave her the soubriquet “la reine rouge” (‘The Red Queen’). Sophie died at Huis ten Bosch Palace in the Hague in 1877 and she was buried in her wedding dress, because, in her own view, her life had ended on the day she married.

 During his reign, the king became more and more unpopular with his bourgeois-liberal subjects, his whims provoking their resistance and mockery, but he remained quite popular with the common people.

Willem III had two sons by his marriage with Sophia, Willem (1841–1879), and Alexander (1843–1884). Both of them died unmarried and the death of Prince Alexander left the house of Orange without a direct male heir. After the death of Queen Sophia in 1877 the prospect of a disputed succession was averted by the marriage of the king in 1879 with the twenty year old princess Emma of Waldeck-Pyrmont, who managed to produce an heir.

King Willem, Queen Emma and Princess Wilhelmina

From this union a daughter, Wilhelmina, was born in 1880. In 1888 and 1889, the ailing king became increasingly demented and died in 1890. On her father’s death Wilhelmina succeeded him as Queen of the Netherlands and ruled for 57 years until her abdication in 1948.

Abandoned and forgotten, a magnificent bronze bust of King Willem III lies in a side garden and usually behind a locked door, in the rear of the former Dutch Colonial headquarters on the island of Pulau Banda in Eastern Indonesia. Perhaps he should be rescued and brought back to the Netherlands,

King Willem III (Ian Burnet)
The former Dutch Colonial Headquarters on Pulau Banda (Ian Burnet)

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